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"content": "\u003cp>The coronavirus, we are sometimes told, is a great equalizer, preying on both the elite and the ordinary, the well-heeled and the downtrodden.\u003c/p>\n\u003cp>“It doesn’t care about how rich you are, how famous you are,” Madonna assures us in her \u003ca href=\"https://www.youtube.com/watch?v=5UYU4Slh34I\" target=\"_blank\" rel=\"noopener noreferrer\">latest video\u003c/a>, sitting naked in bathwater laced with rose petals.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5UYU4Slh34I\u003c/p>\n\u003cp>But being rich sure does let you ride out the pandemic in much more pleasant surroundings.\u003c/p>\n\u003cp>Hollywood billionaire David Geffen recently told his Instagram followers that he was hanging out in the Caribbean to escape the virus. He hoped everyone was keeping safe, he wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For good measure, he included a picture of his 454-foot super-luxurious yacht, the Rising Sun, apparently shot from a drone.\u003c/p>\n\u003cp>https://twitter.com/ianbremmer/status/1243970383985999872\u003c/p>\n\u003cp>“I think tone-deaf is an understatement. As many people noted, this is an individual whose net worth is reportedly $8 billion,” says \u003cem>New York Post \u003c/em>columnist Maureen Callahan.\u003c/p>\n\u003cp>The backlash was ferocious, with thousands of ego-shredding comments pouring into social media. “This is just shameful and grotesque,” \u003ca href=\"https://twitter.com/MeghanMcCain/status/1244003888455389186?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted Meghan McCain\u003c/a>, co-host of \u003cem>The View\u003c/em>. Singer John Mayer even wrote a song called “\u003ca href=\"https://www.instagram.com/p/B-YGR-UFH_M/\" target=\"_blank\" rel=\"noopener noreferrer\">Drone Shot of My Yacht\u003c/a>.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B-YGR-UFH_M/\u003c/p>\n\u003cp>Geffen quickly deleted the post and took his account private.\u003c/p>\n\u003cp>The social media pitchforks also came out after TV star Ellen DeGeneres told a joke comparing life under quarantine \u003ca href=\"https://www.cbsnews.com/news/ellen-degeneres-quarantine-jail-comparison-backlash/?ftag=CNM-00-10aab7e&linkId=86115810\" target=\"_blank\" rel=\"noopener noreferrer\">to being in jail\u003c/a>. The problem? She was telling it from inside a plush, well-appointed mansion—one of several she owns.\u003c/p>\n\u003cp>Episodes like this underscore a central fact of the current pandemic, says Paul Piff, assistant professor of psychology and social behavior at the University of California, Irvine.\u003c/p>\n\u003cp>Rich and poor people are experiencing it in much different ways.\u003c/p>\n\u003cp>People with money can escape the virus more easily, Piff says. It buys them social space. They have large apartments and second homes, and they’re more likely to have a job they can do from home.\u003c/p>\n\u003cp>Working-class people, by contrast, depend more on public transportation, where they’re at greater risk of contracting the virus. They’re less able to afford to stock up on weeks of food and supplies. And they’re more likely to have service jobs that need to be done in person.\u003c/p>\n\u003cp>“They almost necessarily involve social contact. Who is it that’s delivering your food or driving ride-shares? It’s the people who don’t have the means to do otherwise,” Piff says.\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.nytimes.com/interactive/2020/04/01/nyregion/nyc-coronavirus-cases-map.html\" target=\"_blank\" rel=\"noopener noreferrer\">some evidence exists\u003c/a> already that working-class neighborhoods in New York City have been hit much harder by the pandemic than wealthy areas.\u003c/p>\n\u003cp>Piff, who studies the psychology of wealth, says nothing is really unusual about this. Some people have always had means and others haven’t.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But at a time when the ability to separate yourself from the crowd is literally a life-and-death issue, it’s probably not a good moment to show off your yacht.\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+Rich+Really+Are+Different.+They+Can+Shelter+In+Nicer+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Geffen quickly deleted the post and took his account private.\u003c/p>\n\u003cp>The social media pitchforks also came out after TV star Ellen DeGeneres told a joke comparing life under quarantine \u003ca href=\"https://www.cbsnews.com/news/ellen-degeneres-quarantine-jail-comparison-backlash/?ftag=CNM-00-10aab7e&linkId=86115810\" target=\"_blank\" rel=\"noopener noreferrer\">to being in jail\u003c/a>. The problem? She was telling it from inside a plush, well-appointed mansion—one of several she owns.\u003c/p>\n\u003cp>Episodes like this underscore a central fact of the current pandemic, says Paul Piff, assistant professor of psychology and social behavior at the University of California, Irvine.\u003c/p>\n\u003cp>Rich and poor people are experiencing it in much different ways.\u003c/p>\n\u003cp>People with money can escape the virus more easily, Piff says. It buys them social space. They have large apartments and second homes, and they’re more likely to have a job they can do from home.\u003c/p>\n\u003cp>Working-class people, by contrast, depend more on public transportation, where they’re at greater risk of contracting the virus. They’re less able to afford to stock up on weeks of food and supplies. And they’re more likely to have service jobs that need to be done in person.\u003c/p>\n\u003cp>“They almost necessarily involve social contact. Who is it that’s delivering your food or driving ride-shares? It’s the people who don’t have the means to do otherwise,” Piff says.\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.nytimes.com/interactive/2020/04/01/nyregion/nyc-coronavirus-cases-map.html\" target=\"_blank\" rel=\"noopener noreferrer\">some evidence exists\u003c/a> already that working-class neighborhoods in New York City have been hit much harder by the pandemic than wealthy areas.\u003c/p>\n\u003cp>Piff, who studies the psychology of wealth, says nothing is really unusual about this. Some people have always had means and others haven’t.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But at a time when the ability to separate yourself from the crowd is literally a life-and-death issue, it’s probably not a good moment to show off your yacht.\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+Rich+Really+Are+Different.+They+Can+Shelter+In+Nicer+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Movies That Strike A Balance Between Escapism And Anxiety",
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"content": "\u003cp>What kind of movie watcher are you in the age of coronavirus? While sheltering at home, do you seek out joyous Hollywood classics like \u003ca href=\"https://www.npr.org/2012/08/09/158489285/60-years-later-still-singin-in-the-rain\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Singin’ in the Rain\u003c/em>\u003c/a>? Or do you lean into tales of terror, madness and social breakdown, like all those viewers who have made \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/02/16/802704825/fact-checking-contagion-in-wake-of-coronavirus-the-2011-movie-is-trending\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Contagion\u003c/em> \u003c/a>one of the year’s hottest rentals?\u003c/p>\n\u003cp>I fall somewhere in between: eager for escapism, yes, but also for movies that speak to our present anxieties. Here are three movies, two old and one new, that have been on my screen and on my mind.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sorry We Missed You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ysjwg-MnZao&t=35s\u003c/p>\n\u003cp>The English working class has no angrier or more prolific champion than the 83-year-old director Ken Loach. His furious and timely new drama, \u003cem>Sorry We Missed You\u003c/em>, can be rented via \u003ca href=\"https://www.kinolorber.com/news/article/id/76\" target=\"_blank\" rel=\"noopener noreferrer\">Kino Marquee\u003c/a>, an online platform to benefit closed-down arthouse theaters. It stars an excellent Kris Hitchen as Ricky Turner, a Newcastle day laborer who begins driving a van for a parcel delivery company. His new boss sells him on the flexibility of being an independent contractor, but the reality is crushing: Ricky has to buy his own van and receives no benefits or paid time off. Every day brings ruthless deadlines and the risk of parking tickets and fines for late deliveries. To maximize efficiency, Ricky keeps an empty bottle in the van so he can relieve himself on the go. One day he learns that he violated company policy simply by taking his young daughter along for a ride.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Loach and his regular screenwriter, Paul Laverty, are not the subtlest of dramatists, and \u003cem>Sorry We Missed You\u003c/em> can feel bludgeoning in its bleakness, especially in the scenes of the Turners at home. I loved Debbie Honeywood as Ricky’s good-hearted wife, Abbie, whose home-care nursing job has her also burning the candle at both ends. But a calculated subplot with their wayward teenage son sends the story in melodramatic directions it doesn’t need. What gives the movie its power, especially at a time when so many of us are relying on package and food deliveries, is Loach’s palpable rage at the soullessness of the gig economy. He shows us the human toll on workers who have never been more essential—or more exploited.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Green for Danger\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=prfROGvCoDc\u003c/p>\n\u003cp>Speaking of essential: Bearing in mind the lifesaving risks being taken by health care workers all over the world, I recently found myself rewatching \u003cem>Green for Danger\u003c/em>, a superbly entertaining 1946 murder mystery set in a rural British hospital during World War II. The German air raids provide an already high-stakes backdrop for a story that proceeds to get only more suspenseful and harrowing from there. The movie follows a group of doctors and nurses who come under suspicion when a patient dies during surgery and a nurse is found fatally stabbed shortly afterward.\u003c/p>\n\u003cp>The murder investigation falls to Inspector Cockrill of Scotland Yard, played with droll mischief by Alastair Sim, whom you probably know for his all-time great performance as Ebenezer Scrooge. The other actors, who include Sally Gray, Trevor Howard and Judy Campbell, are terrific as a group of medical professionals whose romantic entanglements and professional jealousies wouldn’t be out of place on \u003cem>General Hospital\u003c/em>. \u003cem>Green for Danger\u003c/em>, which is streaming on various platforms including the invaluable \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, was directed by Sidney Gilliat and faithfully adapted from \u003ca href=\"https://www.npr.org/books/titles/834122521/green-for-danger\" target=\"_blank\" rel=\"noopener noreferrer\">one of my favorite detective novels\u003c/a> by Christianna Brand. It’s brilliantly plotted, crisply acted and often very funny, which must have been a relief for audiences back in 1946, readjusting to normal life with the war still fresh on their minds.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Neighbor Totoro\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=92a7Hj0ijLs\u003c/p>\n\u003cp>The difficulty of readjustment is also a theme of the 1988 charmer \u003cem>My Neighbor Totoro\u003c/em>, one of the earliest and most beloved achievements of the great Japanese animator \u003ca href=\"https://www.npr.org/books/authors/534164156/hayao-miyazaki\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>. I watched it again recently, this time at home with my 3-year-old daughter, who’s still a bit young for darker Miyazaki fantasies like \u003cem>Princess Mononoke\u003c/em> and \u003cem>Spirited Away\u003c/em>. But she was captivated by this one—transported by the gorgeous, painterly images and delighted by every appearance of the giant, huggable woodland creature known as Totoro, whom she had already squeezed many times before in plush-toy form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie, which you can stream on platforms including Amazon Prime and YouTube, follows two young sisters who have moved with their father to an old house in the countryside while their mother recovers from an illness in a nearby hospital. In the surrounding woods, they meet Totoro and other astonishing creatures, like the Catbus, a giant, grinning vehicle that whisks you from one end of the forest to another on 12 furry legs. Like many of Miyazaki’s films, \u003cem>My Neighbor Totoro\u003c/em> is rooted in rich strains of Japanese mythology and folklore, but it guides us through this world with beguiling simplicity and generous humor. It’s also a deeply consoling film about finding strength when we need it most. I can’t think of a more charming fantasy—or a better movie for us to cling to in our own time of uncertainty.\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=3+Movies+That+Strike+A+Balance+Between+Escapism+And+Anxiety&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What kind of movie watcher are you in the age of coronavirus? While sheltering at home, do you seek out joyous Hollywood classics like \u003ca href=\"https://www.npr.org/2012/08/09/158489285/60-years-later-still-singin-in-the-rain\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Singin’ in the Rain\u003c/em>\u003c/a>? Or do you lean into tales of terror, madness and social breakdown, like all those viewers who have made \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/02/16/802704825/fact-checking-contagion-in-wake-of-coronavirus-the-2011-movie-is-trending\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Contagion\u003c/em> \u003c/a>one of the year’s hottest rentals?\u003c/p>\n\u003cp>I fall somewhere in between: eager for escapism, yes, but also for movies that speak to our present anxieties. Here are three movies, two old and one new, that have been on my screen and on my mind.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sorry We Missed You\u003c/strong>\u003c/em>\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/ysjwg-MnZao'\n title='//www.youtube.com/embed/ysjwg-MnZao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The English working class has no angrier or more prolific champion than the 83-year-old director Ken Loach. His furious and timely new drama, \u003cem>Sorry We Missed You\u003c/em>, can be rented via \u003ca href=\"https://www.kinolorber.com/news/article/id/76\" target=\"_blank\" rel=\"noopener noreferrer\">Kino Marquee\u003c/a>, an online platform to benefit closed-down arthouse theaters. It stars an excellent Kris Hitchen as Ricky Turner, a Newcastle day laborer who begins driving a van for a parcel delivery company. His new boss sells him on the flexibility of being an independent contractor, but the reality is crushing: Ricky has to buy his own van and receives no benefits or paid time off. Every day brings ruthless deadlines and the risk of parking tickets and fines for late deliveries. To maximize efficiency, Ricky keeps an empty bottle in the van so he can relieve himself on the go. One day he learns that he violated company policy simply by taking his young daughter along for a ride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Loach and his regular screenwriter, Paul Laverty, are not the subtlest of dramatists, and \u003cem>Sorry We Missed You\u003c/em> can feel bludgeoning in its bleakness, especially in the scenes of the Turners at home. I loved Debbie Honeywood as Ricky’s good-hearted wife, Abbie, whose home-care nursing job has her also burning the candle at both ends. But a calculated subplot with their wayward teenage son sends the story in melodramatic directions it doesn’t need. What gives the movie its power, especially at a time when so many of us are relying on package and food deliveries, is Loach’s palpable rage at the soullessness of the gig economy. He shows us the human toll on workers who have never been more essential—or more exploited.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Green for Danger\u003c/strong>\u003c/em>\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/prfROGvCoDc'\n title='//www.youtube.com/embed/prfROGvCoDc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of essential: Bearing in mind the lifesaving risks being taken by health care workers all over the world, I recently found myself rewatching \u003cem>Green for Danger\u003c/em>, a superbly entertaining 1946 murder mystery set in a rural British hospital during World War II. The German air raids provide an already high-stakes backdrop for a story that proceeds to get only more suspenseful and harrowing from there. The movie follows a group of doctors and nurses who come under suspicion when a patient dies during surgery and a nurse is found fatally stabbed shortly afterward.\u003c/p>\n\u003cp>The murder investigation falls to Inspector Cockrill of Scotland Yard, played with droll mischief by Alastair Sim, whom you probably know for his all-time great performance as Ebenezer Scrooge. The other actors, who include Sally Gray, Trevor Howard and Judy Campbell, are terrific as a group of medical professionals whose romantic entanglements and professional jealousies wouldn’t be out of place on \u003cem>General Hospital\u003c/em>. \u003cem>Green for Danger\u003c/em>, which is streaming on various platforms including the invaluable \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, was directed by Sidney Gilliat and faithfully adapted from \u003ca href=\"https://www.npr.org/books/titles/834122521/green-for-danger\" target=\"_blank\" rel=\"noopener noreferrer\">one of my favorite detective novels\u003c/a> by Christianna Brand. It’s brilliantly plotted, crisply acted and often very funny, which must have been a relief for audiences back in 1946, readjusting to normal life with the war still fresh on their minds.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Neighbor Totoro\u003c/strong>\u003c/em>\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/92a7Hj0ijLs'\n title='//www.youtube.com/embed/92a7Hj0ijLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The difficulty of readjustment is also a theme of the 1988 charmer \u003cem>My Neighbor Totoro\u003c/em>, one of the earliest and most beloved achievements of the great Japanese animator \u003ca href=\"https://www.npr.org/books/authors/534164156/hayao-miyazaki\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>. I watched it again recently, this time at home with my 3-year-old daughter, who’s still a bit young for darker Miyazaki fantasies like \u003cem>Princess Mononoke\u003c/em> and \u003cem>Spirited Away\u003c/em>. But she was captivated by this one—transported by the gorgeous, painterly images and delighted by every appearance of the giant, huggable woodland creature known as Totoro, whom she had already squeezed many times before in plush-toy form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie, which you can stream on platforms including Amazon Prime and YouTube, follows two young sisters who have moved with their father to an old house in the countryside while their mother recovers from an illness in a nearby hospital. In the surrounding woods, they meet Totoro and other astonishing creatures, like the Catbus, a giant, grinning vehicle that whisks you from one end of the forest to another on 12 furry legs. Like many of Miyazaki’s films, \u003cem>My Neighbor Totoro\u003c/em> is rooted in rich strains of Japanese mythology and folklore, but it guides us through this world with beguiling simplicity and generous humor. It’s also a deeply consoling film about finding strength when we need it most. I can’t think of a more charming fantasy—or a better movie for us to cling to in our own time of uncertainty.\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=3+Movies+That+Strike+A+Balance+Between+Escapism+And+Anxiety&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Need a Mental Escape? These Books Offer Solace in Troubled Times",
