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"title": "As Coronavirus Shuts Down Theaters, Universal Shifts Films to On-Demand",
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"content": "\u003cp>With the coronavirus pandemic continuing to affect nearly every facet of life, including some governors moving to temporarily shutter movie theaters, Comcast NBCUniversal announced a potentially industry-altering change: It will allow customers to view new films at home through video on demand the same day as their theatrical release.\u003c/p>\n\u003cp>\u003cem>Trolls World Tour, \u003c/em>slated to open in the U.S. on April 10, will be the first to kick off the new initiative.\u003c/p>\n\u003cp>The company also announced that some movies currently in theaters will be available to be streamed at home beginning Friday. \u003cem>The Invisible Man\u003c/em> and \u003cem>Emma—\u003c/em>along with \u003cem>The Hunt, \u003c/em>which debuted last week\u003cem>—\u003c/em>will be available for a two-day digital rental for $19.99 in the U.S. and the equivalent price in overseas markets.\u003c/p>\n\u003cp>“Rather than delaying these films or releasing them into a challenged distribution landscape, we wanted to provide an option for people to view these titles in the home that is both accessible and affordable,” Jeff Shell, the CEO of \u003ca href=\"https://corporate.comcast.com/press/releases/comcast-nbcuniversal-moves-to-make-current-movies-available-in-the-home\" target=\"_blank\" rel=\"noopener noreferrer\">NBCUniversal, said in a statement.\u003c/a>\u003c/p>\n\u003cp>The move by Comcast NBCUniversal will likely be viewed as a major setback for multiplexes, which have long relied on studios’ months-long waiting periods after a theatrical release to make films available on at-home streaming.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The coronavirus is forcing widespread changes across the entertainment industry as many \u003ca href=\"https://www.npr.org/2020/03/12/815200313/what-governors-are-doing-to-tackle-spreading-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">governors across the country\u003c/a> move to close theaters to curb the spread of the disease.\u003c/p>\n\u003cp>The nation’s largest theater chains also announced closures.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/RegalMovies/status/1239671395149385728\" target=\"_blank\" rel=\"noopener noreferrer\">Regal Cinemas\u003c/a> said “as a precaution amid the current circumstances” all of its theaters will remain closed until further notice, beginning Tuesday. AMC Theatres \u003ca href=\"https://twitter.com/RegalMovies/status/1239671395149385728\" target=\"_blank\" rel=\"noopener noreferrer\">said Tuesday\u003c/a> that its cinemas will be closed “for at least 6-12 weeks.”\u003c/p>\n\u003cp>The decision by Comcast Universal follows \u003ca href=\"https://thewaltdisneycompany.com/the-walt-disney-company-will-make-frozen-2-available-on-disney-three-months-early-beginning-sunday-march-15/\" target=\"_blank\" rel=\"noopener noreferrer\">a similar decision by Disney\u003c/a>, which pushed its blockbuster film \u003cem>Frozen II\u003c/em> to its Disney+ streaming platform on Sunday, three months ahead of schedule. Disney said it was “surprising families with some fun and joy during this challenging period.”\u003c/p>\n\u003cp>As people around the world are encouraged to stay home, other types of performances are also happening remotely. Music stars are also moving to provide fans with at-home viewing options.\u003c/p>\n\u003cp>R&B crooner John Legend, who is one of the celebrity coaches on NBC’s singing competition \u003cem>The Voice, \u003c/em>\u003ca href=\"https://twitter.com/johnlegend/status/1239666268627546112\" target=\"_blank\" rel=\"noopener noreferrer\">announced he is performing\u003c/a> a concert at home on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This follows a similar \u003ca href=\"https://www.instagram.com/p/B90Ft_knpuT/\" target=\"_blank\" rel=\"noopener noreferrer\">at-home “mini” concert streamed\u003c/a> by Chris Martin, frontman of the British rock band Coldplay on Monday.\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=As+Coronavirus+Shuts+Down+Theaters%2C+Universal+Shifts+Some+Films+To+On-Demand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the coronavirus pandemic continuing to affect nearly every facet of life, including some governors moving to temporarily shutter movie theaters, Comcast NBCUniversal announced a potentially industry-altering change: It will allow customers to view new films at home through video on demand the same day as their theatrical release.\u003c/p>\n\u003cp>\u003cem>Trolls World Tour, \u003c/em>slated to open in the U.S. on April 10, will be the first to kick off the new initiative.\u003c/p>\n\u003cp>The company also announced that some movies currently in theaters will be available to be streamed at home beginning Friday. \u003cem>The Invisible Man\u003c/em> and \u003cem>Emma—\u003c/em>along with \u003cem>The Hunt, \u003c/em>which debuted last week\u003cem>—\u003c/em>will be available for a two-day digital rental for $19.99 in the U.S. and the equivalent price in overseas markets.\u003c/p>\n\u003cp>“Rather than delaying these films or releasing them into a challenged distribution landscape, we wanted to provide an option for people to view these titles in the home that is both accessible and affordable,” Jeff Shell, the CEO of \u003ca href=\"https://corporate.comcast.com/press/releases/comcast-nbcuniversal-moves-to-make-current-movies-available-in-the-home\" target=\"_blank\" rel=\"noopener noreferrer\">NBCUniversal, said in a statement.\u003c/a>\u003c/p>\n\u003cp>The move by Comcast NBCUniversal will likely be viewed as a major setback for multiplexes, which have long relied on studios’ months-long waiting periods after a theatrical release to make films available on at-home streaming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The coronavirus is forcing widespread changes across the entertainment industry as many \u003ca href=\"https://www.npr.org/2020/03/12/815200313/what-governors-are-doing-to-tackle-spreading-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">governors across the country\u003c/a> move to close theaters to curb the spread of the disease.\u003c/p>\n\u003cp>The nation’s largest theater chains also announced closures.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/RegalMovies/status/1239671395149385728\" target=\"_blank\" rel=\"noopener noreferrer\">Regal Cinemas\u003c/a> said “as a precaution amid the current circumstances” all of its theaters will remain closed until further notice, beginning Tuesday. AMC Theatres \u003ca href=\"https://twitter.com/RegalMovies/status/1239671395149385728\" target=\"_blank\" rel=\"noopener noreferrer\">said Tuesday\u003c/a> that its cinemas will be closed “for at least 6-12 weeks.”\u003c/p>\n\u003cp>The decision by Comcast Universal follows \u003ca href=\"https://thewaltdisneycompany.com/the-walt-disney-company-will-make-frozen-2-available-on-disney-three-months-early-beginning-sunday-march-15/\" target=\"_blank\" rel=\"noopener noreferrer\">a similar decision by Disney\u003c/a>, which pushed its blockbuster film \u003cem>Frozen II\u003c/em> to its Disney+ streaming platform on Sunday, three months ahead of schedule. Disney said it was “surprising families with some fun and joy during this challenging period.”\u003c/p>\n\u003cp>As people around the world are encouraged to stay home, other types of performances are also happening remotely. Music stars are also moving to provide fans with at-home viewing options.\u003c/p>\n\u003cp>R&B crooner John Legend, who is one of the celebrity coaches on NBC’s singing competition \u003cem>The Voice, \u003c/em>\u003ca href=\"https://twitter.com/johnlegend/status/1239666268627546112\" target=\"_blank\" rel=\"noopener noreferrer\">announced he is performing\u003c/a> a concert at home on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This follows a similar \u003ca href=\"https://www.instagram.com/p/B90Ft_knpuT/\" target=\"_blank\" rel=\"noopener noreferrer\">at-home “mini” concert streamed\u003c/a> by Chris Martin, frontman of the British rock band Coldplay on Monday.\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=As+Coronavirus+Shuts+Down+Theaters%2C+Universal+Shifts+Some+Films+To+On-Demand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Here's How We Cope When We're Stressed: Ideas From NPR's Arts Desk",
"headTitle": "Here’s How We Cope When We’re Stressed: Ideas From NPR’s Arts Desk | KQED",
"content": "\u003cp>What helps you feel better when life is stressful and scary?\u003c/p>\n\u003cp>We asked members of the NPR Arts Desk, and their answers include a Norwegian knitting marathon,\u003cem> America’s Next Top Model, \u003c/em>British crime dramas and peanut soup.\u003c/p>\n\u003cp>Find 17 tried-and-true ideas below and stay tuned to the \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">Pop Culture Happy Hour podcast\u003c/a> for an episode about this very topic.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>America’s Next Top Model\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>I hesitate to truly recommend\u003cem> America’s Next Top Model\u003c/em>, because it is not good. But what I can promise is very low stakes. Rarely has the show resulted in a major career for anyone, so win or lose, mostly they’re there to participate in the show itself. And while I might not be able to relate to living on a desert island, I can relate to not liking a picture of yourself or being in distress over a terrible haircut. I cannot tell a lie: It’s one of my go-to comfort watches. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B018YLD706/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/302c282e-7c22-4a22-a97e-8c05f1958e86\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/finale-pt-2-americas-next-top-model-is/id1020461813?i=1064864722\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/playlist?list=ELesSZKEooraraxtcwMwIBCQ\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Linda Holmes, host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Room With A View\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Helena Bonham Carter’s impressive hair extensions lead an all-star British cast that includes Dame Maggie Smith, Dame Judi Dench and—this movie is so old—Daniel Day-Lewis as an awkward third-tier love interest. This 1985 adaptation of E.M. Forster’s \u003ca href=\"https://www.npr.org/books/titles/815975027/room-with-a-view\" target=\"_blank\" rel=\"noopener noreferrer\">fabulous Edwardian novel\u003c/a> maintains its author’s decorous sensuality, particularly in a great all-male nude bathing scene that manages to be both riotously family friendly and also slyly cognizant of the author’s (repressed) queerness. “This is not what we were led to expect!” Truer words were never spoken. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B015IVLL7Q/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/movies/details?id=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">GooglePlay,\u003c/a> \u003ca href=\"https://www.hulu.com/movie/a-room-with-a-view-1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943?entity_id=1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/movie/a-room-with-a-view/id1036043140\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JFIPjRFuaHA&has_verified=1\u003c/p>\n\u003cp>\u003cem>\u003cstrong>What’s Wrong With Secretary Kim?