"headTitle": "Need a Mental Escape? These Books Offer Solace in Troubled Times | KQED",
"content": "\u003cp>There’s a black-and-white photo taped on my office door at school—the office I haven’t been inside in almost a month. It shows an American soldier stretched out, reading \u003ca href=\"https://www.npr.org/books/titles/138257002/a-tree-grows-in-brooklyn\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Tree Grows in Brooklyn\u003c/em>\u003c/a>, Betty Smith’s 1943 novel based on her childhood in Williamsburg, Brooklyn.\u003c/p>\n\u003cp>Smith’s novel, along with \u003ca href=\"https://www.npr.org/books/titles/138309785/moby-dick\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moby Dick\u003c/em>\u003c/a>, \u003cem>The Adventures of Superman\u003c/em> and some 122 million copies of novels, essays and poetry were printed during World War II and distributed to servicemen. The largest distribution of these so-called “Armed Services Editions” was on the eve of D-Day: Every man boarding a landing craft was handed a book. Even as an uncertain destiny awaited them, some of these guys—like our friend in that photo—found solace in reading.\u003c/p>\n\u003cp>Books are essential cargo, I believe that. And, I want to give a nod to the range of the Armed Services Editions by recommending a variety of books—old and new—that appeal to me right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878600 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM.png\" alt=\"\" width=\"303\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM-160x233.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">When I need a mental escape from a stressful situation, I often fantasize about wandering around one of the grand department stores of my New York City childhood: stores like Bonwit Teller and B. Altman. Most of those palaces of consumption are gone but, fortunately, Scribner has recently published the first American edition of a tart, beguiling 1993 department store novel called \u003ca href=\"https://www.npr.org/books/titles/831709293/the-women-in-black\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Women in Black\u003c/em>\u003c/a>\u003cem>,\u003c/em> by Madeleine St John.\u003c/p>\n\u003cp>Set in the 1950s, the novel focuses on four saleswomen, decked out in black uniform dresses, who work at Goode’s Department Store in Sydney, Australia. My favorite character is a high school girl, a temporary worker named Lisa, who falls in love at first sight with a couture cocktail dress, “a froth of red pin-spotted white organza with a low neck, a tight bodice, a few deep ruffles over the shoulders. …”\u003c/p>\n\u003cblockquote>\u003cp>“She was experiencing for the first time that particular species of love-at-first-sight … which sooner or later comes to all: the sudden recognition that a particular frock is not merely pretty, would not merely suit one, but answers beyond these necessary attributes to one’s deepest notions of oneself.”\u003c/p>\u003c/blockquote>\n\u003cp>On the cover of \u003cem>The Women in Black\u003c/em> is a blurb by author \u003ca href=\"https://www.npr.org/books/authors/137916196/hilary-mantel\" target=\"_blank\" rel=\"noopener noreferrer\">Hilary Mantel\u003c/a> who says that this is the book she “most often give[s] as a gift to cheer people up.” Do you really need to know anything more?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This pandemic has so many of us thinking a lot about food, and when I think of good writing about food I always think, first, of the immortal \u003ca href=\"https://www.npr.org/2014/11/24/365227833/decades-later-laurie-colwins-books-will-not-let-you-down\" target=\"_blank\" rel=\"noopener noreferrer\">Laurie Colwin\u003c/a>, who died in 1992. Colwin’s unpretentious essays about whipping up the likes of buttered noodles and savory beef stew are collected in two books: \u003ca href=\"https://www.npr.org/books/titles/365232593/home-cooking-a-writer-in-the-kitchen\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Home Cooking\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=138108737\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>More Home Cooking\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878601 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM.png\" alt=\"\" width=\"303\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM-160x231.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">There’s a slim and sensuous new food memoir coming out this month called \u003ca href=\"https://www.npr.org/books/titles/831732547/everything-is-under-control-a-memoir-with-recipes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Everything Is Under Control\u003c/em>\u003c/a>, by Phyllis Grant. Grant has cooked in famous restaurants, but she started out training to be a dancer at Juilliard. When she arrived in the city as a teenager, Grant says she and the other would-be dancers made “New York our cafeteria,” inhaling “[w]hite onion, cheddar, and tomato omelets with French fries in fluorescent diners …” But soon enough, Grant describes how the demands of dance shamed her and her friends into denying their appetites.\u003c/p>\n\u003cp>Reading about diners and thinking of all those \u003ca href=\"https://www.npr.org/2020/03/22/819189939/closed-all-at-once-restaurant-industry-faces-collapse\" target=\"_blank\" rel=\"noopener noreferrer\">restaurant workers\u003c/a> across the country who’ve lost jobs makes me think of one of my favorite books of all time, \u003ca href=\"https://www.npr.org/2011/05/05/135514997/what-its-like-to-be-an-elderly-widow-all-alone\" target=\"_blank\" rel=\"noopener noreferrer\">Stewart O’Nan\u003c/a>‘s 2007 novella, \u003ca href=\"https://www.npr.org/books/titles/138270824/last-night-at-the-lobster\" target=\"_blank\" rel=\"noopener noreferrer\">Last Night at the Lobster.\u003c/a> In precise, insider language, O’Nan writes about a manager named Manny and his staff working the last shifts at a Red Lobster restaurant that the higher ups have decided to close. It’s a great story in miniature about loss of the casual community that workplaces create—a community that many of us are missing right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878602 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM.png\" alt=\"\" width=\"303\" height=\"233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM-160x123.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">We’re into April, which means this is\u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\"> National Poetry Month\u003c/a>. I owe this next recommendation to Maria Popova, whose eclectic \u003ca href=\"https://www.brainpickings.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Brainpickings\u003c/a> blog site \u003ca href=\"https://www.brainpickings.org/2017/03/03/are-you-an-echo-misuzu-kaneko/\" target=\"_blank\" rel=\"noopener noreferrer\">spotlighted \u003c/a>a Japanese poet named Misuzu Kaneko. A small publisher, Chin Music Press, has brought out a gorgeously illustrated edition of Misuzu’s poetry and tragic life story aimed at children and adults called \u003ca href=\"https://www.npr.org/books/titles/831739221/are-you-an-echo-the-lost-poetry-of-misuzu-kaneko\">\u003cem>Are You An Echo?\u003c/em>\u003c/a> Here’s a simple poem called “Snow Pile” that displays Misuzu’s celebrated empathetic imagination:\u003c/p>\n\u003cblockquote>\u003cp>Snow on top\u003cbr>\nmust feel chilly,\u003cbr>\nthe cold moonlight piercing it.\u003c/p>\n\u003cp>Snow on the bottom\u003cbr>\nmust feel burdened\u003cbr>\nby the hundreds who tread on it.\u003c/p>\n\u003cp>Snow in the middle\u003cbr>\nmust feel lonely\u003cbr>\nwith neither earth nor sky to look at.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>I want to end where I began, in my beautiful battered hometown of New York. Most of the great books about New York are books about walking, and that’s certainly true of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead\u003c/a>‘s packed personal travelogue, \u003ca href=\"https://www.npr.org/books/titles/831829023/the-colossus-of-new-york-a-city-in-thirteen-parts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Colossus of New York\u003c/em>\u003c/a>, which came out in 2003. Whitehead roams from the Port Authority to the Brooklyn Bridge to the once dense streets of Midtown. If you’re missing the feeling of being lost in a crowd, Whitehead—and really all these writers I’ve just recommended—offer you the next best thing: the possibility of getting lost in a book.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Need+A+Mental+Escape%3F+These+Books+Offer+Solace+In+Troubled+Times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a black-and-white photo taped on my office door at school—the office I haven’t been inside in almost a month. It shows an American soldier stretched out, reading \u003ca href=\"https://www.npr.org/books/titles/138257002/a-tree-grows-in-brooklyn\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Tree Grows in Brooklyn\u003c/em>\u003c/a>, Betty Smith’s 1943 novel based on her childhood in Williamsburg, Brooklyn.\u003c/p>\n\u003cp>Smith’s novel, along with \u003ca href=\"https://www.npr.org/books/titles/138309785/moby-dick\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moby Dick\u003c/em>\u003c/a>, \u003cem>The Adventures of Superman\u003c/em> and some 122 million copies of novels, essays and poetry were printed during World War II and distributed to servicemen. The largest distribution of these so-called “Armed Services Editions” was on the eve of D-Day: Every man boarding a landing craft was handed a book. Even as an uncertain destiny awaited them, some of these guys—like our friend in that photo—found solace in reading.\u003c/p>\n\u003cp>Books are essential cargo, I believe that. And, I want to give a nod to the range of the Armed Services Editions by recommending a variety of books—old and new—that appeal to me right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878600 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM.png\" alt=\"\" width=\"303\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.07-PM-160x233.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">When I need a mental escape from a stressful situation, I often fantasize about wandering around one of the grand department stores of my New York City childhood: stores like Bonwit Teller and B. Altman. Most of those palaces of consumption are gone but, fortunately, Scribner has recently published the first American edition of a tart, beguiling 1993 department store novel called \u003ca href=\"https://www.npr.org/books/titles/831709293/the-women-in-black\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Women in Black\u003c/em>\u003c/a>\u003cem>,\u003c/em> by Madeleine St John.\u003c/p>\n\u003cp>Set in the 1950s, the novel focuses on four saleswomen, decked out in black uniform dresses, who work at Goode’s Department Store in Sydney, Australia. My favorite character is a high school girl, a temporary worker named Lisa, who falls in love at first sight with a couture cocktail dress, “a froth of red pin-spotted white organza with a low neck, a tight bodice, a few deep ruffles over the shoulders. …”\u003c/p>\n\u003cblockquote>\u003cp>“She was experiencing for the first time that particular species of love-at-first-sight … which sooner or later comes to all: the sudden recognition that a particular frock is not merely pretty, would not merely suit one, but answers beyond these necessary attributes to one’s deepest notions of oneself.”\u003c/p>\u003c/blockquote>\n\u003cp>On the cover of \u003cem>The Women in Black\u003c/em> is a blurb by author \u003ca href=\"https://www.npr.org/books/authors/137916196/hilary-mantel\" target=\"_blank\" rel=\"noopener noreferrer\">Hilary Mantel\u003c/a> who says that this is the book she “most often give[s] as a gift to cheer people up.” Do you really need to know anything more?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This pandemic has so many of us thinking a lot about food, and when I think of good writing about food I always think, first, of the immortal \u003ca href=\"https://www.npr.org/2014/11/24/365227833/decades-later-laurie-colwins-books-will-not-let-you-down\" target=\"_blank\" rel=\"noopener noreferrer\">Laurie Colwin\u003c/a>, who died in 1992. Colwin’s unpretentious essays about whipping up the likes of buttered noodles and savory beef stew are collected in two books: \u003ca href=\"https://www.npr.org/books/titles/365232593/home-cooking-a-writer-in-the-kitchen\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Home Cooking\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=138108737\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>More Home Cooking\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878601 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM.png\" alt=\"\" width=\"303\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.25.54-PM-160x231.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">There’s a slim and sensuous new food memoir coming out this month called \u003ca href=\"https://www.npr.org/books/titles/831732547/everything-is-under-control-a-memoir-with-recipes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Everything Is Under Control\u003c/em>\u003c/a>, by Phyllis Grant. Grant has cooked in famous restaurants, but she started out training to be a dancer at Juilliard. When she arrived in the city as a teenager, Grant says she and the other would-be dancers made “New York our cafeteria,” inhaling “[w]hite onion, cheddar, and tomato omelets with French fries in fluorescent diners …” But soon enough, Grant describes how the demands of dance shamed her and her friends into denying their appetites.\u003c/p>\n\u003cp>Reading about diners and thinking of all those \u003ca href=\"https://www.npr.org/2020/03/22/819189939/closed-all-at-once-restaurant-industry-faces-collapse\" target=\"_blank\" rel=\"noopener noreferrer\">restaurant workers\u003c/a> across the country who’ve lost jobs makes me think of one of my favorite books of all time, \u003ca href=\"https://www.npr.org/2011/05/05/135514997/what-its-like-to-be-an-elderly-widow-all-alone\" target=\"_blank\" rel=\"noopener noreferrer\">Stewart O’Nan\u003c/a>‘s 2007 novella, \u003ca href=\"https://www.npr.org/books/titles/138270824/last-night-at-the-lobster\" target=\"_blank\" rel=\"noopener noreferrer\">Last Night at the Lobster.\u003c/a> In precise, insider language, O’Nan writes about a manager named Manny and his staff working the last shifts at a Red Lobster restaurant that the higher ups have decided to close. It’s a great story in miniature about loss of the casual community that workplaces create—a community that many of us are missing right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878602 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM.png\" alt=\"\" width=\"303\" height=\"233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-13-at-3.26.41-PM-160x123.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">We’re into April, which means this is\u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\"> National Poetry Month\u003c/a>. I owe this next recommendation to Maria Popova, whose eclectic \u003ca href=\"https://www.brainpickings.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Brainpickings\u003c/a> blog site \u003ca href=\"https://www.brainpickings.org/2017/03/03/are-you-an-echo-misuzu-kaneko/\" target=\"_blank\" rel=\"noopener noreferrer\">spotlighted \u003c/a>a Japanese poet named Misuzu Kaneko. A small publisher, Chin Music Press, has brought out a gorgeously illustrated edition of Misuzu’s poetry and tragic life story aimed at children and adults called \u003ca href=\"https://www.npr.org/books/titles/831739221/are-you-an-echo-the-lost-poetry-of-misuzu-kaneko\">\u003cem>Are You An Echo?\u003c/em>\u003c/a> Here’s a simple poem called “Snow Pile” that displays Misuzu’s celebrated empathetic imagination:\u003c/p>\n\u003cblockquote>\u003cp>Snow on top\u003cbr>\nmust feel chilly,\u003cbr>\nthe cold moonlight piercing it.\u003c/p>\n\u003cp>Snow on the bottom\u003cbr>\nmust feel burdened\u003cbr>\nby the hundreds who tread on it.\u003c/p>\n\u003cp>Snow in the middle\u003cbr>\nmust feel lonely\u003cbr>\nwith neither earth nor sky to look at.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>I want to end where I began, in my beautiful battered hometown of New York. Most of the great books about New York are books about walking, and that’s certainly true of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead\u003c/a>‘s packed personal travelogue, \u003ca href=\"https://www.npr.org/books/titles/831829023/the-colossus-of-new-york-a-city-in-thirteen-parts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Colossus of New York\u003c/em>\u003c/a>, which came out in 2003. Whitehead roams from the Port Authority to the Brooklyn Bridge to the once dense streets of Midtown. If you’re missing the feeling of being lost in a crowd, Whitehead—and really all these writers I’ve just recommended—offer you the next best thing: the possibility of getting lost in a book.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Need+A+Mental+Escape%3F+These+Books+Offer+Solace+In+Troubled+Times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Run,' Do Not Walk: HBO's New Smart, Spiky, Sexy Comedy/Thriller",
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"content": "\u003cp>The premise is big, bold, even broad: When they broke up in college, fifteen years ago, Ruby (Merritt Wever) and Billy (Domhnall Gleeson) promised each other that if either one of them ever texted the word “RUN” to the other … \u003cem>and \u003c/em>the other texted it back, they would drop everything and meet in Grand Central Station, hop on a cross-country train, and see what happened.\u003c/p>\n\u003cp>See? Big idea. High concept. Great elevator pitch. Sold in the room.\u003c/p>\n\u003cp>The execution, as it’s carried out by Wever, Gleeson and showrunner Vicky Jones, is smartly, bracingly small. Grounded. Precise. Detailed. Real.\u003c/p>\n\u003cp>That contrast is why HBO’s \u003cem>Run \u003c/em>is the best new show of 2020.\u003c/p>\n\u003cp>The notion of running away from your commitments to hook up with an ex is, after all, quite literally an escapist fantasy. It seems like it to us, and it seems like it to Ruby and Billy. The fun of the opening few minutes of the seven-episode series (five of which have been screened for press) is the thrill of chasing an impulse. They’re having a ball, and so are we.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But impulsive actions bring a kind of joy that’s bound up with disorder. Chaos isn’t a by-product, it’s part of the appeal. \u003cem>Run \u003c/em>knows that—and it knows that when Ruby and Billy do see each other again, they will each come to that encounter with the conviction that the past fifteen years of their real lives never happened, that they can pick up where they left off, that they can be the selves they were 15 years ago.\u003c/p>\n\u003cp>They can’t, of course, and the many tiny ways this begins to dawn on them—we watch it happening in the tilt of Wever’s head, in the way Gleeson’s eyes jitter in his face—makes for a kind of ruefully knowing comedy. We can see how much they’ve idealized this reunion over the years, which makes every moment they actually spend together sexy, and dangerous—and fragile.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x9gnW8TAP2U\u003c/p>\n\u003cp>Again and again, their idyll threatens to shatter—a bit of flirty banter goes awry, or a wave of guilt crashes over one or the other, or a muttered aside inflicts a deep wound. But they keep coming back, and before too long the pressures that endanger their time together shift from internal to external. This transition happens a few episodes in, when the series slides from rom-com to thriller… um …-com.\u003c/p>\n\u003cp>Creator Vicky Jones, who directed the original stage version of \u003cem>Fleabag\u003c/em>, plays with time in a smart, revealing way. We do get flashbacks, but they aren’t what we’re expecting to see—college-age Ruby and Billy, making the pact—they’re moments that, doled out over the course of the series as they are, directly affect our perceptions of these characters in the current moment. They don’t fill in tedious backstory, they change our understanding of what we’re seeing. The show knows that we’ve got everything we need to know about that college relationship—Wever and Gleeson are showing it to us every moment they share the screen.\u003c/p>\n\u003cp>Wever is great, here—sliding her warm, lilting voice up and down her register in a way that switches from flirty to furious and back again, often within a single line of dialogue. Gleeson is funny without ever lunging at a joke (note the way he subtly dials up his Irish accent to Full Lucky Charms Leprechaun, when someone whose help he requires tells him they’re part Irish). The performances are layered enough for us to look past Ruby’s selfishness and Billy’s shadiness and still root for them. Even Rich Sommer, as the husband Ruby left in the lurch, gets a scene or two to invest his character with deeper levels than expected.\u003c/p>\n\u003cp>Executive produced by Phoebe Waller-Bridge (who shows up for a brief cameo), \u003cem>Run \u003c/em>shares a sensibility with both \u003cem>Fleabag \u003c/em>and \u003cem>Killing Eve\u003c/em>—a clear-eyed intelligence about adult sexuality combined with a sense of humor that explores interpersonal dynamics without relying on familiar tropes. In fact, that mid-season turn from romantic comedy to thriller feels like a transition from \u003cem>Fleabag \u003c/em>(smart, sexy comedy) to \u003cem>Killing Eve\u003c/em> (propulsive, twisty plot, raised stakes).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which is not to say that anything about \u003cem>Run \u003c/em>feels derivative of those shows. It’s its own thing, clearly, and what that is happens to be just what this cultural moment demands—two actors at the top of their game in a story that’s fun, funny, sexy and, more than anything else, smart.\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=%27Run%2C%27+Do+Not+Walk%3A+HBO%27s+New+Smart%2C+Spiky%2C+Sexy+Comedy%2FThriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premise is big, bold, even broad: When they broke up in college, fifteen years ago, Ruby (Merritt Wever) and Billy (Domhnall Gleeson) promised each other that if either one of them ever texted the word “RUN” to the other … \u003cem>and \u003c/em>the other texted it back, they would drop everything and meet in Grand Central Station, hop on a cross-country train, and see what happened.\u003c/p>\n\u003cp>See? Big idea. High concept. Great elevator pitch. Sold in the room.\u003c/p>\n\u003cp>The execution, as it’s carried out by Wever, Gleeson and showrunner Vicky Jones, is smartly, bracingly small. Grounded. Precise. Detailed. Real.\u003c/p>\n\u003cp>That contrast is why HBO’s \u003cem>Run \u003c/em>is the best new show of 2020.\u003c/p>\n\u003cp>The notion of running away from your commitments to hook up with an ex is, after all, quite literally an escapist fantasy. It seems like it to us, and it seems like it to Ruby and Billy. The fun of the opening few minutes of the seven-episode series (five of which have been screened for press) is the thrill of chasing an impulse. They’re having a ball, and so are we.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But impulsive actions bring a kind of joy that’s bound up with disorder. Chaos isn’t a by-product, it’s part of the appeal. \u003cem>Run \u003c/em>knows that—and it knows that when Ruby and Billy do see each other again, they will each come to that encounter with the conviction that the past fifteen years of their real lives never happened, that they can pick up where they left off, that they can be the selves they were 15 years ago.\u003c/p>\n\u003cp>They can’t, of course, and the many tiny ways this begins to dawn on them—we watch it happening in the tilt of Wever’s head, in the way Gleeson’s eyes jitter in his face—makes for a kind of ruefully knowing comedy. We can see how much they’ve idealized this reunion over the years, which makes every moment they actually spend together sexy, and dangerous—and fragile.\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/x9gnW8TAP2U'\n title='//www.youtube.com/embed/x9gnW8TAP2U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Again and again, their idyll threatens to shatter—a bit of flirty banter goes awry, or a wave of guilt crashes over one or the other, or a muttered aside inflicts a deep wound. But they keep coming back, and before too long the pressures that endanger their time together shift from internal to external. This transition happens a few episodes in, when the series slides from rom-com to thriller… um …-com.\u003c/p>\n\u003cp>Creator Vicky Jones, who directed the original stage version of \u003cem>Fleabag\u003c/em>, plays with time in a smart, revealing way. We do get flashbacks, but they aren’t what we’re expecting to see—college-age Ruby and Billy, making the pact—they’re moments that, doled out over the course of the series as they are, directly affect our perceptions of these characters in the current moment. They don’t fill in tedious backstory, they change our understanding of what we’re seeing. The show knows that we’ve got everything we need to know about that college relationship—Wever and Gleeson are showing it to us every moment they share the screen.\u003c/p>\n\u003cp>Wever is great, here—sliding her warm, lilting voice up and down her register in a way that switches from flirty to furious and back again, often within a single line of dialogue. Gleeson is funny without ever lunging at a joke (note the way he subtly dials up his Irish accent to Full Lucky Charms Leprechaun, when someone whose help he requires tells him they’re part Irish). The performances are layered enough for us to look past Ruby’s selfishness and Billy’s shadiness and still root for them. Even Rich Sommer, as the husband Ruby left in the lurch, gets a scene or two to invest his character with deeper levels than expected.\u003c/p>\n\u003cp>Executive produced by Phoebe Waller-Bridge (who shows up for a brief cameo), \u003cem>Run \u003c/em>shares a sensibility with both \u003cem>Fleabag \u003c/em>and \u003cem>Killing Eve\u003c/em>—a clear-eyed intelligence about adult sexuality combined with a sense of humor that explores interpersonal dynamics without relying on familiar tropes. In fact, that mid-season turn from romantic comedy to thriller feels like a transition from \u003cem>Fleabag \u003c/em>(smart, sexy comedy) to \u003cem>Killing Eve\u003c/em> (propulsive, twisty plot, raised stakes).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which is not to say that anything about \u003cem>Run \u003c/em>feels derivative of those shows. It’s its own thing, clearly, and what that is happens to be just what this cultural moment demands—two actors at the top of their game in a story that’s fun, funny, sexy and, more than anything else, smart.\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=%27Run%2C%27+Do+Not+Walk%3A+HBO%27s+New+Smart%2C+Spiky%2C+Sexy+Comedy%2FThriller&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Making Michael Arceneaux’s \u003cem>I Don’t Want to Die Poor\u003c/em> required reading in high schools across the country would help a lot of young people think twice about the promise that going to college at any cost is the only path to upward social mobility.\u003c/p>\n\u003cp>Arceneaux, also the author of \u003cem>I Can’t Date Jesus\u003c/em>, writes in his new book of essays:\u003c/p>\n\u003cblockquote>\u003cp>“The student loan industry is a barely regulated, predatory system, and with Donald Trump in the White House and those equally useless people in Congress, oversight of the industry is becoming nonexistent.”\u003c/p>\u003c/blockquote>\n\u003cp>The truths come hard and fast in \u003cem>I Don’t Want to Die Poor\u003c/em>. Arceneaux uses the first essay, titled “You Self-Centered Bastard,” to bluntly show readers one of the issues in his life that will serve as an element of cohesion throughout the collection: student loans. The essay also serves to set the tone for what follows—a lot of personal stuff, great insights full of sarcasm and humor, and a relationship with popular culture that permeates everything the author does. [aside postid='arts_13878355,arts_13877670,arts_13877940' label='More Good Reads']\u003c/p>\n\u003cp>Arceneaux doesn’t shy away from any topic, and this book offers readers a look into his past, his financial woes, his sexuality and love life, the harsh realities of freelancing (yes, I sighed when I wrote that), racism, his mother’s constant battle to stay afloat, his father’s alcoholism and his own struggles with an eating disorder. Throughout all of it, he retains a dark sense of humor and the idea that there is something better out there, something he will achieve through hard work.\u003c/p>\n\u003cp>The thing that makes \u003cem>I Don’t Want to Die Poor \u003c/em>an outstanding read is Arceneaux’s voice. He writes like he’s telling you, his friend, a story. That makes you want to spend more time with him, listening to his stories and marveling at the way people can share so much simply because demographic factors put you in the same situations. For Arceneaux, life hasn’t been easy, and his writing shows that. Luckily for readers, every painful detail he shares is balanced out by a superb critique, a masterful turn of phrase, a funny use of popular culture or a couple of sentences that cut to the bone of a social issue and expose the core of it with unbending honesty:\u003c/p>\n\u003cblockquote>\u003cp>“It’s adorable to believe we live in a meritocracy, but so much of certain types of success is dictated by everything else besides perceived special talents and abilities. It’s about privilege, and how that privilege gives way to greater access and larger means than are offered those who lack it.”\u003c/p>\u003c/blockquote>\n\u003cp>Arceneaux’s sincerity shines here. So does his style. He captures readers in one essay when discussing how his eating disorder stemmed from his “desire to feel as if I was in control of some aspect of my life.” In another, he explains how “queer people have to deal with the reality that our straight counterparts have experiences in their teens and twenties that many of us don’t get to have until much later in life.” However, and more importantly, he will show from time to time that he writes to get a point across and isn’t here to please anyone. For example, when he talks about the time he thought about being a rapper, he deconstructs hip-hop to unmask its homophobia. His words aren’t gentle: “I forgot I can’t be a n**ga in hip-hop because I’m a f**got.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Heartbreaking, hilarious, unapologetic and smart, this collection of essays shows a talented young voice that can attack racist nonsense while discussing \u003cem>The Real Housewives of Atlanta\u003c/em>. It’s also a warning to future generations and a literary hug to those who have fallen into the unforgiving claws of student loan debt.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter:\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">\u003cem>@Gabino_Iglesias\u003c/em>\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Making Michael Arceneaux’s \u003cem>I Don’t Want to Die Poor\u003c/em> required reading in high schools across the country would help a lot of young people think twice about the promise that going to college at any cost is the only path to upward social mobility.\u003c/p>\n\u003cp>Arceneaux, also the author of \u003cem>I Can’t Date Jesus\u003c/em>, writes in his new book of essays:\u003c/p>\n\u003cblockquote>\u003cp>“The student loan industry is a barely regulated, predatory system, and with Donald Trump in the White House and those equally useless people in Congress, oversight of the industry is becoming nonexistent.”\u003c/p>\u003c/blockquote>\n\u003cp>The truths come hard and fast in \u003cem>I Don’t Want to Die Poor\u003c/em>. Arceneaux uses the first essay, titled “You Self-Centered Bastard,” to bluntly show readers one of the issues in his life that will serve as an element of cohesion throughout the collection: student loans. The essay also serves to set the tone for what follows—a lot of personal stuff, great insights full of sarcasm and humor, and a relationship with popular culture that permeates everything the author does. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arceneaux doesn’t shy away from any topic, and this book offers readers a look into his past, his financial woes, his sexuality and love life, the harsh realities of freelancing (yes, I sighed when I wrote that), racism, his mother’s constant battle to stay afloat, his father’s alcoholism and his own struggles with an eating disorder. Throughout all of it, he retains a dark sense of humor and the idea that there is something better out there, something he will achieve through hard work.\u003c/p>\n\u003cp>The thing that makes \u003cem>I Don’t Want to Die Poor \u003c/em>an outstanding read is Arceneaux’s voice. He writes like he’s telling you, his friend, a story. That makes you want to spend more time with him, listening to his stories and marveling at the way people can share so much simply because demographic factors put you in the same situations. For Arceneaux, life hasn’t been easy, and his writing shows that. Luckily for readers, every painful detail he shares is balanced out by a superb critique, a masterful turn of phrase, a funny use of popular culture or a couple of sentences that cut to the bone of a social issue and expose the core of it with unbending honesty:\u003c/p>\n\u003cblockquote>\u003cp>“It’s adorable to believe we live in a meritocracy, but so much of certain types of success is dictated by everything else besides perceived special talents and abilities. It’s about privilege, and how that privilege gives way to greater access and larger means than are offered those who lack it.”\u003c/p>\u003c/blockquote>\n\u003cp>Arceneaux’s sincerity shines here. So does his style. He captures readers in one essay when discussing how his eating disorder stemmed from his “desire to feel as if I was in control of some aspect of my life.” In another, he explains how “queer people have to deal with the reality that our straight counterparts have experiences in their teens and twenties that many of us don’t get to have until much later in life.” However, and more importantly, he will show from time to time that he writes to get a point across and isn’t here to please anyone. For example, when he talks about the time he thought about being a rapper, he deconstructs hip-hop to unmask its homophobia. His words aren’t gentle: “I forgot I can’t be a n**ga in hip-hop because I’m a f**got.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Heartbreaking, hilarious, unapologetic and smart, this collection of essays shows a talented young voice that can attack racist nonsense while discussing \u003cem>The Real Housewives of Atlanta\u003c/em>. It’s also a warning to future generations and a literary hug to those who have fallen into the unforgiving claws of student loan debt.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter:\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">\u003cem>@Gabino_Iglesias\u003c/em>\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chelsea Bieker’s mother left when she was 9 years old. “Growing up, I was hungry for narratives that were tackling some of the things that I was experiencing and feeling,” she recalls. Whenever she found those stories, she says it felt healing, cathartic—a release.\u003c/p>\n\u003cp>“It didn’t feel like I was so isolated—it made my experience feel more universal,” she says.\u003c/p>\n\u003cp>In Bieker’s debut novel \u003ca href=\"https://books.catapult.co/products/godshot-a-novel-by-chelsea-bieker\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Godshot\u003c/em>\u003c/a>, a devastating drought in a fictional California town has led residents to seek answers in a charismatic cult leader. Narrator Lacey May is 14 years old when her mother abandons her.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878264 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM.png\" alt=\"\" width=\"304\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM.png 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM-160x244.png 160w\" sizes=\"(max-width: 304px) 100vw, 304px\">\u003c/p>\n\u003cp>Bieker understands that, at a time when readers are facing real world fears about coronavirus, it might feel like an odd moment to immerse oneself in a fictional world of drought, chaos and childhood trauma. But Bieker believes this difficult time of quiet and isolation is an invitation to look at ourselves in new ways.\u003c/p>\n\u003cp>“I believe that fiction asks us to turn toward the difficult parts in our own lives and our own selves to try to find some sort of grace …” she says. “Art can help me ask the difficult questions of myself and then try to answer them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, there’s time to watch Netflix—we all have to find the balance that’s right for us. But “leaning in to some of the things that might be coming up during this time can be valuable, too,” Bieker says.