\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>In times like these, I like to soothe myself with a soapy binge-watch. My aunts have included K-dramas in their self-care routines for years, so I recently decided to take the plunge. Now I can’t stop watching \u003cem>What’s Wrong With Secretary Kim?\u003c/em>, a South Korean series that has a calming mix of humor, romance and addictive soap opera melodrama. Loyal secretary Kim Mi-so tells her narcissistic boss Lee Young-joon that she’s quitting, which sets off a series of events that—of course—cause our leads to fall in love. Park Min-young and Park Seo-joon have electric chemistry, and what’s better than watching two unbelievably beautiful people navigate ridiculous obstacles to eventually fall in love? (Available on \u003ca href=\"https://www.hulu.com/series/62cf6cb0-3485-46ad-a0b6-75e542937f70\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu\u003c/a>)\u003cbr>\n\u003cem>— Jessica Reedy, producer, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Route One” by Sigur Rós\u003cbr>\n\u003c/strong>You can turn to YouTube to watch people skateboard off rooftops, or you can turn to YouTube to travel 1,332 km around Iceland’s Ring Road while Sigur Rós music plays—it’s your choice, really. The latter will take you a mere 24 hours, a feat the band (with the help of the Icelandic National Broadcasting Service) accomplished through the use of generative music software; basically, they fed stems of Sigur Rós songs to the software to generate an ever-changing new composition. Titled \u003cem>Route One\u003c/em>, it’s truly hypnotic; the visuals are gorgeous and it’s easy to drop in and out while always hearing something new. Here are parts \u003ca href=\"https://www.youtube.com/watch?v=G54tllj-SKI\" target=\"_blank\" rel=\"noopener noreferrer\">1,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=szbGc7ymFhQ\" target=\"_blank\" rel=\"noopener noreferrer\">2\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=aV7YutDr5Nw\" target=\"_blank\" rel=\"noopener noreferrer\">3\u003c/a>.\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G54tllj-SKI\u003c/p>\n\u003cp>\u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“National Knitting Night”\u003c/strong>\u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>If 24 hours with Sigur Rós (see above) seems a tad … long (you know, whatever), you can also spend a fraction of those 24 hours watching a bunch of good-natured Norwegians try to produce a sweater—”from sheep’s back to human’s back”—in something short of the world-record time. (That’d be 4 hours, 51 minutes and 14 seconds, \u003cem>obviously\u003c/em>.) It’s called \u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">“National Knitting Night,”\u003c/a> available through NRK TV, and it’s extraordinarily soothing company. And, when you think about it, kind of like sports!\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Get A Life, Chloe Brown\u003c/em>\u003c/strong>\u003cstrong> by Talia Hibbert\u003cbr>\n\u003c/strong>Romance is possibly the most supremely comforting genre of them all—it is a rock-ribbed rule that a romance must have a Happy Ever After, so no matter which way the roller coaster twists you, you know you’ll come safely to a halt in the end. And \u003ca href=\"https://www.npr.org/books/titles/775206804/get-a-life-chloe-brown\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Get a Life\u003c/em>, \u003cem>Chloe Brown\u003c/em>\u003c/a> has plenty of twists and turns on the way to that happy ending. Chloe herself isn’t the type of heroine you often see in romance novels—she’s plus-size and dealing with serious chronic illness that Hibbert depicts with compassion and bone-aching realism. Chloe is also a computer nerd who loves to make lists, and after a near-miss car accident, she makes herself a “Get a Life” list. Will getting a life somehow involve her smokin’ hot apartment superintendent “Red” Morgan, who has long red hair, a motorcycle, and is secretly a talented painter? YOU BET. Chloe and Red have chemistry that practically burns up the page, the supporting cast (including Chloe’s sequel-bait sisters) are funny and well-rounded, and the conflicts and obstacles feel organic. This is one for the re-read pile.\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Parks and Recreation\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Lately, I’ve been thinking a lot about \u003cem>Parks and Recreation \u003c/em>and Amy Poehler’s character, the indefatigable Leslie Knope. Knope is a well-meaning bureaucrat, though not always the brightest bulb—who fervently believes that the government of her small Indiana town could make things better for everybody. Unfortunately, she is surrounded by a hapless crew of oddballs who keep making that task tougher and tougher. Bingeing old \u003cem>Parks and Rec\u003c/em> episodes not only gives you a look at ace performers like Chris Pratt, Nick Offerman, Aziz Ansari, Aubrey Plaza and Retta before they became superstars, it’s also a wonderful comedy centered on a super dysfunctional work family trying to make government a little better. And who doesn’t need a message like that today? (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B01A3QX7X2/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/93dc18da-96d9-4841-b125-40f901f7e7eb\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70143842?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/parks-and-recreation-UCaUnHzySKszH_UxJEfWEn0Q?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Eric Deggans, TV critic\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ActknnwERUs\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Talking Heads\u003c/strong>\u003c/em>\u003cstrong> by Alan Bennett\u003cbr>\n\u003c/strong>Not the band (though their \u003ca href=\"https://www.youtube.com/watch?v=HldHtBxNK6k\" target=\"_blank\" rel=\"noopener noreferrer\">“Naïve Melody (This Must Be The Place)”\u003c/a> is a great song to listen to when you want to relax). No, these are a series of extended monologues by the British writer Alan Bennett, assayed by the likes of Maggie Smith, Julie Walters, Patricia Routledge, Eileen Atkins and Bennett himself. You can find them \u003ca href=\"https://www.youtube.com/playlist?list=PLxmwGyQNoPEKJ7gfk4QRMlZY0hQy4wbn5\" target=\"_blank\" rel=\"noopener noreferrer\">on YouTube\u003c/a>. Bennett is basically a worn, warm cardigan in human form, and his monologues feature unreliable narrators talking themselves into tiny epiphanies in their front rooms. They’re small and circumscribed but brilliantly specific and, often, bittersweet.\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Rhapsody in Blue” by George Gershwin\u003cbr>\n\u003c/strong>In trying times, I always listen to George Gershwin’s “Rhapsody in Blue.” Its jolly rhythms and busy, beautiful variations on themes lift my spirits, absorb me out of present problems (as all great art is able to do), and take me back to my 8-year-old days in my parents’ apartment on 103rd Street and Broadway in Manhattan: I would stand on a hassock, pencil in hand, and conduct our 78 rpm recording of Paul Whiteman And His Orchestra with Gershwin as piano soloist, performing the “\u003ca href=\"https://www.youtube.com/watch?v=Cq3J6fCUfto\" target=\"_blank\" rel=\"noopener noreferrer\">Rhapsody.\u003c/a>” The feelings of power and pleasure in those moments come right back to me when I hear it in troubled times.\u003cbr>\n—\u003cem> Susan Stamberg, special correspondent\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Brave Faces Everyone” by\u003c/strong> \u003cstrong>Spanish Love Songs\u003cbr>\n\u003c/strong>You know \u003ca href=\"http://klipd.com/watch/burn-after-reading/brad-pitt-treadmill-scene\" target=\"_blank\" rel=\"noopener noreferrer\">that scene\u003c/a> in \u003cem>Burn After Reading\u003c/em> where Brad Pitt is running on the treadmill with his headphones on and he’s pumping his fists and you’re supposed to think he’s a jackass? Well, joke’s on you; doing that actually rules and feels great—especially if you’re listening to the latest Spanish Love Songs record \u003ca href=\"https://open.spotify.com/album/7GP702lI6EeRJnruJPoznv\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Brave Faces Everyone\u003c/em>.\u003c/a> It’s an absolutely thrilling album about facing imminent doom (the second best chorus goes: “Don’t you know you were born to die poor, man”), the kind of doom that you can’t quite run away from because it’s everywhere, so you might as well pump your fists in the sky because it feels great—who cares if you look dumb.\u003cbr>\n\u003cem>— Andrew Limbong, reporter\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HYbAW0JlwdQ\u003c/p>\n\u003cp>\u003cstrong>British TV crime dramas\u003cbr>\n\u003c/strong>Not exactly calming, but great escapism. \u003cem>Happy Valley, Bodyguard, Broadchurch,\u003c/em> \u003cem>Grantchester, Line of Duty\u003c/em>. Gritty realism might be a stretch, but the sharp writing, flawed-but-endearing characters, plots, cheeky humor and all-around suspenseful atmosphere of these shows make it easy to slip into their worlds and stay there for hours—or at least until their final seasons. Always start at the beginning. (\u003cem>Happy Valley\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B072LGV8ZV/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=A7XQbRQ3mqM&cdid=tvseason-Gct2SdUGeF9fAI8Aug271A&gdid=tvepisode-fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1227764545?i=1229965074\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/80007225?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a>\u003cem> Bodyguard\u003c/em> available on \u003ca href=\"https://www.netflix.com/title/80235864?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix;\u003c/a> \u003cem>Broadchurch\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B074T38KHJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=hjoALWXeBsM&cdid=tvseason-rs2aF4n1qrJeHBcpa4HIqw&gdid=tvepisode-GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-8/id1209491967?i=1209497002\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes, \u003c/a>\u003ca href=\"https://www.netflix.com/title/70302484?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Grantchester\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07V96HMZG/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=bUMWuin_wjo&cdid=tvseason-Ri3diUPY8F-x6w0Gt4sX7w&gdid=tvepisode-ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-7/id1232011864?i=1248009358\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.pbs.org/wgbh/masterpiece/episodes/grantchester-s1-e1/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Line of Duty\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07RRGPTVJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=367W_LaDsj4&cdid=tvseason-WPoANXuJ_XVTCvLhvkKu7Q&gdid=tvepisode-t4VB8Mmt8ls\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://www.hulu.com/series/0efc0f95-c575-46da-b28f-a30a13d86b37\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1239948393?i=1240562203\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/line-of-duty-UCaAelRWU4cE05Hojwt6pOiQ?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>.)\u003cbr>\n—\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Old school real-time strategy games\u003cbr>\n\u003c/strong>You start with a town center and a villager or two. You send them off to build, or chop down trees, or farm, or mine ore, and gradually (the \u003cem>gradually\u003c/em> is what makes it relaxing!) you can start building armies and navies and upgrading your town. You watch it all happen from above, and there’s something incredibly peaceful about pulling back and seeing so many industrious little workers toiling away happily. (If you’ve spent any time in management, I don’t need to tell you how joyous the sight of people \u003cem>just doing the damn jobs you told them to do \u003c/em>can be.) Inevitably, because even pixelated humans are human, war comes—enemy troops descend on you, or you descend on your enemies. Some delight in this later stage of the game, as they relish the strategy and tactics of combat—but me, I’m happiest when a new game begins, and a tiny little dude with a tiny little wheelbarrow looks up at me expectantly, just wanting to be \u003cem>of use\u003c/em>. (You can find games like Age of the Empires, Battle for Middle Earth and Starcraft on \u003ca href=\"https://store.steampowered.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>.)\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The music from \u003c/strong>\u003cem>\u003cstrong>City of Angels, Golden Boy\u003c/strong>\u003c/em>\u003cstrong> and\u003c/strong>\u003cem>\u003cstrong> Raisin\u003cbr>\n\u003c/strong>\u003c/em>Broadway musicals nurtured me in my youth. Though I’m now an unrepentant Sondheimite, I fondly remember the scores of other composers and lyricists that kept me going between his shows—especially the jazzily obscure musicals that never seem to get revived these days. The glory of the Web is that they’re all at your fingertips. Say, Cy (\u003cem>Sweet Charity\u003c/em>) Coleman’s swinging detective musical-noir in \u003ca href=\"https://www.youtube.com/watch?v=M5QhFKE2GO8&list=PL445ADD730F46C816\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>City of Angels\u003c/em>,\u003c/a> or the sultry stylings that the creators of \u003cem>Bye Bye Birdie\u003c/em> fashioned for Sammy Davis Jr. in their boxing-ring musical \u003ca href=\"https://www.youtube.com/watch?v=OGqr3M-fajI&list=PLq01lsXqwzONpf-GYKwsgQrIqkwymyRGk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Golden Boy\u003c/em>.\u003c/a> And I’ve a special sweet spot in my heart for the musical \u003ca href=\"https://www.youtube.com/watch?v=6TPt4NzZreg&list=OLAK5uy_njf_RNyAufq1YFmp4K6qHhK3LjAGgZb0w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Raisin\u003c/em>,\u003c/a> based on Lorraine Hansberry’s \u003cem>A Raisin in the Sun\u003c/em>, that premiered at Washington’s Arena Stage and featured one of the the most delectable jazz scores I’ve ever heard.\u003cbr>\n\u003cem>— Bob Mondello, film critic\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cheers\u003cbr>\n\u003c/strong>\u003c/em>Sure, we all know \u003cem>Cheers\u003c/em>, but that’s its appeal—sometimes you want to go \u003ca href=\"https://www.youtube.com/watch?v=h-mi0r0LpXo\" target=\"_blank\" rel=\"noopener noreferrer\">“Where everybody knows your name…”\u003c/a> I return to it time and again for its recognizable sitcom tropes and familiar comedic rhythms—you’d be hard-pressed to find a show as packed with still-hilarious set-pieces and pingponging patter. Whether you tuned in each week from 1982 to 1993, or during reruns, or, now in a many-seasons-long binge, you’ll come to care deeply about these Boston bar knuckleheads as your own surrogate family and friends. I can’t think of anything more comforting than that. (Plus, once you hit the end of its 11 seasons, just keep going—with another 11 seasons of its spinoff, \u003ca href=\"https://www.imdb.com/title/tt0106004/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Frasier\u003c/em>\u003c/a>!) (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B00CV36NKU/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.cbs.com/shows/cheers/video/DXMbCNIG050KaYm2Tl82QQAyP6WO8E65/cheers-one-for-the-road-part-3/?searchReferral=google\" target=\"_blank\" rel=\"noopener noreferrer\">CBS,\u003c/a> \u003ca href=\"https://www.hulu.com/series/6db3756a-27a8-4c55-a285-c695e28fd977\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/one-for-the-road-pt-3/id476989385?i=477043997\" target=\"_blank\" rel=\"noopener noreferrer\"> iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70152640?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=x8H4Xkb9qhU\" target=\"_blank\" rel=\"noopener noreferrer\"> YouTube\u003c/a>)\u003cbr>\n—\u003cem> Mike Katzif, producer, \u003c/em>Pop Culture Happy Hour\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ncc77oxnx5A\u003c/p>\n\u003cp>\u003cstrong>West African Peanut Soup\u003cbr>\n\u003c/strong>I was in college when Mark Bittman posted \u003ca href=\"https://cooking.nytimes.com/recipes/1012581-west-african-peanut-soup-with-chicken\" target=\"_blank\" rel=\"noopener noreferrer\">this recipe\u003c/a> for West African chicken stew. I cooked pretty much everything he wrote back then, and while most recipes have faded in my memory this one stuck because it is\u003cem> magic.\u003c/em> I cannot explain why this combination of things you likely already have in your kitchen (peanut butter, garlic, a can of tomatoes, a chicken thigh in the back of your freezer, maybe?) and a few fresh veggies (kale, sweet potatoes) has become one of my all time favorite comfort meals, but it has. I make this soup when people are sick, or are having babies. I make it when the news is scary. I make it when the kale looks nice at the farmer’s market. I make it when I just have nothing else to do. It’s gluten- and dairy-free, so it works for a variety of diets and restrictions. (I’m sure you could make it vegetarian—just leave out the chicken. Maybe add some chickpeas.) It feels healthy and it comes together fast. When I made it yesterday, I didn’t have peanuts, and I used Japanese white sweet potatoes and added fish sauce. Go crazy!\u003cbr>\n—\u003cem> Rose Friedman, editor\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graveyard Keeper\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Really, any farming-type simulator game will do here—\u003cem>Stardew Valley, \u003c/em>granddaddy of them all \u003cem>Harvest Moon,\u003c/em> even \u003cem>Minecraft,\u003c/em> if the occasional zombie or spider doesn’t stress you out too much, and you like mining as much as farming—as long as it’s got soothingly repetitive action and lulling music. Plant endless crops? Yes! Dig lots of holes? Yes! Befriend local villagers? A thousand times yes! But what if you want that sweet, sweet farming sim action, and the times are just too grim to truly enjoy bringing endless sacks of flour to the Harvest Sprites? My friends, you need \u003cem>Graveyard Keeper.\u003c/em> You play as the maintenance man for a Medievalish graveyard, clearing stumps and weeds, improving your land, prettifying the graves, building relationships with the locals—all the activities common to farming sims. But also, you might be turning the regularly delivered bodies into mystery meat to sell at the tavern, and staging witch-burnings to get in good with the local inquisitor (while making a profit off mystery meat burgers you sell to the crowds). Fair warning—there are long periods in \u003cem>Graveyard Keeper\u003c/em> where you’re just grinding to get to the next level. But sometimes, that’s what you need to make the real world go away. And the music is \u003cem>really\u003c/em> soothing. (Available on \u003ca href=\"https://store.steampowered.com/app/599140/Graveyard_Keeper/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>, \u003ca href=\"https://www.microsoft.com/en-us/p/graveyard-keeper/c11gzgmkrtcv?activetab=pivot:overviewtab\" target=\"_blank\" rel=\"noopener noreferrer\">Xbox\u003c/a> and \u003ca href=\"https://www.nintendo.com/games/detail/graveyard-keeper-switch/\" target=\"_blank\" rel=\"noopener noreferrer\">Switch\u003c/a>)\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Art of Solitude \u003c/strong>\u003c/em>\u003cstrong>by Stephen Batchelor\u003cbr>\n\u003c/strong>I can’t think of a better time to read about how artists and writers have approached the idea of solitude—a concept that can range from loneliness to ecstasy. In \u003ca href=\"https://www.npr.org/books/titles/816253306/the-art-of-solitude-a-meditation-on-being-alone-with-others-in-this-world\" target=\"_blank\" rel=\"noopener noreferrer\">this short book (or audiobook),\u003c/a> Batchelor, a longtime Buddhist teacher, mixes in his own stories of being alone and at ease.\u003cbr>\n—\u003cem> Ted Robbins, editor\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=Here%27s+How+We+Cope+When+We%27re+Stressed%3A+Ideas+From+NPR%27s+Arts+Desk&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "A Norwegian knitting marathon.'America's Next Top Model.' British crime dramas. Real-time strategy games. Peanut soup. These are some things that help us feel better—maybe they'll work for you, too?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What helps you feel better when life is stressful and scary?\u003c/p>\n\u003cp>We asked members of the NPR Arts Desk, and their answers include a Norwegian knitting marathon,\u003cem> America’s Next Top Model, \u003c/em>British crime dramas and peanut soup.\u003c/p>\n\u003cp>Find 17 tried-and-true ideas below and stay tuned to the \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">Pop Culture Happy Hour podcast\u003c/a> for an episode about this very topic.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>America’s Next Top Model\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>I hesitate to truly recommend\u003cem> America’s Next Top Model\u003c/em>, because it is not good. But what I can promise is very low stakes. Rarely has the show resulted in a major career for anyone, so win or lose, mostly they’re there to participate in the show itself. And while I might not be able to relate to living on a desert island, I can relate to not liking a picture of yourself or being in distress over a terrible haircut. I cannot tell a lie: It’s one of my go-to comfort watches. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B018YLD706/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/302c282e-7c22-4a22-a97e-8c05f1958e86\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/finale-pt-2-americas-next-top-model-is/id1020461813?i=1064864722\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/playlist?list=ELesSZKEooraraxtcwMwIBCQ\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Linda Holmes, host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Room With A View\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>Helena Bonham Carter’s impressive hair extensions lead an all-star British cast that includes Dame Maggie Smith, Dame Judi Dench and—this movie is so old—Daniel Day-Lewis as an awkward third-tier love interest. This 1985 adaptation of E.M. Forster’s \u003ca href=\"https://www.npr.org/books/titles/815975027/room-with-a-view\" target=\"_blank\" rel=\"noopener noreferrer\">fabulous Edwardian novel\u003c/a> maintains its author’s decorous sensuality, particularly in a great all-male nude bathing scene that manages to be both riotously family friendly and also slyly cognizant of the author’s (repressed) queerness. “This is not what we were led to expect!” Truer words were never spoken. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B015IVLL7Q/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/movies/details?id=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">GooglePlay,\u003c/a> \u003ca href=\"https://www.hulu.com/movie/a-room-with-a-view-1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943?entity_id=1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/movie/a-room-with-a-view/id1036043140\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Neda Ulaby, reporter\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/JFIPjRFuaHA'\n title='//www.youtube.com/embed/JFIPjRFuaHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>What’s Wrong With Secretary Kim?\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>In times like these, I like to soothe myself with a soapy binge-watch. My aunts have included K-dramas in their self-care routines for years, so I recently decided to take the plunge. Now I can’t stop watching \u003cem>What’s Wrong With Secretary Kim?\u003c/em>, a South Korean series that has a calming mix of humor, romance and addictive soap opera melodrama. Loyal secretary Kim Mi-so tells her narcissistic boss Lee Young-joon that she’s quitting, which sets off a series of events that—of course—cause our leads to fall in love. Park Min-young and Park Seo-joon have electric chemistry, and what’s better than watching two unbelievably beautiful people navigate ridiculous obstacles to eventually fall in love? (Available on \u003ca href=\"https://www.hulu.com/series/62cf6cb0-3485-46ad-a0b6-75e542937f70\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu\u003c/a>)\u003cbr>\n\u003cem>— Jessica Reedy, producer, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Route One” by Sigur Rós\u003cbr>\n\u003c/strong>You can turn to YouTube to watch people skateboard off rooftops, or you can turn to YouTube to travel 1,332 km around Iceland’s Ring Road while Sigur Rós music plays—it’s your choice, really. The latter will take you a mere 24 hours, a feat the band (with the help of the Icelandic National Broadcasting Service) accomplished through the use of generative music software; basically, they fed stems of Sigur Rós songs to the software to generate an ever-changing new composition. Titled \u003cem>Route One\u003c/em>, it’s truly hypnotic; the visuals are gorgeous and it’s easy to drop in and out while always hearing something new. Here are parts \u003ca href=\"https://www.youtube.com/watch?v=G54tllj-SKI\" target=\"_blank\" rel=\"noopener noreferrer\">1,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=szbGc7ymFhQ\" target=\"_blank\" rel=\"noopener noreferrer\">2\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=aV7YutDr5Nw\" target=\"_blank\" rel=\"noopener noreferrer\">3\u003c/a>.\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\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/G54tllj-SKI'\n title='//www.youtube.com/embed/G54tllj-SKI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“National Knitting Night”\u003c/strong>\u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>If 24 hours with Sigur Rós (see above) seems a tad … long (you know, whatever), you can also spend a fraction of those 24 hours watching a bunch of good-natured Norwegians try to produce a sweater—”from sheep’s back to human’s back”—in something short of the world-record time. (That’d be 4 hours, 51 minutes and 14 seconds, \u003cem>obviously\u003c/em>.) It’s called \u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">“National Knitting Night,”\u003c/a> available through NRK TV, and it’s extraordinarily soothing company. And, when you think about it, kind of like sports!\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Get A Life, Chloe Brown\u003c/em>\u003c/strong>\u003cstrong> by Talia Hibbert\u003cbr>\n\u003c/strong>Romance is possibly the most supremely comforting genre of them all—it is a rock-ribbed rule that a romance must have a Happy Ever After, so no matter which way the roller coaster twists you, you know you’ll come safely to a halt in the end. And \u003ca href=\"https://www.npr.org/books/titles/775206804/get-a-life-chloe-brown\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Get a Life\u003c/em>, \u003cem>Chloe Brown\u003c/em>\u003c/a> has plenty of twists and turns on the way to that happy ending. Chloe herself isn’t the type of heroine you often see in romance novels—she’s plus-size and dealing with serious chronic illness that Hibbert depicts with compassion and bone-aching realism. Chloe is also a computer nerd who loves to make lists, and after a near-miss car accident, she makes herself a “Get a Life” list. Will getting a life somehow involve her smokin’ hot apartment superintendent “Red” Morgan, who has long red hair, a motorcycle, and is secretly a talented painter? YOU BET. Chloe and Red have chemistry that practically burns up the page, the supporting cast (including Chloe’s sequel-bait sisters) are funny and well-rounded, and the conflicts and obstacles feel organic. This is one for the re-read pile.\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Parks and Recreation\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Lately, I’ve been thinking a lot about \u003cem>Parks and Recreation \u003c/em>and Amy Poehler’s character, the indefatigable Leslie Knope. Knope is a well-meaning bureaucrat, though not always the brightest bulb—who fervently believes that the government of her small Indiana town could make things better for everybody. Unfortunately, she is surrounded by a hapless crew of oddballs who keep making that task tougher and tougher. Bingeing old \u003cem>Parks and Rec\u003c/em> episodes not only gives you a look at ace performers like Chris Pratt, Nick Offerman, Aziz Ansari, Aubrey Plaza and Retta before they became superstars, it’s also a wonderful comedy centered on a super dysfunctional work family trying to make government a little better. And who doesn’t need a message like that today? (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B01A3QX7X2/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/93dc18da-96d9-4841-b125-40f901f7e7eb\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70143842?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/parks-and-recreation-UCaUnHzySKszH_UxJEfWEn0Q?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Eric Deggans, TV critic\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/ActknnwERUs'\n title='//www.youtube.com/embed/ActknnwERUs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>Talking Heads\u003c/strong>\u003c/em>\u003cstrong> by Alan Bennett\u003cbr>\n\u003c/strong>Not the band (though their \u003ca href=\"https://www.youtube.com/watch?v=HldHtBxNK6k\" target=\"_blank\" rel=\"noopener noreferrer\">“Naïve Melody (This Must Be The Place)”\u003c/a> is a great song to listen to when you want to relax). No, these are a series of extended monologues by the British writer Alan Bennett, assayed by the likes of Maggie Smith, Julie Walters, Patricia Routledge, Eileen Atkins and Bennett himself. You can find them \u003ca href=\"https://www.youtube.com/playlist?list=PLxmwGyQNoPEKJ7gfk4QRMlZY0hQy4wbn5\" target=\"_blank\" rel=\"noopener noreferrer\">on YouTube\u003c/a>. Bennett is basically a worn, warm cardigan in human form, and his monologues feature unreliable narrators talking themselves into tiny epiphanies in their front rooms. They’re small and circumscribed but brilliantly specific and, often, bittersweet.\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Rhapsody in Blue” by George Gershwin\u003cbr>\n\u003c/strong>In trying times, I always listen to George Gershwin’s “Rhapsody in Blue.” Its jolly rhythms and busy, beautiful variations on themes lift my spirits, absorb me out of present problems (as all great art is able to do), and take me back to my 8-year-old days in my parents’ apartment on 103rd Street and Broadway in Manhattan: I would stand on a hassock, pencil in hand, and conduct our 78 rpm recording of Paul Whiteman And His Orchestra with Gershwin as piano soloist, performing the “\u003ca href=\"https://www.youtube.com/watch?v=Cq3J6fCUfto\" target=\"_blank\" rel=\"noopener noreferrer\">Rhapsody.\u003c/a>” The feelings of power and pleasure in those moments come right back to me when I hear it in troubled times.\u003cbr>\n—\u003cem> Susan Stamberg, special correspondent\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Brave Faces Everyone” by\u003c/strong> \u003cstrong>Spanish Love Songs\u003cbr>\n\u003c/strong>You know \u003ca href=\"http://klipd.com/watch/burn-after-reading/brad-pitt-treadmill-scene\" target=\"_blank\" rel=\"noopener noreferrer\">that scene\u003c/a> in \u003cem>Burn After Reading\u003c/em> where Brad Pitt is running on the treadmill with his headphones on and he’s pumping his fists and you’re supposed to think he’s a jackass? Well, joke’s on you; doing that actually rules and feels great—especially if you’re listening to the latest Spanish Love Songs record \u003ca href=\"https://open.spotify.com/album/7GP702lI6EeRJnruJPoznv\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Brave Faces Everyone\u003c/em>.\u003c/a> It’s an absolutely thrilling album about facing imminent doom (the second best chorus goes: “Don’t you know you were born to die poor, man”), the kind of doom that you can’t quite run away from because it’s everywhere, so you might as well pump your fists in the sky because it feels great—who cares if you look dumb.\u003cbr>\n\u003cem>— Andrew Limbong, reporter\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/HYbAW0JlwdQ'\n title='//www.youtube.com/embed/HYbAW0JlwdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>British TV crime dramas\u003cbr>\n\u003c/strong>Not exactly calming, but great escapism. \u003cem>Happy Valley, Bodyguard, Broadchurch,\u003c/em> \u003cem>Grantchester, Line of Duty\u003c/em>. Gritty realism might be a stretch, but the sharp writing, flawed-but-endearing characters, plots, cheeky humor and all-around suspenseful atmosphere of these shows make it easy to slip into their worlds and stay there for hours—or at least until their final seasons. Always start at the beginning. (\u003cem>Happy Valley\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B072LGV8ZV/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=A7XQbRQ3mqM&cdid=tvseason-Gct2SdUGeF9fAI8Aug271A&gdid=tvepisode-fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1227764545?i=1229965074\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/80007225?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a>\u003cem> Bodyguard\u003c/em> available on \u003ca href=\"https://www.netflix.com/title/80235864?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix;\u003c/a> \u003cem>Broadchurch\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B074T38KHJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=hjoALWXeBsM&cdid=tvseason-rs2aF4n1qrJeHBcpa4HIqw&gdid=tvepisode-GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-8/id1209491967?i=1209497002\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes, \u003c/a>\u003ca href=\"https://www.netflix.com/title/70302484?