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the challenges she faced growing up\u003c/strong>\u003c/p>\n\u003cp>I was raised by two alcoholic parents and all of the trauma and stress that comes with that. But mainly when I was 9, my mother left and she didn’t come back. And so I was dealing with this grief of this really confusing loss. Because she didn’t die—it wasn’t like I could really have any closure with that grief. But she had just left and she was existing somewhere else. So around 9, I was kind of forced to reckon with this loss that I didn’t know how to categorize at the time. Now I know to call it grief and I have a language for it. But when I was a child, I wanted to find books that reflected that in some way.\u003c/p>\n\u003cp>\u003cstrong>On why she decided the characters in the book would belong to a cult\u003c/strong>\u003c/p>\n\u003cp>I wanted those characters to have to grapple with the devastation of the land in a very deep way. And the way these people are handling it is through spiritual outlets. They’re not looking to science. They’re not looking to facts to explain what’s happening around them. But they have this leader who’s promising that if they behave a certain way, if they do certain things, they are in control, somehow. They will please God and restore the land. So while on one hand, these characters are really ignoring climate change, and facts, and politics—they’re not in that space at all. [But] they’re also taking this really intense responsibility in their own way—however misguided. And they’re trying to make things right. …\u003c/p>\n\u003cp>People want to feel like they’re on the right track—that they’re doing something meaningful in their lives. … The promise of a future paradise is very alluring. And that’s definitely what the characters in this book are being drawn to.\u003c/p>\n\u003cp>\u003cstrong>On the women who live on the outskirts of town and operate a phone sex line—and why they are a lifeline for Lacey May\u003c/strong>\u003c/p>\n\u003cp>It’s her way out. It’s a window into another way of living. And it’s also a place that she learns about her body for the first time in a really practical way. These are women who are connected to their bodies. They are empowered in their bodies in different ways. And she’s seeing that really for the first time. She’s coming from a place of absolutely no sex education and being forced to kind of self-educate. And these women provide this other kind of door to this other way of thinking.\u003c/p>\n\u003cp>\u003cstrong>On Lacey May seeking out other mother-daughter relationships\u003c/strong>\u003c/p>\n\u003cp>I think Lacey May realizes after her mother leaves that she’s going to have to go on sort of a search for another sort of mothering. And she does find that through these sort of unlikely friendships with these other women throughout the book. And I think in turn, she’s able to understand her own mother in a different way through their lens—which is important because she begins to see her mother not only as her mother, who has failed her in many ways, but as a person who’s fallible and someone that there may be hope for, compassion for one day.\u003c/p>\n\u003cp>\u003cstrong>On whether that mirrors her own experience\u003c/strong>\u003c/p>\n\u003cp>My love for my mother never wavered through any of it. … When I look back over my experience—and the experience certainly isn’t over, it’s something I continue to process today, especially as a mother to my own children—but the love for my mother that I’ve had has grown and evolved in its own way and it’s really never left.\u003c/p>\n\u003cp>So I wanted the book to … characterize that. That despite all odds, there is still a remaining connection and love between this mother and daughter and the hope for it to restore in a traditional sense—where the mother comes back and life resumes happy as ever, that’s never going to happen—but there can be a hope toward another kind of experience.\u003c/p>\n\u003cp>\u003cstrong>On her current relationship with her mother\u003c/strong>\u003c/p>\n\u003cp>I do have a relationship with my mother. We never really stopped having one. … I’ve actually noticed since I had my own children six years ago, my mother and I are able to connect in a different way and I really enjoy our time talking when we’re able to have it. … I’ve been able to see the beauty in a really non-conventional connection and take what we can get, you know?\u003c/p>\n\u003cp>\u003cstrong>On what her novel says about blind obedience to charismatic leaders\u003c/strong>\u003c/p>\n\u003cp>I think part of what \u003cem>Godshot \u003c/em>is doing is that it’s prompting us to ask questions and not to accept a package solution that seems to be rooted in this big group think. I think that’s dangerous. And I think the characters in the book slowly realize that. And they do begin to question, they do begin to access their own curiosity, and find their own answers. And I think that’s important for all of us to do—to be critical thinkers and to not listen to just one voice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Aubri Juhasz and Jolie Myers produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Godshot%27+Author+Explains+How+Fiction+Helps+Us+Face+Real-World+Adversity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chelsea Bieker’s mother left when she was 9 years old. “Growing up, I was hungry for narratives that were tackling some of the things that I was experiencing and feeling,” she recalls. Whenever she found those stories, she says it felt healing, cathartic—a release.\u003c/p>\n\u003cp>“It didn’t feel like I was so isolated—it made my experience feel more universal,” she says.\u003c/p>\n\u003cp>In Bieker’s debut novel \u003ca href=\"https://books.catapult.co/products/godshot-a-novel-by-chelsea-bieker\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Godshot\u003c/em>\u003c/a>, a devastating drought in a fictional California town has led residents to seek answers in a charismatic cult leader. Narrator Lacey May is 14 years old when her mother abandons her.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878264 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM.png\" alt=\"\" width=\"304\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM.png 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-07-at-1.17.25-PM-160x244.png 160w\" sizes=\"(max-width: 304px) 100vw, 304px\">\u003c/p>\n\u003cp>Bieker understands that, at a time when readers are facing real world fears about coronavirus, it might feel like an odd moment to immerse oneself in a fictional world of drought, chaos and childhood trauma. But Bieker believes this difficult time of quiet and isolation is an invitation to look at ourselves in new ways.\u003c/p>\n\u003cp>“I believe that fiction asks us to turn toward the difficult parts in our own lives and our own selves to try to find some sort of grace …” she says. “Art can help me ask the difficult questions of myself and then try to answer them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, there’s time to watch Netflix—we all have to find the balance that’s right for us. But “leaning in to some of the things that might be coming up during this time can be valuable, too,” Bieker says.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the challenges she faced growing up\u003c/strong>\u003c/p>\n\u003cp>I was raised by two alcoholic parents and all of the trauma and stress that comes with that. But mainly when I was 9, my mother left and she didn’t come back. And so I was dealing with this grief of this really confusing loss. Because she didn’t die—it wasn’t like I could really have any closure with that grief. But she had just left and she was existing somewhere else. So around 9, I was kind of forced to reckon with this loss that I didn’t know how to categorize at the time. Now I know to call it grief and I have a language for it. But when I was a child, I wanted to find books that reflected that in some way.\u003c/p>\n\u003cp>\u003cstrong>On why she decided the characters in the book would belong to a cult\u003c/strong>\u003c/p>\n\u003cp>I wanted those characters to have to grapple with the devastation of the land in a very deep way. And the way these people are handling it is through spiritual outlets. They’re not looking to science. They’re not looking to facts to explain what’s happening around them. But they have this leader who’s promising that if they behave a certain way, if they do certain things, they are in control, somehow. They will please God and restore the land. So while on one hand, these characters are really ignoring climate change, and facts, and politics—they’re not in that space at all. [But] they’re also taking this really intense responsibility in their own way—however misguided. And they’re trying to make things right. …\u003c/p>\n\u003cp>People want to feel like they’re on the right track—that they’re doing something meaningful in their lives. … The promise of a future paradise is very alluring. And that’s definitely what the characters in this book are being drawn to.\u003c/p>\n\u003cp>\u003cstrong>On the women who live on the outskirts of town and operate a phone sex line—and why they are a lifeline for Lacey May\u003c/strong>\u003c/p>\n\u003cp>It’s her way out. It’s a window into another way of living. And it’s also a place that she learns about her body for the first time in a really practical way. These are women who are connected to their bodies. They are empowered in their bodies in different ways. And she’s seeing that really for the first time. She’s coming from a place of absolutely no sex education and being forced to kind of self-educate. And these women provide this other kind of door to this other way of thinking.\u003c/p>\n\u003cp>\u003cstrong>On Lacey May seeking out other mother-daughter relationships\u003c/strong>\u003c/p>\n\u003cp>I think Lacey May realizes after her mother leaves that she’s going to have to go on sort of a search for another sort of mothering. And she does find that through these sort of unlikely friendships with these other women throughout the book. And I think in turn, she’s able to understand her own mother in a different way through their lens—which is important because she begins to see her mother not only as her mother, who has failed her in many ways, but as a person who’s fallible and someone that there may be hope for, compassion for one day.\u003c/p>\n\u003cp>\u003cstrong>On whether that mirrors her own experience\u003c/strong>\u003c/p>\n\u003cp>My love for my mother never wavered through any of it. … When I look back over my experience—and the experience certainly isn’t over, it’s something I continue to process today, especially as a mother to my own children—but the love for my mother that I’ve had has grown and evolved in its own way and it’s really never left.\u003c/p>\n\u003cp>So I wanted the book to … characterize that. That despite all odds, there is still a remaining connection and love between this mother and daughter and the hope for it to restore in a traditional sense—where the mother comes back and life resumes happy as ever, that’s never going to happen—but there can be a hope toward another kind of experience.\u003c/p>\n\u003cp>\u003cstrong>On her current relationship with her mother\u003c/strong>\u003c/p>\n\u003cp>I do have a relationship with my mother. We never really stopped having one. … I’ve actually noticed since I had my own children six years ago, my mother and I are able to connect in a different way and I really enjoy our time talking when we’re able to have it. … I’ve been able to see the beauty in a really non-conventional connection and take what we can get, you know?\u003c/p>\n\u003cp>\u003cstrong>On what her novel says about blind obedience to charismatic leaders\u003c/strong>\u003c/p>\n\u003cp>I think part of what \u003cem>Godshot \u003c/em>is doing is that it’s prompting us to ask questions and not to accept a package solution that seems to be rooted in this big group think. I think that’s dangerous. And I think the characters in the book slowly realize that. And they do begin to question, they do begin to access their own curiosity, and find their own answers. And I think that’s important for all of us to do—to be critical thinkers and to not listen to just one voice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Aubri Juhasz and Jolie Myers produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Godshot%27+Author+Explains+How+Fiction+Helps+Us+Face+Real-World+Adversity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Need An Escape? Try 'Unorthodox,' 'Baghdad Central' and 'Abigail'",
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"content": "\u003cp>The Russian poet Joseph Brodsky once said that prison is a lack of space counterbalanced by a surplus of time. Our current lockdown can’t be compared to being locked up, but with so much surplus time on our hands, many of us are eager for stories that will help us escape endless thoughts of COVID-19. Here are three that did that for me:\u003c/p>\n\u003ch3>Unorthodox\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=-zVhRId0BTw\u003c/p>\n\u003cp>This desire for escape underlies the appeal of \u003ca href=\"https://www.netflix.com/title/81019069\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unorthodox\u003c/em>,\u003c/a> the four-part Netflix series that has viewers whooshing through it in a single night. Loosely based on \u003ca href=\"https://www.npr.org/books/titles/822572039/unorthodox-the-scandalous-rejection-of-my-hasidic-roots\" target=\"_blank\" rel=\"noopener noreferrer\">a memoir\u003c/a> by Deborah Feldman, it stars Israeli actor Shira Haas as 19-year-old Esther “Esty” Shapiro, a woman who flees her marriage and her tight Hasidic community in Williamsburg, Brooklyn. Esty jets off to Berlin, where a group of music students take her under their wing. Meanwhile, she’s pursued by her husband, Yanky (Amit Rahav), and his cousin Moishe (Jeff Wilbusch), who’s something of a thug.\u003c/p>\n\u003cp>\u003cem>Unorthodox\u003c/em> is an uncommonly seductive show because, for both good and ill, it feels like pure Hollywood. On the bad side, it ignores or fudges every hard question about Esty’s motivations or religious practice; and its swooning portrait of attractive, multicultural Berlin—director Maria Schrader is German—could have been commissioned by that city’s tourist board. Yet, like a good Hollywood movie, \u003cem>Unorthodox\u003c/em> moves along so briskly, boasts such terrific acting and offers enough surprises that you sink easily into its upbeat tale of a woman who escapes into a glorious new future.\u003c/p>\n\u003ch3>Baghdad Central\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=JxQXiIjYiwo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The future has come—and failed—in \u003ca href=\"https://www.hulu.com/series/baghdad-central-9466962d-4af2-47a5-bc18-ed1ae38aac49\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Baghdad Central\u003c/em>, \u003c/a>a gripping new noir series on Hulu. Set shortly after the 2003 invasion of Iraq, it centers on Muhsin al-Khafaji (Waleed Zuaiter) a former Baghdad police inspector whose world has collapsed: His rebellious daughter, Sawsan, has gone missing, his sweet daughter, Mrouj, desperately needs dialysis—and he has no job.\u003c/p>\n\u003cp>Then a Brit named Frank Temple, played by amusing Bertie Carvel, offers Khafaji’s daughter medical care if he’ll work as a cop for Occupation forces. Khafaji soon finds himself threatened on three fronts—by the slippery Temple, by an arrogant American military honcho, well-played by Corey Stoll, and by his fellow Iraqis, who despise him for collaborating.\u003c/p>\n\u003cp>Based \u003ca href=\"https://www.npr.org/books/titles/828232367/baghdad-central\" target=\"_blank\" rel=\"noopener noreferrer\">a novel by Elliott Colla,\u003c/a> \u003cem>Baghdad Central\u003c/em> takes a well-worn scenario—an honorable cop caught in deadly circumstances—and uses it to show us something new. Uprooting stereotypes, it explores how the Occupation was experienced by its supposed beneficiaries. As Khafaji travels around Baghdad, the series depicts things we haven’t seen: The way daily life became nearly impossible in occupied Iraq, the reason some Iraqis collaborated while others did not, and how the Coalition bungled things so badly that Iraqis thought of Americans as fools and incompetents, not liberators. For his part, Khafaji has a clear plan: Find his vanished daughter, get the other one healthy, and leave the country.\u003c/p>\n\u003ch3>Abigail\u003c/h3>\n\u003cp>Leaving is also the dream of Gina Vitay, the spoiled 15-year-old heroine of \u003cem>Abigail\u003c/em>, a 50-year-old Hungarian novel by the late Magda Szabó, best known for her staggeringly great 1987 novel \u003ca href=\"https://www.npr.org/books/titles/828260449/the-door\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Door\u003c/em>\u003c/a>. The scene is World War II Hungary, and Gina is a general’s daughter, who’s abruptly shunted from her family’s elegant Budapest home to strict religious girls’ school in the provinces.\u003c/p>\n\u003cp>Entitled and arrogant—she’s been compared to Jane Austen’s Emma Woodhouse—Gina feels like a prisoner. She instantly runs afoul of her fellow students, suffers the disapproval of the gorgeous but strict Sister Susanna and plots her escape back to her adored father.\u003c/p>\n\u003cp>It sounds dreary, I know. Yet in Len Rix’s superb translation, \u003cem>Abigail\u003c/em> is a delightful page-turner. There’s an air of enchantment about the school—the book takes its title from a statue that supposedly grants the students’ wishes—and Gina begins to have adventures—some quite funny, others that bring tears to your eyes.\u003c/p>\n\u003cp>\u003cem>Abigail\u003c/em> is beloved in Hungary—where it even became a musical—and it’s easy to see why. Like \u003cem>Huckleberry Finn\u003c/em>, it tells the story of a frivolous young person who gains moral awareness by encountering painful truths. During her months of confinement in the school, Gina learns the fallibility of her own judgment, the worthiness of other people and the existence of a historical world outside the bubble she’s been living in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With luck, my own months of confinement will make me a bit wiser, too.