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Grantchester\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07V96HMZG/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=bUMWuin_wjo&cdid=tvseason-Ri3diUPY8F-x6w0Gt4sX7w&gdid=tvepisode-ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-7/id1232011864?i=1248009358\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.pbs.org/wgbh/masterpiece/episodes/grantchester-s1-e1/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Line of Duty\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07RRGPTVJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=367W_LaDsj4&cdid=tvseason-WPoANXuJ_XVTCvLhvkKu7Q&gdid=tvepisode-t4VB8Mmt8ls\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://www.hulu.com/series/0efc0f95-c575-46da-b28f-a30a13d86b37\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1239948393?i=1240562203\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/line-of-duty-UCaAelRWU4cE05Hojwt6pOiQ?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>.)\u003cbr>\n—\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Old school real-time strategy games\u003cbr>\n\u003c/strong>You start with a town center and a villager or two. You send them off to build, or chop down trees, or farm, or mine ore, and gradually (the \u003cem>gradually\u003c/em> is what makes it relaxing!) you can start building armies and navies and upgrading your town. You watch it all happen from above, and there’s something incredibly peaceful about pulling back and seeing so many industrious little workers toiling away happily. (If you’ve spent any time in management, I don’t need to tell you how joyous the sight of people \u003cem>just doing the damn jobs you told them to do \u003c/em>can be.) Inevitably, because even pixelated humans are human, war comes—enemy troops descend on you, or you descend on your enemies. Some delight in this later stage of the game, as they relish the strategy and tactics of combat—but me, I’m happiest when a new game begins, and a tiny little dude with a tiny little wheelbarrow looks up at me expectantly, just wanting to be \u003cem>of use\u003c/em>. (You can find games like Age of the Empires, Battle for Middle Earth and Starcraft on \u003ca href=\"https://store.steampowered.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>.)\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The music from \u003c/strong>\u003cem>\u003cstrong>City of Angels, Golden Boy\u003c/strong>\u003c/em>\u003cstrong> and\u003c/strong>\u003cem>\u003cstrong> Raisin\u003cbr>\n\u003c/strong>\u003c/em>Broadway musicals nurtured me in my youth. Though I’m now an unrepentant Sondheimite, I fondly remember the scores of other composers and lyricists that kept me going between his shows—especially the jazzily obscure musicals that never seem to get revived these days. The glory of the Web is that they’re all at your fingertips. Say, Cy (\u003cem>Sweet Charity\u003c/em>) Coleman’s swinging detective musical-noir in \u003ca href=\"https://www.youtube.com/watch?v=M5QhFKE2GO8&list=PL445ADD730F46C816\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>City of Angels\u003c/em>,\u003c/a> or the sultry stylings that the creators of \u003cem>Bye Bye Birdie\u003c/em> fashioned for Sammy Davis Jr. in their boxing-ring musical \u003ca href=\"https://www.youtube.com/watch?v=OGqr3M-fajI&list=PLq01lsXqwzONpf-GYKwsgQrIqkwymyRGk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Golden Boy\u003c/em>.\u003c/a> And I’ve a special sweet spot in my heart for the musical \u003ca href=\"https://www.youtube.com/watch?v=6TPt4NzZreg&list=OLAK5uy_njf_RNyAufq1YFmp4K6qHhK3LjAGgZb0w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Raisin\u003c/em>,\u003c/a> based on Lorraine Hansberry’s \u003cem>A Raisin in the Sun\u003c/em>, that premiered at Washington’s Arena Stage and featured one of the the most delectable jazz scores I’ve ever heard.\u003cbr>\n\u003cem>— Bob Mondello, film critic\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cheers\u003cbr>\n\u003c/strong>\u003c/em>Sure, we all know \u003cem>Cheers\u003c/em>, but that’s its appeal—sometimes you want to go \u003ca href=\"https://www.youtube.com/watch?v=h-mi0r0LpXo\" target=\"_blank\" rel=\"noopener noreferrer\">“Where everybody knows your name…”\u003c/a> I return to it time and again for its recognizable sitcom tropes and familiar comedic rhythms—you’d be hard-pressed to find a show as packed with still-hilarious set-pieces and pingponging patter. Whether you tuned in each week from 1982 to 1993, or during reruns, or, now in a many-seasons-long binge, you’ll come to care deeply about these Boston bar knuckleheads as your own surrogate family and friends. I can’t think of anything more comforting than that. (Plus, once you hit the end of its 11 seasons, just keep going—with another 11 seasons of its spinoff, \u003ca href=\"https://www.imdb.com/title/tt0106004/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Frasier\u003c/em>\u003c/a>!) (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B00CV36NKU/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.cbs.com/shows/cheers/video/DXMbCNIG050KaYm2Tl82QQAyP6WO8E65/cheers-one-for-the-road-part-3/?searchReferral=google\" target=\"_blank\" rel=\"noopener noreferrer\">CBS,\u003c/a> \u003ca href=\"https://www.hulu.com/series/6db3756a-27a8-4c55-a285-c695e28fd977\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/one-for-the-road-pt-3/id476989385?i=477043997\" target=\"_blank\" rel=\"noopener noreferrer\"> iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70152640?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=x8H4Xkb9qhU\" target=\"_blank\" rel=\"noopener noreferrer\"> YouTube\u003c/a>)\u003cbr>\n—\u003cem> Mike Katzif, producer, \u003c/em>Pop Culture Happy Hour\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/ncc77oxnx5A'\n title='//www.youtube.com/embed/ncc77oxnx5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>West African Peanut Soup\u003cbr>\n\u003c/strong>I was in college when Mark Bittman posted \u003ca href=\"https://cooking.nytimes.com/recipes/1012581-west-african-peanut-soup-with-chicken\" target=\"_blank\" rel=\"noopener noreferrer\">this recipe\u003c/a> for West African chicken stew. I cooked pretty much everything he wrote back then, and while most recipes have faded in my memory this one stuck because it is\u003cem> magic.\u003c/em> I cannot explain why this combination of things you likely already have in your kitchen (peanut butter, garlic, a can of tomatoes, a chicken thigh in the back of your freezer, maybe?) and a few fresh veggies (kale, sweet potatoes) has become one of my all time favorite comfort meals, but it has. I make this soup when people are sick, or are having babies. I make it when the news is scary. I make it when the kale looks nice at the farmer’s market. I make it when I just have nothing else to do. It’s gluten- and dairy-free, so it works for a variety of diets and restrictions. (I’m sure you could make it vegetarian—just leave out the chicken. Maybe add some chickpeas.) It feels healthy and it comes together fast. When I made it yesterday, I didn’t have peanuts, and I used Japanese white sweet potatoes and added fish sauce. Go crazy!\u003cbr>\n—\u003cem> Rose Friedman, editor\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graveyard Keeper\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Really, any farming-type simulator game will do here—\u003cem>Stardew Valley, \u003c/em>granddaddy of them all \u003cem>Harvest Moon,\u003c/em> even \u003cem>Minecraft,\u003c/em> if the occasional zombie or spider doesn’t stress you out too much, and you like mining as much as farming—as long as it’s got soothingly repetitive action and lulling music. Plant endless crops? Yes! Dig lots of holes? Yes! Befriend local villagers? A thousand times yes! But what if you want that sweet, sweet farming sim action, and the times are just too grim to truly enjoy bringing endless sacks of flour to the Harvest Sprites? My friends, you need \u003cem>Graveyard Keeper.\u003c/em> You play as the maintenance man for a Medievalish graveyard, clearing stumps and weeds, improving your land, prettifying the graves, building relationships with the locals—all the activities common to farming sims. But also, you might be turning the regularly delivered bodies into mystery meat to sell at the tavern, and staging witch-burnings to get in good with the local inquisitor (while making a profit off mystery meat burgers you sell to the crowds). Fair warning—there are long periods in \u003cem>Graveyard Keeper\u003c/em> where you’re just grinding to get to the next level. But sometimes, that’s what you need to make the real world go away. And the music is \u003cem>really\u003c/em> soothing. (Available on \u003ca href=\"https://store.steampowered.com/app/599140/Graveyard_Keeper/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>, \u003ca href=\"https://www.microsoft.com/en-us/p/graveyard-keeper/c11gzgmkrtcv?activetab=pivot:overviewtab\" target=\"_blank\" rel=\"noopener noreferrer\">Xbox\u003c/a> and \u003ca href=\"https://www.nintendo.com/games/detail/graveyard-keeper-switch/\" target=\"_blank\" rel=\"noopener noreferrer\">Switch\u003c/a>)\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Art of Solitude \u003c/strong>\u003c/em>\u003cstrong>by Stephen Batchelor\u003cbr>\n\u003c/strong>I can’t think of a better time to read about how artists and writers have approached the idea of solitude—a concept that can range from loneliness to ecstasy. In \u003ca href=\"https://www.npr.org/books/titles/816253306/the-art-of-solitude-a-meditation-on-being-alone-with-others-in-this-world\" target=\"_blank\" rel=\"noopener noreferrer\">this short book (or audiobook),\u003c/a> Batchelor, a longtime Buddhist teacher, mixes in his own stories of being alone and at ease.\u003cbr>\n—\u003cem> Ted Robbins, editor\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=Here%27s+How+We+Cope+When+We%27re+Stressed%3A+Ideas+From+NPR%27s+Arts+Desk&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The way the world says hello is changing. Quickly.\u003c/p>\n\u003cp>In lieu of the germ-rich exchange of the handshake, alternative salutations are taking hold.\u003c/p>\n\u003cp>In Tanzania, President John Magufuli introduced a low-touch greeting when he met with the opposition leader from Zanzibar Seif Sharif Hamad, reports Eyder Peralta, NPR’s correspondent in east Africa. It takes the form of a catchy, two-part salute, using both hands and feet.\u003c/p>\n\u003cp>https://twitter.com/tbconetanzania/status/1234788136678502401\u003c/p>\n\u003cp>In the Eastern Democratic Republic of Congo, “because of Ebola, not coronavirus, people did the Ebola greeting, which involved bumping elbows,” Peralta says. It’s become popular in other parts of Africa and around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Brian_Castner/status/1234905058661273602\u003c/p>\n\u003cp>In Italy, a culture known for warmth and intimate greetings, “there has been a very sudden change. Old habits [are] being cast aside,” says Sylvia Poggioli, NPR’s correspondent in Rome. “The outbreak is having a major effect also on the Italian character. Italians are getting used to less intimacy in public.”\u003c/p>\n\u003cp>And what are Italians doing instead? “I’ve mainly seen elbow bumping, or simply waving from a distance,” Poggioli says.\u003c/p>\n\u003cp>In Israel, NPR correspondent Daniel Estrin says he’s embraced the fist bump. And norms do seem to be shifting. “My Palestinian colleague says she paid a condolence call to a mourning house and no one was kissing cheeks or shaking hands as is traditional,” Estrin says.