\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=Need+An+Escape%3F+Try+%27Unorthodox%2C%27+%27Baghdad+Central%27+And+%27Abigail%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Russian poet Joseph Brodsky once said that prison is a lack of space counterbalanced by a surplus of time. Our current lockdown can’t be compared to being locked up, but with so much surplus time on our hands, many of us are eager for stories that will help us escape endless thoughts of COVID-19. Here are three that did that for me:\u003c/p>\n\u003ch3>Unorthodox\u003c/h3>\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/-zVhRId0BTw'\n title='//www.youtube.com/embed/-zVhRId0BTw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This desire for escape underlies the appeal of \u003ca href=\"https://www.netflix.com/title/81019069\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unorthodox\u003c/em>,\u003c/a> the four-part Netflix series that has viewers whooshing through it in a single night. Loosely based on \u003ca href=\"https://www.npr.org/books/titles/822572039/unorthodox-the-scandalous-rejection-of-my-hasidic-roots\" target=\"_blank\" rel=\"noopener noreferrer\">a memoir\u003c/a> by Deborah Feldman, it stars Israeli actor Shira Haas as 19-year-old Esther “Esty” Shapiro, a woman who flees her marriage and her tight Hasidic community in Williamsburg, Brooklyn. Esty jets off to Berlin, where a group of music students take her under their wing. Meanwhile, she’s pursued by her husband, Yanky (Amit Rahav), and his cousin Moishe (Jeff Wilbusch), who’s something of a thug.\u003c/p>\n\u003cp>\u003cem>Unorthodox\u003c/em> is an uncommonly seductive show because, for both good and ill, it feels like pure Hollywood. On the bad side, it ignores or fudges every hard question about Esty’s motivations or religious practice; and its swooning portrait of attractive, multicultural Berlin—director Maria Schrader is German—could have been commissioned by that city’s tourist board. Yet, like a good Hollywood movie, \u003cem>Unorthodox\u003c/em> moves along so briskly, boasts such terrific acting and offers enough surprises that you sink easily into its upbeat tale of a woman who escapes into a glorious new future.\u003c/p>\n\u003ch3>Baghdad Central\u003c/h3>\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/JxQXiIjYiwo'\n title='//www.youtube.com/embed/JxQXiIjYiwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The future has come—and failed—in \u003ca href=\"https://www.hulu.com/series/baghdad-central-9466962d-4af2-47a5-bc18-ed1ae38aac49\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Baghdad Central\u003c/em>, \u003c/a>a gripping new noir series on Hulu. Set shortly after the 2003 invasion of Iraq, it centers on Muhsin al-Khafaji (Waleed Zuaiter) a former Baghdad police inspector whose world has collapsed: His rebellious daughter, Sawsan, has gone missing, his sweet daughter, Mrouj, desperately needs dialysis—and he has no job.\u003c/p>\n\u003cp>Then a Brit named Frank Temple, played by amusing Bertie Carvel, offers Khafaji’s daughter medical care if he’ll work as a cop for Occupation forces. Khafaji soon finds himself threatened on three fronts—by the slippery Temple, by an arrogant American military honcho, well-played by Corey Stoll, and by his fellow Iraqis, who despise him for collaborating.\u003c/p>\n\u003cp>Based \u003ca href=\"https://www.npr.org/books/titles/828232367/baghdad-central\" target=\"_blank\" rel=\"noopener noreferrer\">a novel by Elliott Colla,\u003c/a> \u003cem>Baghdad Central\u003c/em> takes a well-worn scenario—an honorable cop caught in deadly circumstances—and uses it to show us something new. Uprooting stereotypes, it explores how the Occupation was experienced by its supposed beneficiaries. As Khafaji travels around Baghdad, the series depicts things we haven’t seen: The way daily life became nearly impossible in occupied Iraq, the reason some Iraqis collaborated while others did not, and how the Coalition bungled things so badly that Iraqis thought of Americans as fools and incompetents, not liberators. For his part, Khafaji has a clear plan: Find his vanished daughter, get the other one healthy, and leave the country.\u003c/p>\n\u003ch3>Abigail\u003c/h3>\n\u003cp>Leaving is also the dream of Gina Vitay, the spoiled 15-year-old heroine of \u003cem>Abigail\u003c/em>, a 50-year-old Hungarian novel by the late Magda Szabó, best known for her staggeringly great 1987 novel \u003ca href=\"https://www.npr.org/books/titles/828260449/the-door\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Door\u003c/em>\u003c/a>. The scene is World War II Hungary, and Gina is a general’s daughter, who’s abruptly shunted from her family’s elegant Budapest home to strict religious girls’ school in the provinces.\u003c/p>\n\u003cp>Entitled and arrogant—she’s been compared to Jane Austen’s Emma Woodhouse—Gina feels like a prisoner. She instantly runs afoul of her fellow students, suffers the disapproval of the gorgeous but strict Sister Susanna and plots her escape back to her adored father.\u003c/p>\n\u003cp>It sounds dreary, I know. Yet in Len Rix’s superb translation, \u003cem>Abigail\u003c/em> is a delightful page-turner. There’s an air of enchantment about the school—the book takes its title from a statue that supposedly grants the students’ wishes—and Gina begins to have adventures—some quite funny, others that bring tears to your eyes.\u003c/p>\n\u003cp>\u003cem>Abigail\u003c/em> is beloved in Hungary—where it even became a musical—and it’s easy to see why. Like \u003cem>Huckleberry Finn\u003c/em>, it tells the story of a frivolous young person who gains moral awareness by encountering painful truths. During her months of confinement in the school, Gina learns the fallibility of her own judgment, the worthiness of other people and the existence of a historical world outside the bubble she’s been living in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With luck, my own months of confinement will make me a bit wiser, too.\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=Need+An+Escape%3F+Try+%27Unorthodox%2C%27+%27Baghdad+Central%27+And+%27Abigail%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Short Attention Span Theater: A Quick Look at Quibi's Launch Titles",
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"content": "\u003cp>The streaming service Quibi—short for “quick bites”—calls itself “the first entertainment platform designed specifically for your phone.”\u003c/p>\n\u003cp>Translation: They’re doling out their shows in 7-to-10-minute chunks—er, episodes—at a rate of one per day. Quick bites, get it? Perfect for the busy, distracted, on-the-go consumer! Too bad none of us are on-the-going anywhere these days.\u003c/p>\n\u003cp>Quibi divides its shows into three categories: Movies in Chapters (read: serialized narrative), Unscripted and Documentaries (read: episodic nonfiction) and Daily Essentials.\u003c/p>\n\u003cp>None of the “Daily Essentials” were available to screen before launch, but these will evidently focus on being topical—the latest in news, entertainment, fashion, etc. (Were we betting types, we’d say that Quibi’s version of the podcast \u003cem>The Nod \u003c/em>would be worth checking out.)\u003c/p>\n\u003cp>Quibi launches with 50 shows, and there’s evidently 125 more on the way. After a free trial period, It’ll cost you 4.99 a month with ads, and 7.99 a month without. This opening batch of shows is a decidedly mixed bag, but then, how could it not be?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are our picks from the shows that were screened for press.\u003c/p>\n\u003cp>\u003cstrong>Glen’s Picks\u003c/strong>\u003c/p>\n\u003cp>I checked out the four Movies in Chapters that Quibi launched with, and while I can’t Quibible (heh) with their production quality, I didn’t love the experience of following a story in such a herky-jerky fashion. The issue, for me, was that the episodes didn’t feel like satisfying, self-contained chapters—it just felt like I was watching a movie and kept getting interrupted. Also, pacing becomes a looming concern—in the show \u003cem>Survive\u003c/em>, for example, the premise doesn’t kick in until episode 4.\u003c/p>\n\u003cp>Of the four Movies in Chapters that Quibi launched with, I was most partial to \u003cem>Flipped\u003c/em>, in which Will Forte and Kaitlin Olson play a couple of self-deluded jerks determined to become home-improvement television stars. It won’t be to everyone’s taste—Forte and Olson’s characters are terrible people, and the show relishes demonstrating that—but I liked it well enough. (Arturo Castro shows up at the end of Episode 3, which bodes well.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fWrd4mhGhwg\u003c/p>\n\u003cp>But for me, the shows that I most wanted to see more of fell into the Unscripted/Documentary category. Here they are.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Memory Hole\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Host Will Arnett makes fun of cheesy ’80s pop culture ephemera. That’s it, that’s the show, and it’s great. From the Super Bowl Shuffle and its unholy offspring to the fiasco that was the opening celebration for Toronto’s SkyDome, to \u003cem>Gymkata\u003c/em>, smart writing and Arnett’s gravel-voiced delivery … deliver.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gayme Show\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Two straight men compete to be crowned “Honorarily Gay as F***” by a panel of queer and queer-adjacent judges. It shouldn’t work—so why does it? Casting. Crucially, the contestants, judges and hosts all come from the New York/LA comedy scenes—the chemistry is friendly and funny, and the tone is spot on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_NI1XOJESRQ\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dishmantled\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Two blindfolded chefs don bodysuits and get blasted in the face—seriously, there are cannons involved—with a mystery entree, which they must then taste, guess and re-create in 30 minutes, while Tituss Burgess yells at them. It’s just as dumb as it sounds, but it knows that, so it’s … a lot of fun?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Sauce\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Hosts Ayo and Teo travel from city to city pitting two dance crews against each other. Teams are given a song, three dance moves to execute and 30 minutes to choreograph. The dancing is impressive, but the show goes out of the way to unpack the technical skills on display.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4TCUJZoaQI4\u003c/p>\n\u003cp>\u003cem>\u003cstrong>NightGowns with Sasha Velour \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Profiles one of the thinkiest, artiest queens out there as she puts together a drag revue featuring a diverse roster of divas and … divos? Drag fans and process nerds, unite!\u003c/p>\n\u003cp>\u003cstrong>Linda’s Picks\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Note: I should say first that Glen’s tour of Quibi was more thorough than mine. While he’s watched everything they sent to press, I’ve dipped in and out a little more. But I did find some things I think are worth checking out. And, like Glen, I gravitated toward the documentary/reality stuff more than the narrative stuff. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Chrissy’s Court\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>If you like your stakes low and your production values shaggy—in the fun way—you might get a kick out of Chrissy Teigen hosting her own courtroom show. With her mom as bailiff, she judges disputes that are goofy rather than ugly.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ojVPXD09x4U\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Shape Of Pasta\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The tone has a self-seriousness that makes it seem at first like it might be parody, which is an issue for a couple of Quibi shows. But this is actually a very earnest food show about … well, lesser-known shapes of pasta, which chef Evan Funke travels to Italy to discover.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>&Music\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This series looks at fields that exist alongside music performance. The first episode, for instance, deals with how elaborate light shows are designed for live performances. If you’re the kind of person who goes for “interesting job” stories, it might be up your alley.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Prodigy\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Soccer superstar Megan Rapinoe is the host of \u003cem>Prodigy\u003c/em>, which spotlights young athletes who might be the next big thing—like Jalen Green, the No. 1 high school basketball player in the country. It’s an effort to do in-depth sports profiles one step before they usually happen, and to identify what it looks like as someone transitions from an ordinary good athlete to potentially A Big Deal.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UG5St5asH8o\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Most Dangerous Game\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I don’t think it would be fair to share impressions of this, my one narrative mention, without disclosing that the screener had, over a show intended to be watched on a phone/tablet, three different watermarks (stuff they splatter over the screen so you can’t upload it to piracy sites), plus a running clock up in the corner. It’s almost impossible to judge how immersive this Liam Hemsworth/Christoph Waltz series might be if not for that fact, but I will give a shot to just about anything Waltz is in, including this story in which he plays a rich weirdo who pays Hemsworth to go forth and be hunted for sport.\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=Short+Attention+Span+Theater%3A+A+Quick+Look+At+Quibi%27s+Launch+Titles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The streaming service Quibi—short for “quick bites”—calls itself “the first entertainment platform designed specifically for your phone.”\u003c/p>\n\u003cp>Translation: They’re doling out their shows in 7-to-10-minute chunks—er, episodes—at a rate of one per day. Quick bites, get it? Perfect for the busy, distracted, on-the-go consumer! Too bad none of us are on-the-going anywhere these days.\u003c/p>\n\u003cp>Quibi divides its shows into three categories: Movies in Chapters (read: serialized narrative), Unscripted and Documentaries (read: episodic nonfiction) and Daily Essentials.\u003c/p>\n\u003cp>None of the “Daily Essentials” were available to screen before launch, but these will evidently focus on being topical—the latest in news, entertainment, fashion, etc. (Were we betting types, we’d say that Quibi’s version of the podcast \u003cem>The Nod \u003c/em>would be worth checking out.)\u003c/p>\n\u003cp>Quibi launches with 50 shows, and there’s evidently 125 more on the way. After a free trial period, It’ll cost you 4.99 a month with ads, and 7.99 a month without. This opening batch of shows is a decidedly mixed bag, but then, how could it not be?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are our picks from the shows that were screened for press.\u003c/p>\n\u003cp>\u003cstrong>Glen’s Picks\u003c/strong>\u003c/p>\n\u003cp>I checked out the four Movies in Chapters that Quibi launched with, and while I can’t Quibible (heh) with their production quality, I didn’t love the experience of following a story in such a herky-jerky fashion. The issue, for me, was that the episodes didn’t feel like satisfying, self-contained chapters—it just felt like I was watching a movie and kept getting interrupted. Also, pacing becomes a looming concern—in the show \u003cem>Survive\u003c/em>, for example, the premise doesn’t kick in until episode 4.\u003c/p>\n\u003cp>Of the four Movies in Chapters that Quibi launched with, I was most partial to \u003cem>Flipped\u003c/em>, in which Will Forte and Kaitlin Olson play a couple of self-deluded jerks determined to become home-improvement television stars. It won’t be to everyone’s taste—Forte and Olson’s characters are terrible people, and the show relishes demonstrating that—but I liked it well enough. (Arturo Castro shows up at the end of Episode 3, which bodes well.)\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/fWrd4mhGhwg'\n title='//www.youtube.com/embed/fWrd4mhGhwg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But for me, the shows that I most wanted to see more of fell into the Unscripted/Documentary category. Here they are.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Memory Hole\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Host Will Arnett makes fun of cheesy ’80s pop culture ephemera. That’s it, that’s the show, and it’s great. From the Super Bowl Shuffle and its unholy offspring to the fiasco that was the opening celebration for Toronto’s SkyDome, to \u003cem>Gymkata\u003c/em>, smart writing and Arnett’s gravel-voiced delivery … deliver.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gayme Show\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Two straight men compete to be crowned “Honorarily Gay as F***” by a panel of queer and queer-adjacent judges. It shouldn’t work—so why does it? Casting. Crucially, the contestants, judges and hosts all come from the New York/LA comedy scenes—the chemistry is friendly and funny, and the tone is spot on.\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/_NI1XOJESRQ'\n title='//www.youtube.com/embed/_NI1XOJESRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>Dishmantled\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Two blindfolded chefs don bodysuits and get blasted in the face—seriously, there are cannons involved—with a mystery entree, which they must then taste, guess and re-create in 30 minutes, while Tituss Burgess yells at them. It’s just as dumb as it sounds, but it knows that, so it’s … a lot of fun?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Sauce\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Hosts Ayo and Teo travel from city to city pitting two dance crews against each other. Teams are given a song, three dance moves to execute and 30 minutes to choreograph. The dancing is impressive, but the show goes out of the way to unpack the technical skills on display.\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/4TCUJZoaQI4'\n title='//www.youtube.com/embed/4TCUJZoaQI4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>NightGowns with Sasha Velour \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Profiles one of the thinkiest, artiest queens out there as she puts together a drag revue featuring a diverse roster of divas and … divos? Drag fans and process nerds, unite!\u003c/p>\n\u003cp>\u003cstrong>Linda’s Picks\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Note: I should say first that Glen’s tour of Quibi was more thorough than mine. While he’s watched everything they sent to press, I’ve dipped in and out a little more. But I did find some things I think are worth checking out. And, like Glen, I gravitated toward the documentary/reality stuff more than the narrative stuff. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Chrissy’s Court\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>If you like your stakes low and your production values shaggy—in the fun way—you might get a kick out of Chrissy Teigen hosting her own courtroom show. With her mom as bailiff, she judges disputes that are goofy rather than ugly.\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/ojVPXD09x4U'\n title='//www.youtube.com/embed/ojVPXD09x4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>The Shape Of Pasta\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>The tone has a self-seriousness that makes it seem at first like it might be parody, which is an issue for a couple of Quibi shows. But this is actually a very earnest food show about … well, lesser-known shapes of pasta, which chef Evan Funke travels to Italy to discover.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>&Music\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This series looks at fields that exist alongside music performance. The first episode, for instance, deals with how elaborate light shows are designed for live performances. If you’re the kind of person who goes for “interesting job” stories, it might be up your alley.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Prodigy\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Soccer superstar Megan Rapinoe is the host of \u003cem>Prodigy\u003c/em>, which spotlights young athletes who might be the next big thing—like Jalen Green, the No. 1 high school basketball player in the country. It’s an effort to do in-depth sports profiles one step before they usually happen, and to identify what it looks like as someone transitions from an ordinary good athlete to potentially A Big Deal.\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/UG5St5asH8o'\n title='//www.youtube.com/embed/UG5St5asH8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>The Most Dangerous Game\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t think it would be fair to share impressions of this, my one narrative mention, without disclosing that the screener had, over a show intended to be watched on a phone/tablet, three different watermarks (stuff they splatter over the screen so you can’t upload it to piracy sites), plus a running clock up in the corner. It’s almost impossible to judge how immersive this Liam Hemsworth/Christoph Waltz series might be if not for that fact, but I will give a shot to just about anything Waltz is in, including this story in which he plays a rich weirdo who pays Hemsworth to go forth and be hunted for sport.\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=Short+Attention+Span+Theater%3A+A+Quick+Look+At+Quibi%27s+Launch+Titles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Now more than ever we are looking for ways to feel less alone—and poetry can be one way to bring people together.\u003c/p>\n\u003cp>Last month NPR asked listeners to respond to art with a poem—\u003ca href=\"https://www.npr.org/2020/03/11/812181303/poetry-challenge-paint-a-picture-with-words\" target=\"_blank\" rel=\"noopener noreferrer\">a style of poetry called ekphrastic.\u003c/a> For inspiration, Kwame Alexander, NPR’s poet in residence, selected two paintings: Kadir Nelson’s \u003cem>Heatwave\u003c/em> and Salvador Dali’s \u003cem>Young Woman at a Window\u003c/em>. Both show women inside looking longingly out into the world.\u003c/p>\n\u003cp>The paintings struck a chord with those experiencing the global coronavirus pandemic quarantined inside. We received more than 1,300 submissions.\u003c/p>\n\u003cp>Alexander took lines and excerpts from some of the submissions and created a crowdsourced, community poem of hope. Contributors are credited at the bottom.\u003c/p>\n\u003cp>\u003cstrong>Social Distance\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Summer bears down on the city\u003cbr>\nlike granny’s old quilt\u003c/p>\n\u003cp>Her potted plant swoons on the ledge out of breath.\u003cbr>\nEyes closed,\u003cbr>\nattuned to a second skin of sweat,\u003cbr>\nshe stretches neck and torso,\u003cbr>\nsearching for a cool note rising\u003cbr>\nfrom the street below.\u003c/p>\n\u003cp>The Fantastical Queen\u003cbr>\nHer Crown of wrapped locks\u003cbr>\nThe jewels in her melanin Sparkle\u003cbr>\nher body slick in Brooklyn’s summer\u003cbr>\noiled mahogany\u003c/p>\n\u003cp>From her window she holds court\u003cbr>\nShe reigns where dogs interact with rainbows\u003cbr>\nFor her, plants bow their head down low.\u003cbr>\nHottest Thang In Town\u003cbr>\nStuck inside all day.\u003c/p>\n\u003cp>She opens all the windows,\u003cbr>\nher imagination of freedom\u003cbr>\nsomething to hold onto.\u003c/p>\n\u003cp>Only half there\u003cbr>\nher mind is far off\u003cbr>\nAcross the world.\u003c/p>\n\u003cp>kayaking quietly\u003cbr>\ngazing at glaciers\u003cbr>\nwatching waves dance\u003cbr>\na boat out to sea\u003c/p>\n\u003cp>The sea breeze blowing\u003cbr>\nagainst her loneliness\u003cbr>\nPerched up in the hills\u003cbr>\nOverlooking a world of fraud\u003cbr>\nSoul ready to sail away\u003c/p>\n\u003cp>You see, smart women bend\u003cbr>\nlike stems grabbing at the light\u003cbr>\nmuscles coat limbs\u003cbr>\nas eyelids stalk the horizon\u003cbr>\nto calculate what comes next\u003cbr>\ndrought or a wall of water\u003cbr>\nhigh cheekbones not afraid to climb out\u003cbr>\nor crawl up.\u003c/p>\n\u003cp>It is the same horizon no matter the color.\u003cbr>\nThe same sun.\u003c/p>\n\u003cp>Guess that’s how Rapunzel felt\u003cbr>\nStaring freedom in its face\u003cbr>\nTerrified of the unknown\u003cbr>\nBut wanting to escape\u003cbr>\nQuarantined by society\u003cbr>\nRestricted by these walls.\u003c/p>\n\u003cp>Shouting streets stilled\u003cbr>\npeople’s voices wilted like plants.\u003cbr>\nno dinner with friends.\u003c/p>\n\u003cp>The sea is forever capricious\u003cbr>\nA mercurial creature with fickle temperament\u003cbr>\nThe gentle blue of harbor water hides\u003cbr>\nits ferocity Like a wolf in sheepskin\u003c/p>\n\u003cp>But, she will not wilt.\u003c/p>\n\u003cp>Sometimes as day descends\u003cbr>\nThe dog can have the fabricated ice,\u003cbr>\nthe artificial colors.\u003cbr>\nShe takes the water cool and clear,\u003cbr>\nand The city’s façade can’t hold her,\u003cbr>\nfrom sailing away on the tide of night.\u003c/p>\n\u003cp>She sees herself\u003cbr>\nin the sky.\u003cbr>\nin the muddied turquoise of the curtain\u003cbr>\nIn the warm turquoise of the window frame\u003cbr>\nin the gentle peace that shall not last.\u003c/p>\n\u003cp>She is not thinking about the next time\u003cbr>\nthey will see each other\u003cbr>\nShe is not thinking about the last time\u003cbr>\nthey saw each other\u003cbr>\nShe is not thinking about the empty grocery shelves\u003cbr>\nShe is not thinking about the furrowed frowning eyebrows\u003cbr>\nShe is not thinking about the word quarantine\u003cbr>\nand why it sounds so social\u003cbr>\nShe is not thinking about the way her lungs\u003cbr>\nhold onto air like making love to molecules\u003cbr>\nShe is not thinking about the grandmother\u003cbr>\nand grandfather in Apt 2c\u003cbr>\nShe is not thinking about whether clouds are aware\u003cbr>\nof their silly shapes and feel self-conscious\u003cbr>\nShe is not thinking about whether the butter will last\u003c/p>\n\u003cp>At the window, she considers that\u003cbr>\nShe is not who she was,\u003cbr>\nand she is not who she will be.\u003cbr>\nShe is transforming.\u003cbr>\nShe will be strong and resilient.\u003cbr>\nShe will be honest with herself and those she loves.\u003cbr>\nShe will have stories to tell And when she does\u003cbr>\nThey will no longer shake her voice.\u003c/p>\n\u003cp>From here, she will see the anxiety, the worry,\u003cbr>\npaint over its bold permanence, like oil and acrylic on canvas.\u003cbr>\nFrom here, She HOPES, offering it to neighbors from a safe distance.\u003cbr>\nFrom here, she SINGS, transcending the dark somber strain\u003cbr>\nFrom here, She BELIEVES, we will get through this\u003cbr>\nFrom here, today will be good, and tomorrow will be better.\u003c/p>\n\u003chr>\n\u003cp>This community poem was created using submissions by:\u003c/p>\n\u003cp>Becky Boling, Northfield, Minn.\u003c/p>\n\u003cp>Thu Nguyen, Washington, D.C.\u003c/p>\n\u003cp>Tehmina Khan, San Francisco\u003c/p>\n\u003cp>Daniela Larsson, Litchfield, Ct.\u003c/p>\n\u003cp>Myer Schmitz, Champlin, Minn.\u003c/p>\n\u003cp>Katrina Kiss, Oswego, Ill.\u003c/p>\n\u003cp>Lisa Sarasohn, Asheville, N.C.\u003c/p>\n\u003cp>Deborah Meltvedt, Sacramento, Calif.\u003c/p>\n\u003cp>Danielle Evennou, Washington, D.C.\u003c/p>\n\u003cp>Maggie Chism, Mich.\u003c/p>\n\u003cp>Katherine Shafer, Ypsilanti, Mich.\u003c/p>\n\u003cp>Kevin Cheb, Ellicott City, Md.\u003c/p>\n\u003cp>Sheba Montserrat, London\u003c/p>\n\u003cp>Lorian Tompkins, Clinton Township, Mich.\u003c/p>\n\u003cp>Keyan Kaplan, East Setauket, N.Y.\u003c/p>\n\u003cp>Abel Koury, Columbus, Ohio\u003c/p>\n\u003cp>Charles Sharpe, Bainbridge Island, Wash.\u003c/p>\n\u003cp>Josh Lawrence, Portland, Ore.\u003c/p>\n\u003cp>Rachael Vella-Garrido, Buffalo, N.Y.\u003c/p>\n\u003cp>Sarah Teague, Carbondale, Colo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jeevika Verma and Reena Advani produced and edited this story for broadcast. Casey Noenickx adapted it for the Web.\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>.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Summer bears down on the city\u003cbr>\nlike granny’s old quilt\u003c/p>\n\u003cp>Her potted plant swoons on the ledge out of breath.\u003cbr>\nEyes closed,\u003cbr>\nattuned to a second skin of sweat,\u003cbr>\nshe stretches neck and torso,\u003cbr>\nsearching for a cool note rising\u003cbr>\nfrom the street below.\u003c/p>\n\u003cp>The Fantastical Queen\u003cbr>\nHer Crown of wrapped locks\u003cbr>\nThe jewels in her melanin Sparkle\u003cbr>\nher body slick in Brooklyn’s summer\u003cbr>\noiled mahogany\u003c/p>\n\u003cp>From her window she holds court\u003cbr>\nShe reigns where dogs interact with rainbows\u003cbr>\nFor her, plants bow their head down low.\u003cbr>\nHottest Thang In Town\u003cbr>\nStuck inside all day.\u003c/p>\n\u003cp>She opens all the windows,\u003cbr>\nher imagination of freedom\u003cbr>\nsomething to hold onto.\u003c/p>\n\u003cp>Only half there\u003cbr>\nher mind is far off\u003cbr>\nAcross the world.\u003c/p>\n\u003cp>kayaking quietly\u003cbr>\ngazing at glaciers\u003cbr>\nwatching waves dance\u003cbr>\na boat out to sea\u003c/p>\n\u003cp>The sea breeze blowing\u003cbr>\nagainst her loneliness\u003cbr>\nPerched up in the hills\u003cbr>\nOverlooking a world of fraud\u003cbr>\nSoul ready to sail away\u003c/p>\n\u003cp>You see, smart women bend\u003cbr>\nlike stems grabbing at the light\u003cbr>\nmuscles coat limbs\u003cbr>\nas eyelids stalk the horizon\u003cbr>\nto calculate what comes next\u003cbr>\ndrought or a wall of water\u003cbr>\nhigh cheekbones not afraid to climb out\u003cbr>\nor crawl up.\u003c/p>\n\u003cp>It is the same horizon no matter the color.\u003cbr>\nThe same sun.\u003c/p>\n\u003cp>Guess that’s how Rapunzel felt\u003cbr>\nStaring freedom in its face\u003cbr>\nTerrified of the unknown\u003cbr>\nBut wanting to escape\u003cbr>\nQuarantined by society\u003cbr>\nRestricted by these walls.\u003c/p>\n\u003cp>Shouting streets stilled\u003cbr>\npeople’s voices wilted like plants.\u003cbr>\nno dinner with friends.\u003c/p>\n\u003cp>The sea is forever capricious\u003cbr>\nA mercurial creature with fickle temperament\u003cbr>\nThe gentle blue of harbor water hides\u003cbr>\nits ferocity Like a wolf in sheepskin\u003c/p>\n\u003cp>But, she will not wilt.\u003c/p>\n\u003cp>Sometimes as day descends\u003cbr>\nThe dog can have the fabricated ice,\u003cbr>\nthe artificial colors.\u003cbr>\nShe takes the water cool and clear,\u003cbr>\nand The city’s façade can’t hold her,\u003cbr>\nfrom sailing away on the tide of night.\u003c/p>\n\u003cp>She sees herself\u003cbr>\nin the sky.\u003cbr>\nin the muddied turquoise of the curtain\u003cbr>\nIn the warm turquoise of the window frame\u003cbr>\nin the gentle peace that shall not last.\u003c/p>\n\u003cp>She is not thinking about the next time\u003cbr>\nthey will see each other\u003cbr>\nShe is not thinking about the last time\u003cbr>\nthey saw each other\u003cbr>\nShe is not thinking about the empty grocery shelves\u003cbr>\nShe is not thinking about the furrowed frowning eyebrows\u003cbr>\nShe is not thinking about the word quarantine\u003cbr>\nand why it sounds so social\u003cbr>\nShe is not thinking about the way her lungs\u003cbr>\nhold onto air like making love to molecules\u003cbr>\nShe is not thinking about the grandmother\u003cbr>\nand grandfather in Apt 2c\u003cbr>\nShe is not thinking about whether clouds are aware\u003cbr>\nof their silly shapes and feel self-conscious\u003cbr>\nShe is not thinking about whether the butter will last\u003c/p>\n\u003cp>At the window, she considers that\u003cbr>\nShe is not who she was,\u003cbr>\nand she is not who she will be.\u003cbr>\nShe is transforming.\u003cbr>\nShe will be strong and resilient.\u003cbr>\nShe will be honest with herself and those she loves.\u003cbr>\nShe will have stories to tell And when she does\u003cbr>\nThey will no longer shake her voice.\u003c/p>\n\u003cp>From here, she will see the anxiety, the worry,\u003cbr>\npaint over its bold permanence, like oil and acrylic on canvas.\u003cbr>\nFrom here, She HOPES, offering it to neighbors from a safe distance.\u003cbr>\nFrom here, she SINGS, transcending the dark somber strain\u003cbr>\nFrom here, She BELIEVES, we will get through this\u003cbr>\nFrom here, today will be good, and tomorrow will be better.\u003c/p>\n\u003chr>\n\u003cp>This community poem was created using submissions by:\u003c/p>\n\u003cp>Becky Boling, Northfield, Minn.\u003c/p>\n\u003cp>Thu Nguyen, Washington, D.C.\u003c/p>\n\u003cp>Tehmina Khan, San Francisco\u003c/p>\n\u003cp>Daniela Larsson, Litchfield, Ct.\u003c/p>\n\u003cp>Myer Schmitz, Champlin, Minn.\u003c/p>\n\u003cp>Katrina Kiss, Oswego, Ill.\u003c/p>\n\u003cp>Lisa Sarasohn, Asheville, N.C.\u003c/p>\n\u003cp>Deborah Meltvedt, Sacramento, Calif.\u003c/p>\n\u003cp>Danielle Evennou, Washington, D.C.\u003c/p>\n\u003cp>Maggie Chism, Mich.\u003c/p>\n\u003cp>Katherine Shafer, Ypsilanti, Mich.\u003c/p>\n\u003cp>Kevin Cheb, Ellicott City, 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Casey Noenickx adapted it for the Web.\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>.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Professor Alice Kaplan has been scrambling to revise her lectures for the French literature class she teaches at Yale University.\u003c/p>\n\u003cp>On the syllabus, coincidentally, for her online class is \u003ca href=\"https://www.npr.org/books/titles/337135825/the-plague\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plague\u003c/em>,\u003c/a> Albert Camus’ 1947 novel about a plague epidemic that ravages a quarantined city in Algeria.\u003c/p>\n\u003cp>“I never imagined I would be teaching this novel in the midst of an epidemic,” Kaplan says. “I never imagined I’d need to give a trigger warning for teaching Camus’ \u003cem>The Plague\u003c/em>.”\u003c/p>\n\u003cp>Kaplan has students taking her class virtually from Hong Kong and from Wuhan, China, the city that was the early center of the global COVID-19 pandemic. “They’re really feeling this in a way that no other readers have ever felt this novel before,” Kaplan says.\u003c/p>\n\u003cp>She is one of many readers who are revisiting and rethinking literature about mass disease in the context of the coronavirus pandemic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sales of \u003cem>The Plague\u003c/em> have \u003ca href=\"https://www.theguardian.com/books/2020/mar/05/publishers-report-sales-boom-in-novels-about-fictional-epidemics-camus-the-plague-dean-koontz\" target=\"_blank\" rel=\"noopener noreferrer\">skyrocketed\u003c/a> in Europe as people search for \u003ca href=\"https://www.lefigaro.fr/vox/culture/pourquoi-nous-relisons-la-peste-de-camus-20200317\" target=\"_blank\" rel=\"noopener noreferrer\">meaning\u003c/a> in the midst of the outbreak. Coincidentally, Kaplan is writing the preface for a new translation of the novel. She spent December walking the streets of Oran, the Algerian city beset by plague in the book, and she’s just returned from France, where, she says, you can’t pick up \u003ca href=\"https://www.liberation.fr/debats/2020/02/28/l-epidemie-est-politique_1780041\" target=\"_blank\" rel=\"noopener noreferrer\">a newspaper\u003c/a> without seeing a reference to the novel.\u003c/p>\n\u003cp>“People are saying in the French press, what do you absolutely need to read in this time? You need to read \u003cem>The Plague\u003c/em>,” Kaplan says. “Almost as though this novel were a vaccine—not just a novel that can help us think about what we’re experiencing, but something that can help heal us.”\u003c/p>\n\u003cp>Camus used the plague as an \u003ca href=\"https://www.theguardian.com/books/2001/nov/17/albertcamus\" target=\"_blank\" rel=\"noopener noreferrer\">allegory for war\u003c/a>: a reflection on the Nazi occupation of France and the stubborn acts of resistance against it. His character Dr. Rieux explains his tenacious persistence in fighting the plague this way: “There’s no question of heroism in all this. It’s a matter of common decency. … I don’t know what it means for other people. But in my case, I know that it consists in doing my job.”\u003c/p>\n\u003cp>That “common decency” embodied in Dr. Rieux’s struggle against the plague has special resonance now. “We think about this when we see our health care workers today,” Kaplan says. “The love and the solidarity and the dedication through death and loss—that was very meaningful to Camus,” she says. “He was talking about resistance, and about how people can come together in a situation to resist.”\u003c/p>\n\u003cp>Kaplan sees echoes, too, in today’s global uncertainty about just how long the pandemic will last, and how long cities will be locked down. “After the Nazis invaded France, no one knew how long it would last,” she says. “Some people thought they needed to adapt to a whole new world where France would always be part of a German Nazi empire. And then other people thought it would be over in a couple of weeks.”\u003c/p>\n\u003cp>In Camus’ novel, the plague is more than a diabolical external force imposing its will. Camus writes, “Each of us has the plague within him; no one, no one on earth is free from it.”\u003c/p>\n\u003cp>As professor Kaplan sees it, “[Camus is] talking about our shadow. I think he’s talking about our capacity to do harm. He says at some point, ‘There’s more to admire in man than to despise.’ But, you know, it’s a contest.”\u003c/p>\n\u003cp>The final paragraph of the novel warns that the plague bacillus is always lurking, biding its time, waiting for the day, Camus writes, “when, for the bane and the enlightening of men, it would rouse up its rats again and send them forth to die in a happy city.”\u003c/p>\n\u003cp>“It’s a message of vigilance,” Kaplan concludes. “It’s a message against complacency.”\u003c/p>\n\u003cp>Bubonic plague is also the affliction at the center of the novel \u003ca href=\"https://www.npr.org/books/titles/137957691/year-of-wonders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Year of Wonders\u003c/em>\u003c/a> by \u003ca href=\"http://geraldinebrooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Geraldine Brooks\u003c/a>. Set in 1665, it draws on the \u003ca href=\"https://www.bbc.com/news/uk-england-35064071\" target=\"_blank\" rel=\"noopener noreferrer\">true story\u003c/a> of the tiny English village of Eyam (pronounced Eem). Brooks stumbled on the history during a ramble through the English countryside, when she saw a sign pointing to “\u003ca href=\"https://www.independent.co.uk/news/uk/home-news/coronavirus-latest-eyam-bubonic-plague-village-lessons-parallels-a9414306.html\" target=\"_blank\" rel=\"noopener noreferrer\">Plague Village\u003c/a>.”