\u003c/p>\n\u003cp>At a time with public events such as Purim parades are canceled, Israel’s Prime Minister Benjamin Netanyahu is suggesting people adopt “Namaste,” a traditional greeting in India. He demonstrated at a recent press conference, with his hands pressed together and a slight bow.\u003c/p>\n\u003cp>https://twitter.com/htTweets/status/1235257453303992320\u003c/p>\n\u003cp>In London, NPR correspondent Frank Langfitt says, “There are signs that Brits, who are not huggers like Americans, are changing the way they greet one another.”\u003c/p>\n\u003cp>At a recent Commonwealth Day ceremony at Westminster Abbey, Boris Johnson refrained from shaking hands, explaining later at a press conference that he’s following the lead of the government’s medical officers.\u003c/p>\n\u003cp>Langfitt notes that Prince Harry also attended the ceremony and bumped elbows with British singer-songwriter Craig David.\u003c/p>\n\u003cp>https://twitter.com/StandardInsider/status/1237090783230152704\u003c/p>\n\u003cp>In Paris, a city where cheek kissing is as common as pain au chocolat, norms are shifting too.\u003c/p>\n\u003cp>NPR’s Eleanor Beardsley, our correspondent in Paris says, “People are being told not to do “la bise” anymore (that’s the traditional cheek-kiss greeting) or shake hands.”\u003c/p>\n\u003cp>And she confirms the new keep-your-distance approach to greeting seems to be catching on. “Parents interviewed dropping their kids off at a Paris school said they were not doing the bise anymore,” Beardsley says.\u003c/p>\n\u003cp>“It’s changing everything,” Beardsley says. Some people are doing the “corona bise,” she says, “where you kind of just kiss at the air.”\u003c/p>\n\u003cp>But not everyone in France is on board. “I just asked a waiter in the café where I’m sitting and he says he’s still doing the bise,” she shared via e-mail. “He says it’s actually much safer than a handshake because there are way more germs on your hands than on your cheek.”\u003c/p>\n\u003cp>This \u003ca href=\"https://rmc.bfmtv.com/emission/il-ne-faut-pas-devenir-fou-et-arreter-sa-vie-face-au-coronavirus-les-francais-ont-peu-change-leurs-habitudes-d-hygiene-1871663.html\">survey finds\u003c/a> 91% of those surveyed in France continue to do la bise with their close friends and family.\u003c/p>\n\u003cp>Meanwhile, in the U.S., on Twitter people are sharing some creative alternate greetings: Jazz hands, peace signs, air high-fives, and finger guns were among them.\u003c/p>\n\u003cp>https://twitter.com/carlimosier/status/1238187011254751234\u003c/p>\n\u003cp>Oh and don’t miss the “coronavirus curtsy!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/jackhutton/status/1234684910167715841\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=No-Touch+Greetings+Take+Off%3A+People+Are+Getting+Creative+About+Saying+%27Hi%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In Paris, a city where cheek kissing is as common as pain au chocolat, norms are shifting too.\u003c/p>\n\u003cp>NPR’s Eleanor Beardsley, our correspondent in Paris says, “People are being told not to do “la bise” anymore (that’s the traditional cheek-kiss greeting) or shake hands.”\u003c/p>\n\u003cp>And she confirms the new keep-your-distance approach to greeting seems to be catching on. “Parents interviewed dropping their kids off at a Paris school said they were not doing the bise anymore,” Beardsley says.\u003c/p>\n\u003cp>“It’s changing everything,” Beardsley says. Some people are doing the “corona bise,” she says, “where you kind of just kiss at the air.”\u003c/p>\n\u003cp>But not everyone in France is on board. “I just asked a waiter in the café where I’m sitting and he says he’s still doing the bise,” she shared via e-mail. “He says it’s actually much safer than a handshake because there are way more germs on your hands than on your cheek.”\u003c/p>\n\u003cp>This \u003ca href=\"https://rmc.bfmtv.com/emission/il-ne-faut-pas-devenir-fou-et-arreter-sa-vie-face-au-coronavirus-les-francais-ont-peu-change-leurs-habitudes-d-hygiene-1871663.html\">survey finds\u003c/a> 91% of those surveyed in France continue to do la bise with their close friends and family.\u003c/p>\n\u003cp>Meanwhile, in the U.S., on Twitter people are sharing some creative alternate greetings: Jazz hands, peace signs, air high-fives, and finger guns were among them.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>At first, the cancellations came in a trickle.\u003c/p>\n\u003cp>A performance of the Mozart Requiem in Washington, D.C., Bach’s St. Matthew Passion in Seattle. Local jazz nights in New York City.\u003c/p>\n\u003cp>Then, almost at once, it seemed like the entire March calendars of musicians across the country were wiped clean. Within hours Wednesday, thousands of dollars in expected income vanished.\u003c/p>\n\u003cp>“My schedule for the next few months has been completely decimated,” said Seth Kibel, a woodwind player in the D.C. area who plays at swing dances and retirement homes — which he says were the first gigs to go.[aside postid='arts_13876160']\u003c/p>\n\u003cp>As panic over the coronavirus sweeps the globe, much of the focus is on the broader economic effects on businesses or venues that have to cancel events. But the coronavirus’ toll on working musicians is immediate and sometimes debilitating.\u003c/p>\n\u003cp>When people speak of the gig economy, they’re often thinking of Uber drivers or Instacart shoppers. But for freelance musicians, their patchwork of gigs pays the bills. And in the face of shuttered concert halls and a self-quarantining public, that patchwork is falling apart.\u003c/p>\n\u003cp>Tenor Zach Finkelstein, who lives in Washington state, says he’s already seen three cancellations and expects more. By May, he says, he estimates he’ll have lost about $10,000 in fees.\u003c/p>\n\u003cp>“A traveling soloist is going to be riding the poverty line, and this is peak time for classical singer travel,” he said. “Even missing one contract for $1,500-$2,000 has the potential to torpedo a career. Missing two or three is probably going to bankrupt most singers. The only people that will survive that financially are those with a day job, or a spouse with a day job, or a rich family.”\u003c/p>\n\u003cp>The median income for musicians in the U.S. was around $20,000 in 2016, according to Alan Krueger’s \u003cem>Rockonomics\u003c/em>, which examined the economics of the music industry. Live performances, Krueger wrote, are the most common source of a musician’s income.\u003c/p>\n\u003cp>Many venues have been canceling performances out of an abundance of caution. Some have been forced to do so, because their city or state has banned gatherings of more than a few hundred people. The new ban on travel from Europe has also had an impact.\u003c/p>\n\u003cp>“My concert next week was cancelled because the conductor won’t make it in to Minneapolis due to the travel ban,” said singer Clara Presser.\u003c/p>\n\u003cp>It’s not just performers themselves who are feeling the pain. Los Angeles-based recording engineer Christian Amonson said he leads a team whose livelihoods depend on large gatherings like concerts and recitals. When the first cancellation came in, Amonson said, he thought, “There goes $3,000.” Then a second email, “That’s $7,000.” Then another $1,500.\u003c/p>\n\u003cp>“And these are only some for the next week and a half,” Amonson said. “What about later in the month? What about April? We rely on these projects to pay salaries, keep the lights on, and make debt payments.”[aside postid='science_1957877']\u003c/p>\n\u003cp>“We’re all hurting,” said Claudio Rivera, a drum technician in St. Paul, Minn. “This is systemic, from backline techs to merch people to drivers to stagehands and everything in between.”\u003c/p>\n\u003cp>Several artist organizations are offering emergency grants to artists who have lost work. A new\u003ca href=\"https://covid19freelanceartistresource.wordpress.com/?fbclid=IwAR0OfYQflWLqrF2dAXh0AFDaSnu9yHAJZzlhkcrbxyPQ58JLaCLBxqy_yww\"> website\u003c/a>, “COVID-19 Freelance Artist Resources,” points artists in the right direction. But it’s unclear how far these emergency grants will go. \u003c/p>\n\u003cp>And some organizations, like Westmoreland Congregational United Church of Christ in Bethesda, Md., will continue to pay its hired singers despite canceled calls. Music Director Alec Davis said he made the proposal, which Westmoreland approved quickly. “Westmoreland is very social justice minded, so they appreciated the problem immediately,” Davis said.\u003c/p>\n\u003cp>But that’s an anomaly; most canceled gigs mean canceled incomes. In a \u003ca href=\"https://www.musicalartists.org/agma-statement-on-need-for-economic-relief-for-artists/\">statement\u003c/a> Thursday, the American Guild of Musical Artists asked federal, state and city governments to “pass immediate, substantial economic relief” for the arts organizations. \u003c/p>\n\u003cp>“Congress and state and local governments must not turn their backs on the artists, singers, dancers, stage managers, orchestra members, stagehands, and all those involved in putting on a production,” AGMA leadership wrote. “Local governments know how the arts benefit and uplift their economies, their communities, and the civic life of their cities and states. They cannot drag their feet at this precarious time.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. 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"content": "\u003cp>Late in Eliza Hittman’s \u003cem>Never Rarely Sometimes Always\u003c/em>, 17-year-old Autumn (Sidney Flanigan), who is pregnant and in all kinds of trouble, calls her mother from a public bathroom far from her Pennsylvania coal-town home. Her mother asks where she is in a quavering child’s voice. After a pause Autumn hangs up, inspects herself in the bathroom mirror, and squares her shoulders.\u003c/p>\n\u003cp>If you saw Hittman’s \u003ca href=\"https://www.npr.org/2014/03/20/291137541/a-teen-on-the-hunt-and-maybe-in-over-her-head\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It Felt Like Love\u003c/em>\u003c/a> (2013) or her \u003ca href=\"https://www.npr.org/2017/08/24/545479122/-beach-rats-a-young-man-on-a-collision-course-with-himself\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beach Rats\u003c/em>\u003c/a> (2017), you’ll know that the writer-director has little use for exposition. Her scripts are as spare as her soundtracks, so we can’t be sure whether this is a coming-of-age moment for Autumn. To the extent that \u003cem>Never Rarely Sometimes Always\u003c/em> (the title is drawn from a standard questionnaire administered by abortion providers) is a social issue movie, it’s “about” reproductive rights in the same way that the formally similar recent film \u003ca href=\"https://www.kqed.org/arts/13874000/the-assistant-helps-explain-how-predatory-behavior-stays-hidden\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Assistant\u003c/em>\u003c/a> is “about” sexual assault. Meaning that Hittman attends with near-reverent care to the subjective experience of a traumatized soul who’s struggling to take charge of her own destiny. An exacting but artfully suggestive realist, the director offers many mirror shots of Autumn to let us into the interior life of a proud, obstinate young woman confronting a neglectful or hostile adult world.