\u003c/p>\n\u003cp>“And that just intrigued me,” Brooks says. “It’s one of our most primal fears as human beings, the idea of this silent stalking killer.”\u003c/p>\n\u003cp>In her novel, Brooks describes the extraordinary action taken by the villagers of Eyam: They decided to voluntarily quarantine their town, keeping the plague inside. By some estimates, two-thirds of the villagers perished. They suffered ghastly deaths.\u003c/p>\n\u003cp>“It was a huge cost to the villagers,” Brooks says, “because a lot of those might have survived if they’d fled early in the outbreak. But on the other hand, that act of self-sacrifice meant that the plague did not spread beyond Eyam into the surrounding communities, and so many thousands, perhaps, of lives were saved.”\u003c/p>\n\u003cp>It’s that momentous moral choice—risking their own lives to protect others—that Brooks finds so provocative.\u003c/p>\n\u003cp>“How did this life and death decision come about?” she wonders. “What was the thing that moved people’s hearts? And then once you’ve made that decision, how do you live with the consequences of it, when day following day you lose another person that you love?”\u003c/p>\n\u003cp>Now, as the COVID-19 pandemic rages, Brooks finds herself asking this question: Who will \u003cem>I\u003c/em> be?\u003c/p>\n\u003cp>“Will I be my best self?” she asks. “Or will I become a selfish monster? Will I be the person pushing my neighbor away to grab the last roll of toilet paper, on a trivial level? I think it’s a challenge for us all.”\u003c/p>\n\u003cp>In her 2019 novel \u003ca href=\"https://www.npr.org/books/titles/686701225/the-dreamers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Dreamers,\u003c/em>\u003c/a> writer \u003ca href=\"http://karenthompsonwalker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Karen Thompson Walker\u003c/a> conjures up a mysterious virus: a deadly, highly-contagious sleeping sickness that descends on a college town in California.\u003c/p>\n\u003cp>Before the town is cordoned off by the military, there is one last wedding, with a bride who’s grown pale and woozy.\u003c/p>\n\u003cp>Walker writes, “Whoever shares her lipstick that day, whoever borrows her eyeliner, whoever kisses her cheek that night or dances too close or clinks her flute of champagne, whoever touches her hand to admire the ring, whoever catches the bouquet at the end of the night—all of them, every one, is exposed. This is how the sickness travels best: through all the same channels as do fondness and friendship and love.”\u003c/p>\n\u003cp>In parallel with today’s pandemic, the characters in Walker’s novel confront a shortage of face masks. There is a panicked run on supermarkets. Waves through a window to loved ones under quarantine. Talk of it all being a hoax. And, just as now, the impossibility of knowing what’s to come.\u003c/p>\n\u003cp>“That’s something that I’m interested in, in general, as a writer,” Walker says. “What it’s like for human beings to live with a kind of radical uncertainty. We never do know what’s going to happen, but there are certain times like the situation in my book or the situation we’re in now where that feeling of uncertainty is right at the forefront.”\u003c/p>\n\u003cp>As for the literature she’s turning to in this uncertain, troubled time, Walker says, it’s not books about disease and dystopia.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She’s been finding solace in the poetry of \u003ca href=\"https://www.poetryfoundation.org/poets/mary-oliver\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Oliver.\u003c/a>\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=%27A+Matter+Of+Common+Decency%27%3A+What+Literature+Can+Teach+Us+About+Epidemics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Professor Alice Kaplan has been scrambling to revise her lectures for the French literature class she teaches at Yale University.\u003c/p>\n\u003cp>On the syllabus, coincidentally, for her online class is \u003ca href=\"https://www.npr.org/books/titles/337135825/the-plague\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plague\u003c/em>,\u003c/a> Albert Camus’ 1947 novel about a plague epidemic that ravages a quarantined city in Algeria.\u003c/p>\n\u003cp>“I never imagined I would be teaching this novel in the midst of an epidemic,” Kaplan says. “I never imagined I’d need to give a trigger warning for teaching Camus’ \u003cem>The Plague\u003c/em>.”\u003c/p>\n\u003cp>Kaplan has students taking her class virtually from Hong Kong and from Wuhan, China, the city that was the early center of the global COVID-19 pandemic. “They’re really feeling this in a way that no other readers have ever felt this novel before,” Kaplan says.\u003c/p>\n\u003cp>She is one of many readers who are revisiting and rethinking literature about mass disease in the context of the coronavirus pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sales of \u003cem>The Plague\u003c/em> have \u003ca href=\"https://www.theguardian.com/books/2020/mar/05/publishers-report-sales-boom-in-novels-about-fictional-epidemics-camus-the-plague-dean-koontz\" target=\"_blank\" rel=\"noopener noreferrer\">skyrocketed\u003c/a> in Europe as people search for \u003ca href=\"https://www.lefigaro.fr/vox/culture/pourquoi-nous-relisons-la-peste-de-camus-20200317\" target=\"_blank\" rel=\"noopener noreferrer\">meaning\u003c/a> in the midst of the outbreak. Coincidentally, Kaplan is writing the preface for a new translation of the novel. She spent December walking the streets of Oran, the Algerian city beset by plague in the book, and she’s just returned from France, where, she says, you can’t pick up \u003ca href=\"https://www.liberation.fr/debats/2020/02/28/l-epidemie-est-politique_1780041\" target=\"_blank\" rel=\"noopener noreferrer\">a newspaper\u003c/a> without seeing a reference to the novel.\u003c/p>\n\u003cp>“People are saying in the French press, what do you absolutely need to read in this time? You need to read \u003cem>The Plague\u003c/em>,” Kaplan says. “Almost as though this novel were a vaccine—not just a novel that can help us think about what we’re experiencing, but something that can help heal us.”\u003c/p>\n\u003cp>Camus used the plague as an \u003ca href=\"https://www.theguardian.com/books/2001/nov/17/albertcamus\" target=\"_blank\" rel=\"noopener noreferrer\">allegory for war\u003c/a>: a reflection on the Nazi occupation of France and the stubborn acts of resistance against it. His character Dr. Rieux explains his tenacious persistence in fighting the plague this way: “There’s no question of heroism in all this. It’s a matter of common decency. … I don’t know what it means for other people. But in my case, I know that it consists in doing my job.”\u003c/p>\n\u003cp>That “common decency” embodied in Dr. Rieux’s struggle against the plague has special resonance now. “We think about this when we see our health care workers today,” Kaplan says. “The love and the solidarity and the dedication through death and loss—that was very meaningful to Camus,” she says. “He was talking about resistance, and about how people can come together in a situation to resist.”\u003c/p>\n\u003cp>Kaplan sees echoes, too, in today’s global uncertainty about just how long the pandemic will last, and how long cities will be locked down. “After the Nazis invaded France, no one knew how long it would last,” she says. “Some people thought they needed to adapt to a whole new world where France would always be part of a German Nazi empire. And then other people thought it would be over in a couple of weeks.”\u003c/p>\n\u003cp>In Camus’ novel, the plague is more than a diabolical external force imposing its will. Camus writes, “Each of us has the plague within him; no one, no one on earth is free from it.”\u003c/p>\n\u003cp>As professor Kaplan sees it, “[Camus is] talking about our shadow. I think he’s talking about our capacity to do harm. He says at some point, ‘There’s more to admire in man than to despise.’ But, you know, it’s a contest.”\u003c/p>\n\u003cp>The final paragraph of the novel warns that the plague bacillus is always lurking, biding its time, waiting for the day, Camus writes, “when, for the bane and the enlightening of men, it would rouse up its rats again and send them forth to die in a happy city.”\u003c/p>\n\u003cp>“It’s a message of vigilance,” Kaplan concludes. “It’s a message against complacency.”\u003c/p>\n\u003cp>Bubonic plague is also the affliction at the center of the novel \u003ca href=\"https://www.npr.org/books/titles/137957691/year-of-wonders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Year of Wonders\u003c/em>\u003c/a> by \u003ca href=\"http://geraldinebrooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Geraldine Brooks\u003c/a>. Set in 1665, it draws on the \u003ca href=\"https://www.bbc.com/news/uk-england-35064071\" target=\"_blank\" rel=\"noopener noreferrer\">true story\u003c/a> of the tiny English village of Eyam (pronounced Eem). Brooks stumbled on the history during a ramble through the English countryside, when she saw a sign pointing to “\u003ca href=\"https://www.independent.co.uk/news/uk/home-news/coronavirus-latest-eyam-bubonic-plague-village-lessons-parallels-a9414306.html\" target=\"_blank\" rel=\"noopener noreferrer\">Plague Village\u003c/a>.”\u003c/p>\n\u003cp>“And that just intrigued me,” Brooks says. “It’s one of our most primal fears as human beings, the idea of this silent stalking killer.”\u003c/p>\n\u003cp>In her novel, Brooks describes the extraordinary action taken by the villagers of Eyam: They decided to voluntarily quarantine their town, keeping the plague inside. By some estimates, two-thirds of the villagers perished. They suffered ghastly deaths.\u003c/p>\n\u003cp>“It was a huge cost to the villagers,” Brooks says, “because a lot of those might have survived if they’d fled early in the outbreak. But on the other hand, that act of self-sacrifice meant that the plague did not spread beyond Eyam into the surrounding communities, and so many thousands, perhaps, of lives were saved.”\u003c/p>\n\u003cp>It’s that momentous moral choice—risking their own lives to protect others—that Brooks finds so provocative.\u003c/p>\n\u003cp>“How did this life and death decision come about?” she wonders. “What was the thing that moved people’s hearts? And then once you’ve made that decision, how do you live with the consequences of it, when day following day you lose another person that you love?”\u003c/p>\n\u003cp>Now, as the COVID-19 pandemic rages, Brooks finds herself asking this question: Who will \u003cem>I\u003c/em> be?\u003c/p>\n\u003cp>“Will I be my best self?” she asks. “Or will I become a selfish monster? Will I be the person pushing my neighbor away to grab the last roll of toilet paper, on a trivial level? I think it’s a challenge for us all.”\u003c/p>\n\u003cp>In her 2019 novel \u003ca href=\"https://www.npr.org/books/titles/686701225/the-dreamers\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Dreamers,\u003c/em>\u003c/a> writer \u003ca href=\"http://karenthompsonwalker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Karen Thompson Walker\u003c/a> conjures up a mysterious virus: a deadly, highly-contagious sleeping sickness that descends on a college town in California.\u003c/p>\n\u003cp>Before the town is cordoned off by the military, there is one last wedding, with a bride who’s grown pale and woozy.\u003c/p>\n\u003cp>Walker writes, “Whoever shares her lipstick that day, whoever borrows her eyeliner, whoever kisses her cheek that night or dances too close or clinks her flute of champagne, whoever touches her hand to admire the ring, whoever catches the bouquet at the end of the night—all of them, every one, is exposed. This is how the sickness travels best: through all the same channels as do fondness and friendship and love.”\u003c/p>\n\u003cp>In parallel with today’s pandemic, the characters in Walker’s novel confront a shortage of face masks. There is a panicked run on supermarkets. Waves through a window to loved ones under quarantine. Talk of it all being a hoax. And, just as now, the impossibility of knowing what’s to come.\u003c/p>\n\u003cp>“That’s something that I’m interested in, in general, as a writer,” Walker says. “What it’s like for human beings to live with a kind of radical uncertainty. We never do know what’s going to happen, but there are certain times like the situation in my book or the situation we’re in now where that feeling of uncertainty is right at the forefront.”\u003c/p>\n\u003cp>As for the literature she’s turning to in this uncertain, troubled time, Walker says, it’s not books about disease and dystopia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She’s been finding solace in the poetry of \u003ca href=\"https://www.poetryfoundation.org/poets/mary-oliver\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Oliver.\u003c/a>\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=%27A+Matter+Of+Common+Decency%27%3A+What+Literature+Can+Teach+Us+About+Epidemics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Ordinary People' Books Can Help in This Extraordinary Time",
"headTitle": "‘Ordinary People’ Books Can Help in This Extraordinary Time | KQED",
"content": "\u003cp>Firstly, let me say this column started out quite differently. You see, I began writing it more than a week ago, and since then life has certainly changed in my house, as I am sure it has in yours. Frankly, things have changed so much, I wasn’t sure I would even get this column written, what with spring break and now school closures (I’m writing it in 10-minute increments, as it is). While my kids’ teachers work feverishly to prepare lessons to send home, I’ve been working on my own home-schooling plan—which, as a former teacher I take very seriously, and as you already-homeschool-parents know, is a heck of a lot of work (especially if you are as regimented and schedule-bound as I am).\u003c/p>\n\u003cp>But I had a revelation as I was working out the science experiments, fractions worksheets, diagramming worksheets (yes, diagramming. No one will ever stop me from loving it). I was still going to write a column about the same books, but for different reasons. You see, Brad Meltzer and Christopher Eliopoulos have two new books, but I’m not writing about them because they are new.\u003c/p>\n\u003cp>I’m writing about them because they are saving the day.\u003c/p>\n\u003cp>Every morning, after our nature walk, and math (let’s get that out of the way early) my kids have structured reading/history time, after which they have to give an oral report. Since they’re at different reading levels, it’s quite a challenge to find books that will engage them all and not require me to fuss at them, “one at a time, please, ONE AT A TIME!”\u003c/p>\n\u003cp>But the \u003cem>Ordinary People Change the World\u003c/em> series fits the bill to a T.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you haven’t seen the Ordinary People books—\u003cem>I am Jane Goodall, I am Jackie Robinson, I am Jim Henson\u003c/em>, et. al., you are really missing out. When I was a kid, I devoured the Value Tales, and the Childhood of Famous Americans books; I mean, I can’t even count how many books I read about Helen Keller and Annie Oakley, not to mention Susan B. Anthony and Clara Barton—hey, would you look at that? All women, who knew? I had considered starting my kids on those, but looking back over them, I was worried they might not be particularly accurate, much less entertaining for kids reared on graphic novels.\u003c/p>\n\u003cp>But Meltzer and Eliopoulos had my back.\u003c/p>\n\u003cp>I knew they wanted kids to admire real people, not reality show or video game stars, or superheroes, people of character, not just fame. They wanted kids to know ordinary people of extraordinary character can change the world.\u003c/p>\n\u003cp>As an ordinary person, that mission speaks to me.\u003c/p>\n\u003cfigure id=\"attachment_13877901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/I-Am-books-800x400.jpg\" alt=\"Moments from the 'I Am Amelia Earhart' and 'I Am Jim Henson' books.\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/I-Am-books-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/I-Am-books-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/I-Am-books-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/I-Am-books-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/I-Am-books.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moments from the ‘I Am Amelia Earhart’ and ‘I Am Jim Henson’ books.\u003c/figcaption>\u003c/figure>\n\u003cp>When I was able to speak to Meltzer, he explained that he wanted a surefire winner for his first subject, a hero his kids couldn’t help but get excited about, someone guaranteed to be a real inspiration from the word “go.” He thought of his adventurous daughter, and settled upon Amelia Earhart. I mean, why not? How could the first woman to fly solo across the Atlantic Ocean be anything but a hit, right?\u003c/p>\n\u003cp>It wasn’t quite that simple.\u003c/p>\n\u003cp>Evidently, for modern kids, a woman flying across the ocean was not enough to elicit more than “oh, that’s cool.” So Meltzer dug deeper, determined to find the hook. It turns out that what excited his daughter about Amelia Earhart wasn’t the airplane she flew over the ocean as an adult, but rather the roller coaster she built in her backyard as a child (and the crash that followed).\u003c/p>\n\u003cp>Several decisions came from that Eureka! moment. First, cartoonist Christopher Eliopoulous (\u003cem>Misery Loves Sherman\u003c/em>), with his extraordinary ability to draw children, would be a co-creator of the series, and second, they would research every subject extensively so as not to miss what might be an incredibly interesting detail. (When I say extensively, I mean EXTENSIVELY—Meltzer was able to gain access to Walt Disney’s entire archive when he was working on \u003cem>I am Walt Disney\u003c/em>).\u003c/p>\n\u003cp>Another very important decision for me, worried about the accuracy of those books I read as a child, was that if one of Meltzer and Eliopoulos’ heroes were imperfect (and who isn’t), they wouldn’t hide it. Meltzer says they wanted every kid to know that imperfect—not just ordinary, but imperfect—people can do extraordinary things.\u003c/p>\n\u003cp>I am glad I knew about the Ordinary People series before we entered this crisis. My kids have loved the books for a long time, and when my son’s teacher asked me to come in and read a book about an important African American figure during Black History month, I knew I would read \u003cem>I am Harriet Tubman\u003c/em>. The fourth grade loved it. They just had to pass the book around and look at all the pictures, and they were devastated to learn that Harriet Tubman had to sell her underwear to finance her work (they were a little grossed out too—I mean, PERFECT for the fourth grade).\u003c/p>\n\u003cp>So as we face an extended period of time at home, we will continue to have our structured reading/history time with the Ordinary People series, even on top of all the work my kids’ teachers have sent home. And the new book, \u003cem>I am Leonardo da Vinci—\u003c/em>out in April—couldn’t have come at a better time. My kids look forward to it, and Meltzer and Eliopoulos have \u003ca href=\"https://www.ordinarypeoplechangetheworld.com/Activities/\" target=\"_blank\" rel=\"noopener noreferrer\">activity sheets\u003c/a> on their website that I can use, even an entire teacher’s guide for the series.\u003c/p>\n\u003cp>I hope that in this difficult time we can all find comfort in the ordinary people of extraordinary character who are doing so much to help, be they teachers, doctors, janitors, elder care workers, restaurant owners, administrators, or even our own parents (that one’s for you, my kids)—all the people who may not end up in an “I am” book, but are heroic all the same.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\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=%27Ordinary+People%27+Books+Can+Help+In+This+Extraordinary+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Firstly, let me say this column started out quite differently. You see, I began writing it more than a week ago, and since then life has certainly changed in my house, as I am sure it has in yours. Frankly, things have changed so much, I wasn’t sure I would even get this column written, what with spring break and now school closures (I’m writing it in 10-minute increments, as it is). While my kids’ teachers work feverishly to prepare lessons to send home, I’ve been working on my own home-schooling plan—which, as a former teacher I take very seriously, and as you already-homeschool-parents know, is a heck of a lot of work (especially if you are as regimented and schedule-bound as I am).\u003c/p>\n\u003cp>But I had a revelation as I was working out the science experiments, fractions worksheets, diagramming worksheets (yes, diagramming. No one will ever stop me from loving it). I was still going to write a column about the same books, but for different reasons. You see, Brad Meltzer and Christopher Eliopoulos have two new books, but I’m not writing about them because they are new.\u003c/p>\n\u003cp>I’m writing about them because they are saving the day.\u003c/p>\n\u003cp>Every morning, after our nature walk, and math (let’s get that out of the way early) my kids have structured reading/history time, after which they have to give an oral report. Since they’re at different reading levels, it’s quite a challenge to find books that will engage them all and not require me to fuss at them, “one at a time, please, ONE AT A TIME!”\u003c/p>\n\u003cp>But the \u003cem>Ordinary People Change the World\u003c/em> series fits the bill to a T.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you haven’t seen the Ordinary People books—\u003cem>I am Jane Goodall, I am Jackie Robinson, I am Jim Henson\u003c/em>, et. al., you are really missing out. When I was a kid, I devoured the Value Tales, and the Childhood of Famous Americans books; I mean, I can’t even count how many books I read about Helen Keller and Annie Oakley, not to mention Susan B. Anthony and Clara Barton—hey, would you look at that? All women, who knew? I had considered starting my kids on those, but looking back over them, I was worried they might not be particularly accurate, much less entertaining for kids reared on graphic novels.\u003c/p>\n\u003cp>But Meltzer and Eliopoulos had my back.\u003c/p>\n\u003cp>I knew they wanted kids to admire real people, not reality show or video game stars, or superheroes, people of character, not just fame. They wanted kids to know ordinary people of extraordinary character can change the world.\u003c/p>\n\u003cp>As an ordinary person, that mission speaks to me.\u003c/p>\n\u003cfigure id=\"attachment_13877901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/I-Am-books-800x400.jpg\" alt=\"Moments from the 'I Am Amelia Earhart' and 'I Am Jim Henson' books.\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/I-Am-books-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/I-Am-books-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/I-Am-books-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/I-Am-books-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/I-Am-books.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moments from the ‘I Am Amelia Earhart’ and ‘I Am Jim Henson’ books.\u003c/figcaption>\u003c/figure>\n\u003cp>When I was able to speak to Meltzer, he explained that he wanted a surefire winner for his first subject, a hero his kids couldn’t help but get excited about, someone guaranteed to be a real inspiration from the word “go.” He thought of his adventurous daughter, and settled upon Amelia Earhart. I mean, why not? How could the first woman to fly solo across the Atlantic Ocean be anything but a hit, right?\u003c/p>\n\u003cp>It wasn’t quite that simple.\u003c/p>\n\u003cp>Evidently, for modern kids, a woman flying across the ocean was not enough to elicit more than “oh, that’s cool.” So Meltzer dug deeper, determined to find the hook. It turns out that what excited his daughter about Amelia Earhart wasn’t the airplane she flew over the ocean as an adult, but rather the roller coaster she built in her backyard as a child (and the crash that followed).\u003c/p>\n\u003cp>Several decisions came from that Eureka! moment. First, cartoonist Christopher Eliopoulous (\u003cem>Misery Loves Sherman\u003c/em>), with his extraordinary ability to draw children, would be a co-creator of the series, and second, they would research every subject extensively so as not to miss what might be an incredibly interesting detail. (When I say extensively, I mean EXTENSIVELY—Meltzer was able to gain access to Walt Disney’s entire archive when he was working on \u003cem>I am Walt Disney\u003c/em>).\u003c/p>\n\u003cp>Another very important decision for me, worried about the accuracy of those books I read as a child, was that if one of Meltzer and Eliopoulos’ heroes were imperfect (and who isn’t), they wouldn’t hide it. Meltzer says they wanted every kid to know that imperfect—not just ordinary, but imperfect—people can do extraordinary things.\u003c/p>\n\u003cp>I am glad I knew about the Ordinary People series before we entered this crisis. My kids have loved the books for a long time, and when my son’s teacher asked me to come in and read a book about an important African American figure during Black History month, I knew I would read \u003cem>I am Harriet Tubman\u003c/em>. The fourth grade loved it. They just had to pass the book around and look at all the pictures, and they were devastated to learn that Harriet Tubman had to sell her underwear to finance her work (they were a little grossed out too—I mean, PERFECT for the fourth grade).\u003c/p>\n\u003cp>So as we face an extended period of time at home, we will continue to have our structured reading/history time with the Ordinary People series, even on top of all the work my kids’ teachers have sent home. And the new book, \u003cem>I am Leonardo da Vinci—\u003c/em>out in April—couldn’t have come at a better time. My kids look forward to it, and Meltzer and Eliopoulos have \u003ca href=\"https://www.ordinarypeoplechangetheworld.com/Activities/\" target=\"_blank\" rel=\"noopener noreferrer\">activity sheets\u003c/a> on their website that I can use, even an entire teacher’s guide for the series.\u003c/p>\n\u003cp>I hope that in this difficult time we can all find comfort in the ordinary people of extraordinary character who are doing so much to help, be they teachers, doctors, janitors, elder care workers, restaurant owners, administrators, or even our own parents (that one’s for you, my kids)—all the people who may not end up in an “I am” book, but are heroic all the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Tim Gunn and Heidi Klum left \u003cem>Project Runway\u003c/em>, it wasn’t clear whether it could survive without them, or whether they could succeed on a different show. We know the answer to the first question, at least creatively: The new incarnation of \u003cem>Runway\u003c/em>, starring Christian Siriano and Karlie Kloss, is better than most of us expected, and Siriano in particular has carved out a very different mentor role than Gunn’s that’s satisfying in new ways.\u003c/p>\n\u003cp>We’ve now arrived at the other half of the question: Can Tim and Heidi make a show that’s not \u003cem>Runway\u003c/em>? The first episodes of \u003cem>Making The Cut \u003c/em>are streaming now on Amazon Prime Video, and the verdict is … maybe?\u003c/p>\n\u003cp>There are a couple of things that are very different right off the top if you’re comparing the new show with the old. Where \u003cem>Runway \u003c/em>had a kind of chirpy relentlessness, \u003cem>Making The Cut \u003c/em>is going for more of a chill and glamorous vibe, still a competition, but with the vibe of a high-end travel show. That’s not only true because of the locations (New York and Paris, to start). It’s true because the whole show has a kind of Instagram-influencer vibe, with a constant hum of forgettable music that sounds like it comes from an ad for yoga pants.\u003c/p>\n\u003cp>There are also some format differences that seem likely to have originated with the specific hope to set the show apart from \u003cem>Runway\u003c/em>; most notably, it doesn’t always eliminate one person per week. It can be more. It could be nobody. This can help a little bit with the problem that comes up on a lot of judged competitions where somebody is constantly second-worst but never quite worst. Here, such a person would probably eventually be bounced, even if they didn’t do the worst job in that challenge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y41irC4jq30\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The judging panel (which includes Naomi Campbell and Nicole Richie) also follows a muddled format where they’ll call up each designer to explain what they’ve made, and then there’s a moment—sometimes this is hard to follow—where Heidi asks whether any of the judges have “changed their minds” from the way they’d been planning to vote. It seems like you’re supposed to feel like the panel discussion is higher stakes, because the designers have a chance to save themselves. But that seems to be true on \u003cem>Runway \u003c/em>too, which means they’ve just sort of complicated what should be simple.\u003c/p>\n\u003cp>The best of the changes that \u003cem>Making The Cut \u003c/em>has instituted is that the contestants have help from seamstresses, who sneak in at night like shoemaker’s elves and do some of the basic sewing. That means it’s less likely—not impossible, but less likely—that the designers will be judged on whether they can physically construct a dress in a very short time. There aren’t as many unfinished hems or terrible seams, and that means the focus is more on the actual design. (This is also the case over on Netflix’s \u003cem>Next In Fashion\u003c/em>.) Similarly, the challenges are far looser and more thematic, rather than weird stunts like “design new outfits for the servers at Susan Sarandon’s ping-pong club.” (An actual \u003cem>Project Runway \u003c/em>challenge.)\u003c/p>\n\u003cp>The worst of the changes is that Amazon looms over the show, not only as the streamer showing it, but as a seller of goods. The opportunity to sell your clothes on Amazon is dangled as part of the prize, and from time to time, the designers are reminded—and they remind the audience—how meaningful that is. It’s only fair to note that \u003cem>Runway \u003c/em>itself has a history with product placement that borders on parody; that is a show that once forced people to design clothes based on Yoplait frozen yogurt flavors. So at least perhaps here, they’ve narrowed it down to just one corporate entity?\u003c/p>\n\u003cp>There is an upside to the consumerism angle, though, which is that there’s a more explicit understanding that mass-market clothing sales and runway fashion are very different. In most challenges, you’ll see each designer make both a “runway look” and an “accessible look.” That’s good. That’s an acknowledgment that judging clothing both by “is this wildly innovative enough for a runway show?” and “would this sell to large numbers of regular people?” is an inherently flawed undertaking. Here, they can talk about the runway look for its freshness and excitement, and they can talk about the related accessible look for its consumer-friendly qualities—its “wearability,” so to speak. It’s a smart shift, even if the execution of it isn’t always totally coherent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure \u003cem>Making The Cut \u003c/em>is a strong competitor to \u003cem>Runway \u003c/em>when it comes to frantic competition and personality clashes; I’m not sure it wants to be. It is, however, a more calm and measured look at more high-fashion designers, and there are those for whom that will be all they need—alongside Tim and Heidi, of course.\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=Tim+Gunn+And+Heidi+Klum+Are+Together+Again+In+%27Making+The+Cut%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Tim Gunn and Heidi Klum left \u003cem>Project Runway\u003c/em>, it wasn’t clear whether it could survive without them, or whether they could succeed on a different show. We know the answer to the first question, at least creatively: The new incarnation of \u003cem>Runway\u003c/em>, starring Christian Siriano and Karlie Kloss, is better than most of us expected, and Siriano in particular has carved out a very different mentor role than Gunn’s that’s satisfying in new ways.\u003c/p>\n\u003cp>We’ve now arrived at the other half of the question: Can Tim and Heidi make a show that’s not \u003cem>Runway\u003c/em>? The first episodes of \u003cem>Making The Cut \u003c/em>are streaming now on Amazon Prime Video, and the verdict is … maybe?\u003c/p>\n\u003cp>There are a couple of things that are very different right off the top if you’re comparing the new show with the old. Where \u003cem>Runway \u003c/em>had a kind of chirpy relentlessness, \u003cem>Making The Cut \u003c/em>is going for more of a chill and glamorous vibe, still a competition, but with the vibe of a high-end travel show. That’s not only true because of the locations (New York and Paris, to start). It’s true because the whole show has a kind of Instagram-influencer vibe, with a constant hum of forgettable music that sounds like it comes from an ad for yoga pants.\u003c/p>\n\u003cp>There are also some format differences that seem likely to have originated with the specific hope to set the show apart from \u003cem>Runway\u003c/em>; most notably, it doesn’t always eliminate one person per week. It can be more. It could be nobody. This can help a little bit with the problem that comes up on a lot of judged competitions where somebody is constantly second-worst but never quite worst. Here, such a person would probably eventually be bounced, even if they didn’t do the worst job in that challenge.\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/Y41irC4jq30'\n title='//www.youtube.com/embed/Y41irC4jq30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The judging panel (which includes Naomi Campbell and Nicole Richie) also follows a muddled format where they’ll call up each designer to explain what they’ve made, and then there’s a moment—sometimes this is hard to follow—where Heidi asks whether any of the judges have “changed their minds” from the way they’d been planning to vote. It seems like you’re supposed to feel like the panel discussion is higher stakes, because the designers have a chance to save themselves. But that seems to be true on \u003cem>Runway \u003c/em>too, which means they’ve just sort of complicated what should be simple.\u003c/p>\n\u003cp>The best of the changes that \u003cem>Making The Cut \u003c/em>has instituted is that the contestants have help from seamstresses, who sneak in at night like shoemaker’s elves and do some of the basic sewing. That means it’s less likely—not impossible, but less likely—that the designers will be judged on whether they can physically construct a dress in a very short time. There aren’t as many unfinished hems or terrible seams, and that means the focus is more on the actual design. (This is also the case over on Netflix’s \u003cem>Next In Fashion\u003c/em>.) Similarly, the challenges are far looser and more thematic, rather than weird stunts like “design new outfits for the servers at Susan Sarandon’s ping-pong club.” (An actual \u003cem>Project Runway \u003c/em>challenge.)\u003c/p>\n\u003cp>The worst of the changes is that Amazon looms over the show, not only as the streamer showing it, but as a seller of goods. The opportunity to sell your clothes on Amazon is dangled as part of the prize, and from time to time, the designers are reminded—and they remind the audience—how meaningful that is. It’s only fair to note that \u003cem>Runway \u003c/em>itself has a history with product placement that borders on parody; that is a show that once forced people to design clothes based on Yoplait frozen yogurt flavors. So at least perhaps here, they’ve narrowed it down to just one corporate entity?\u003c/p>\n\u003cp>There is an upside to the consumerism angle, though, which is that there’s a more explicit understanding that mass-market clothing sales and runway fashion are very different. In most challenges, you’ll see each designer make both a “runway look” and an “accessible look.” That’s good. That’s an acknowledgment that judging clothing both by “is this wildly innovative enough for a runway show?” and “would this sell to large numbers of regular people?” is an inherently flawed undertaking. Here, they can talk about the runway look for its freshness and excitement, and they can talk about the related accessible look for its consumer-friendly qualities—its “wearability,” so to speak. It’s a smart shift, even if the execution of it isn’t always totally coherent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure \u003cem>Making The Cut \u003c/em>is a strong competitor to \u003cem>Runway \u003c/em>when it comes to frantic competition and personality clashes; I’m not sure it wants to be. It is, however, a more calm and measured look at more high-fashion designers, and there are those for whom that will be all they need—alongside Tim and Heidi, of course.\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=Tim+Gunn+And+Heidi+Klum+Are+Together+Again+In+%27Making+The+Cut%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"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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"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.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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}
}