\u003c/p>\n\u003cp>Flanigan, a Buffalo musician in her first acting role, serves up a held-in Autumn whose dull eyes and sullen glower barely conceal the tumult seething inside her. Certain that she wants to terminate her pregnancy but lacking support and money, she turns to a testing clinic that turns out to be an anti-abortion center where, through ineptitude or ulterior motive, she is fed inaccurate information about how far along she is.\u003c/p>\n\u003cp>Tagging along behind her devoted cousin Skylar (Talia Ryder), Autumn heads for New York City, where the camera holds tight on the two girls as they stumble through numerous obstacles in search of safety and self-definition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hjw_QTKr2rc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where Skylar is practical and fun-loving, Autumn is introverted, intense, socially unskilled. Hittman is powerfully attuned to the unquestioning solidarity and indomitable moxie of teenaged girls, the wordless ways in which they fight and make up—quite literally in fact, when, after a quarrel, Skylar applies concealer under her cousin’s eyes. Without a word of apology or defensive self-justification, the two are good to go even though they have nowhere to spend the night.\u003c/p>\n\u003cp>Yet \u003cem>Never Rarely\u003c/em> also made me wonder how neo-realism can tip over into partisan over-determinism, distortion, or plain miserabilism? Riveting when it stays within Autumn’s point of view, the film wields a heavy hand with the bigger picture of family, authority and most of all, men-in-general. The pro-lifers are soft-spoken liars, the abortion clinic staff uniformly kind and sensitive. Autumn’s mother, played with hauntingly ineffectual anxiety by singer-songwriter Sharon Van Etten, is a cipher, pathetically dependent on her boor of a husband (Ryan Eggold), who is not Autumn’s father in any sense and is one of several suspects in her pregnancy.\u003c/p>\n\u003cp>Hittman’s films are littered with hopelessly checked-out parents, crudely drawn figures of authority who are either all friend or all enemy, savagely predatory men. While Autumn might be forgiven for viewing the outside world through this jaundiced prism, I’m not sure Hittman can. Her legitimate subject is the hair-raising vulnerability—and robust fortitude—of young women today. But she tends to put the entire male species on trial and have them come up wanting.\u003c/p>\n\u003cp>As a parent and teacher as well as a critic, it worries me when a young woman filmmaker paints a landscape peopled (unless you count the beleaguered gay teen in \u003cem>Beach Rats\u003c/em>) by woman-hating men. The closest to a decent male in Autumn’s orbit is the harmlessly horny young doofus (a very good Théodore Pellerin) who has his eye on pretty Skylar. Watching \u003cem>Never Rarely Sometimes Always\u003c/em>, I was reminded of a young stranger who, when my own daughter had had too much to drink at a bar, put her and her best friend in his car and dropped them safely off at our home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, you know: \u003cem>sometimes\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=A+Young+Woman+Faces+A+Choice+In+The+Sobering+%27Never+Rarely+Sometimes+Always%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late in Eliza Hittman’s \u003cem>Never Rarely Sometimes Always\u003c/em>, 17-year-old Autumn (Sidney Flanigan), who is pregnant and in all kinds of trouble, calls her mother from a public bathroom far from her Pennsylvania coal-town home. Her mother asks where she is in a quavering child’s voice. After a pause Autumn hangs up, inspects herself in the bathroom mirror, and squares her shoulders.\u003c/p>\n\u003cp>If you saw Hittman’s \u003ca href=\"https://www.npr.org/2014/03/20/291137541/a-teen-on-the-hunt-and-maybe-in-over-her-head\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>It Felt Like Love\u003c/em>\u003c/a> (2013) or her \u003ca href=\"https://www.npr.org/2017/08/24/545479122/-beach-rats-a-young-man-on-a-collision-course-with-himself\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beach Rats\u003c/em>\u003c/a> (2017), you’ll know that the writer-director has little use for exposition. Her scripts are as spare as her soundtracks, so we can’t be sure whether this is a coming-of-age moment for Autumn. To the extent that \u003cem>Never Rarely Sometimes Always\u003c/em> (the title is drawn from a standard questionnaire administered by abortion providers) is a social issue movie, it’s “about” reproductive rights in the same way that the formally similar recent film \u003ca href=\"https://www.kqed.org/arts/13874000/the-assistant-helps-explain-how-predatory-behavior-stays-hidden\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Assistant\u003c/em>\u003c/a> is “about” sexual assault. Meaning that Hittman attends with near-reverent care to the subjective experience of a traumatized soul who’s struggling to take charge of her own destiny. An exacting but artfully suggestive realist, the director offers many mirror shots of Autumn to let us into the interior life of a proud, obstinate young woman confronting a neglectful or hostile adult world.\u003c/p>\n\u003cp>Flanigan, a Buffalo musician in her first acting role, serves up a held-in Autumn whose dull eyes and sullen glower barely conceal the tumult seething inside her. Certain that she wants to terminate her pregnancy but lacking support and money, she turns to a testing clinic that turns out to be an anti-abortion center where, through ineptitude or ulterior motive, she is fed inaccurate information about how far along she is.\u003c/p>\n\u003cp>Tagging along behind her devoted cousin Skylar (Talia Ryder), Autumn heads for New York City, where the camera holds tight on the two girls as they stumble through numerous obstacles in search of safety and self-definition.\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/hjw_QTKr2rc'\n title='//www.youtube.com/embed/hjw_QTKr2rc'\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>Where Skylar is practical and fun-loving, Autumn is introverted, intense, socially unskilled. Hittman is powerfully attuned to the unquestioning solidarity and indomitable moxie of teenaged girls, the wordless ways in which they fight and make up—quite literally in fact, when, after a quarrel, Skylar applies concealer under her cousin’s eyes. Without a word of apology or defensive self-justification, the two are good to go even though they have nowhere to spend the night.\u003c/p>\n\u003cp>Yet \u003cem>Never Rarely\u003c/em> also made me wonder how neo-realism can tip over into partisan over-determinism, distortion, or plain miserabilism? Riveting when it stays within Autumn’s point of view, the film wields a heavy hand with the bigger picture of family, authority and most of all, men-in-general. The pro-lifers are soft-spoken liars, the abortion clinic staff uniformly kind and sensitive. Autumn’s mother, played with hauntingly ineffectual anxiety by singer-songwriter Sharon Van Etten, is a cipher, pathetically dependent on her boor of a husband (Ryan Eggold), who is not Autumn’s father in any sense and is one of several suspects in her pregnancy.\u003c/p>\n\u003cp>Hittman’s films are littered with hopelessly checked-out parents, crudely drawn figures of authority who are either all friend or all enemy, savagely predatory men. While Autumn might be forgiven for viewing the outside world through this jaundiced prism, I’m not sure Hittman can. Her legitimate subject is the hair-raising vulnerability—and robust fortitude—of young women today. But she tends to put the entire male species on trial and have them come up wanting.\u003c/p>\n\u003cp>As a parent and teacher as well as a critic, it worries me when a young woman filmmaker paints a landscape peopled (unless you count the beleaguered gay teen in \u003cem>Beach Rats\u003c/em>) by woman-hating men. The closest to a decent male in Autumn’s orbit is the harmlessly horny young doofus (a very good Théodore Pellerin) who has his eye on pretty Skylar. Watching \u003cem>Never Rarely Sometimes Always\u003c/em>, I was reminded of a young stranger who, when my own daughter had had too much to drink at a bar, put her and her best friend in his car and dropped them safely off at our home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, you know: \u003cem>sometimes\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=A+Young+Woman+Faces+A+Choice+In+The+Sobering+%27Never+Rarely+Sometimes+Always%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As listening habits have shifted away from radio, visual media have become more important for discovering new music. As key scenes in films and television shows unfold, we may find ourselves searching online to identify what song we’re hearing. But who decides what song is playing during those moments?\u003c/p>\n\u003cp>As a music supervisor, Amanda Krieg Thomas has worked on hit TV shows such as \u003cem>The\u003c/em> \u003cem>Americans\u003c/em> and \u003cem>Pose\u003c/em>. She says she gets upwards of 50 pitches a day from people looking to get songs on TV.\u003c/p>\n\u003cp>“There’s record labels; there’s music publishers; there’s third party pitching companies; there are production music libraries, producers, songwriters, managers, artists,” she lists. “I get music sent to me all day, every day.”\u003c/p>\n\u003cp>They’re all hoping for something called “sync placement,” the industry term for matching a song to what’s happening on screen. Licensing that song could earn an artist anywhere from a few thousand dollars to more than $100,000. Negotiating the terms often involves clearing the rights with everyone from record labels to multiple songwriters on a single track. But Krieg Thomas says the creative element can be challenging, too.\u003c/p>\n\u003cp>“It’s all led by the showrunner’s vision, and so my job is servicing that vision,” she says. “Sometimes that involves pitching song ideas, sometimes it involves clearing songs they want. Sometimes it involves coming up with the tapestry, if you will, of the sound of the show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Music supervisor Gabe McDonough does the same, only for major advertising campaigns.\u003c/p>\n\u003cp>In 2015, he helped broker a deal with Ford to feature “Fight Song” by Rachel Platten.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z5zE1_oCCH4\u003c/p>\n\u003cp>Sustained TV exposure helped drive the single up to No. 6 on the Billboard Hot 100 and ignite Platten’s career as multi-platinum selling artist. McDonough says there is no perfect song for an ad, though certain generalities apply.\u003c/p>\n\u003cp>“Usually it’s up tempo, it’s positive, a lot of syncopation,” he says.\u003c/p>\n\u003cp>McDonough says he also tries his best to avoid clichés and trends in song placements.\u003c/p>\n\u003cp>“You know, you’ll hear that [loud thumping] in a lot of ads where people are trying to be swaggery and tough,” he says. “Before that, there was this ‘ukuleles and hand claps and whistles’ thing.”\u003c/p>\n\u003cp>McDonough says what matters most to brands is whether the song can help tell a story in 30 seconds; for artists, it’s how often that story reaches our ears, but both benefit from media buy, or how often the commercial runs.\u003c/p>\n\u003cp>“It’s brute force,” McDonough says. “How many times is that thing in front of people?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1VXEo0MQZw\u003c/p>\n\u003cp>Putting songs in front of listeners used to be the domain of record label A&R reps, industry talent scouts who lean on radio DJs to promote entry-level artists. But today, TV has become so effective, even established artists such as \u003ca href=\"https://consequenceofsound.net/2018/06/grimes-thats-what-the-drugs-are-for-apple/\" target=\"_blank\" rel=\"noopener noreferrer\">Grimes\u003c/a>, \u003ca href=\"https://www.stereogum.com/2031377/migos-position-to-win/music/\" target=\"_blank\" rel=\"noopener noreferrer\">Migos\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15333650/beck\" target=\"_blank\" rel=\"noopener noreferrer\">Beck\u003c/a> are signing deals to plug their songs in ads before they appear on album releases.\u003c/p>\n\u003cp>In the words of music supervisor Morgan Rhodes: “Placement is sort of the new A&R.” Rhodes says she looks for opportunities to introduce audiences to artists who haven’t been widely exposed.\u003c/p>\n\u003cp>“I love the educational and historical part,” she says. “I love the research. I love the digging.”\u003c/p>\n\u003cp>Rhodes was spinning records at NPR member station KCRW in Los Angeles when filmmaker Ava DuVernay invited her to work on the 2012 feature \u003cem>Middle of Nowhere\u003c/em>. Since then, Rhodes has supervised the music for several of DuVernay’s projects, including the 2014 Civil Rights drama, \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>“There was no limit to where I searched [for inspiration]: news articles, conversations with family members,” she says. “And it was a wonderful experience, especially unearthing some artists that hadn’t seen placements and may not have been as remembered.”\u003c/p>\n\u003cp>One of those artists was Martha Bass. Rhodes chose one of her songs, “Walk With Me,” for a key scene: the confrontation at the Edmund Pettus Bridge during the 1965 march from \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Evh-n66–Tc\u003c/p>\n\u003cp>Later, when Rhodes was searching for a song for a 2017 episode of \u003cem>Dear White People\u003c/em> directed by Justin Simien, she thought back to an independent artist she’d featured on her radio show a few years earlier.\u003c/p>\n\u003cp>“We knew that we needed a male voice,” she says. “We knew that we needed a particular kind of singing, sort of a soft voice for the scene, and I remembered James Tillman.”\u003c/p>\n\u003cp>With tens of thousands of tracks uploaded to music streaming services every day, James Tillman says he tries to get his songs out as many ways as possible.\u003c/p>\n\u003cp>“I was on Spotify, Apple Music, Soundcloud, Bandcamp,” he says. “I just wanted to make sure the music was everywhere that it could be.”\u003c/p>\n\u003cp>But after his song “\u003ca href=\"https://www.youtube.com/watch?v=fm6MCUHeFdo\">Casual Encounters\u003c/a>” appeared on\u003cem> Dear White People\u003c/em>, Tillman says his streaming counts spiked, leaving a lasting impact on his audience reach.\u003c/p>\n\u003cp>“That showed me that it leveled the playing field in certain ways, giving me a chance to at least reach people,” he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fm6MCUHeFdo\u003c/p>\n\u003cp>Rhodes says that with such a crowded streaming environment, TV can help break through all of that online noise.\u003c/p>\n\u003cp>“I’ve seen sort of a shift in people looking to television as an ear for them, looking to television as a source for new music in the same way that we look at places like Spotify,” she says.\u003c/p>\n\u003cp>But song placement is still not a magic bullet: Despite getting his song on a hit TV show, for now James Tillman remains unsigned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“One placement could significantly impact your career, but it probably won’t push it over the edge,” he says.\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=With+Shows+Breaking+New+Artists%2C+Music+Supervisors+Are+The+New+A%26R&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As listening habits have shifted away from radio, visual media have become more important for discovering new music. As key scenes in films and television shows unfold, we may find ourselves searching online to identify what song we’re hearing. But who decides what song is playing during those moments?\u003c/p>\n\u003cp>As a music supervisor, Amanda Krieg Thomas has worked on hit TV shows such as \u003cem>The\u003c/em> \u003cem>Americans\u003c/em> and \u003cem>Pose\u003c/em>. She says she gets upwards of 50 pitches a day from people looking to get songs on TV.\u003c/p>\n\u003cp>“There’s record labels; there’s music publishers; there’s third party pitching companies; there are production music libraries, producers, songwriters, managers, artists,” she lists. “I get music sent to me all day, every day.”\u003c/p>\n\u003cp>They’re all hoping for something called “sync placement,” the industry term for matching a song to what’s happening on screen. Licensing that song could earn an artist anywhere from a few thousand dollars to more than $100,000. Negotiating the terms often involves clearing the rights with everyone from record labels to multiple songwriters on a single track. But Krieg Thomas says the creative element can be challenging, too.\u003c/p>\n\u003cp>“It’s all led by the showrunner’s vision, and so my job is servicing that vision,” she says. “Sometimes that involves pitching song ideas, sometimes it involves clearing songs they want. Sometimes it involves coming up with the tapestry, if you will, of the sound of the show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Music supervisor Gabe McDonough does the same, only for major advertising campaigns.\u003c/p>\n\u003cp>In 2015, he helped broker a deal with Ford to feature “Fight Song” by Rachel Platten.\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/Z5zE1_oCCH4'\n title='//www.youtube.com/embed/Z5zE1_oCCH4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sustained TV exposure helped drive the single up to No. 6 on the Billboard Hot 100 and ignite Platten’s career as multi-platinum selling artist. McDonough says there is no perfect song for an ad, though certain generalities apply.\u003c/p>\n\u003cp>“Usually it’s up tempo, it’s positive, a lot of syncopation,” he says.\u003c/p>\n\u003cp>McDonough says he also tries his best to avoid clichés and trends in song placements.\u003c/p>\n\u003cp>“You know, you’ll hear that [loud thumping] in a lot of ads where people are trying to be swaggery and tough,” he says. “Before that, there was this ‘ukuleles and hand claps and whistles’ thing.”\u003c/p>\n\u003cp>McDonough says what matters most to brands is whether the song can help tell a story in 30 seconds; for artists, it’s how often that story reaches our ears, but both benefit from media buy, or how often the commercial runs.\u003c/p>\n\u003cp>“It’s brute force,” McDonough says. “How many times is that thing in front of people?”\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/R1VXEo0MQZw'\n title='//www.youtube.com/embed/R1VXEo0MQZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Putting songs in front of listeners used to be the domain of record label A&R reps, industry talent scouts who lean on radio DJs to promote entry-level artists. But today, TV has become so effective, even established artists such as \u003ca href=\"https://consequenceofsound.net/2018/06/grimes-thats-what-the-drugs-are-for-apple/\" target=\"_blank\" rel=\"noopener noreferrer\">Grimes\u003c/a>, \u003ca href=\"https://www.stereogum.com/2031377/migos-position-to-win/music/\" target=\"_blank\" rel=\"noopener noreferrer\">Migos\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15333650/beck\" target=\"_blank\" rel=\"noopener noreferrer\">Beck\u003c/a> are signing deals to plug their songs in ads before they appear on album releases.\u003c/p>\n\u003cp>In the words of music supervisor Morgan Rhodes: “Placement is sort of the new A&R.” Rhodes says she looks for opportunities to introduce audiences to artists who haven’t been widely exposed.\u003c/p>\n\u003cp>“I love the educational and historical part,” she says. “I love the research. I love the digging.”\u003c/p>\n\u003cp>Rhodes was spinning records at NPR member station KCRW in Los Angeles when filmmaker Ava DuVernay invited her to work on the 2012 feature \u003cem>Middle of Nowhere\u003c/em>. Since then, Rhodes has supervised the music for several of DuVernay’s projects, including the 2014 Civil Rights drama, \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>“There was no limit to where I searched [for inspiration]: news articles, conversations with family members,” she says. “And it was a wonderful experience, especially unearthing some artists that hadn’t seen placements and may not have been as remembered.”\u003c/p>\n\u003cp>One of those artists was Martha Bass. Rhodes chose one of her songs, “Walk With Me,” for a key scene: the confrontation at the Edmund Pettus Bridge during the 1965 march from \u003cem>Selma\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/Evh-n66'\n title='//www.youtube.com/embed/Evh-n66'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Later, when Rhodes was searching for a song for a 2017 episode of \u003cem>Dear White People\u003c/em> directed by Justin Simien, she thought back to an independent artist she’d featured on her radio show a few years earlier.\u003c/p>\n\u003cp>“We knew that we needed a male voice,” she says. “We knew that we needed a particular kind of singing, sort of a soft voice for the scene, and I remembered James Tillman.”\u003c/p>\n\u003cp>With tens of thousands of tracks uploaded to music streaming services every day, James Tillman says he tries to get his songs out as many ways as possible.\u003c/p>\n\u003cp>“I was on Spotify, Apple Music, Soundcloud, Bandcamp,” he says. “I just wanted to make sure the music was everywhere that it could be.”\u003c/p>\n\u003cp>But after his song “\u003ca href=\"https://www.youtube.com/watch?v=fm6MCUHeFdo\">Casual Encounters\u003c/a>” appeared on\u003cem> Dear White People\u003c/em>, Tillman says his streaming counts spiked, leaving a lasting impact on his audience reach.\u003c/p>\n\u003cp>“That showed me that it leveled the playing field in certain ways, giving me a chance to at least reach people,” he says.\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/fm6MCUHeFdo'\n title='//www.youtube.com/embed/fm6MCUHeFdo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rhodes says that with such a crowded streaming environment, TV can help break through all of that online noise.\u003c/p>\n\u003cp>“I’ve seen sort of a shift in people looking to television as an ear for them, looking to television as a source for new music in the same way that we look at places like Spotify,” she says.\u003c/p>\n\u003cp>But song placement is still not a magic bullet: Despite getting his song on a hit TV show, for now James Tillman remains unsigned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“One placement could significantly impact your career, but it probably won’t push it over the edge,” he says.\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=With+Shows+Breaking+New+Artists%2C+Music+Supervisors+Are+The+New+A%26R&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Harvey Weinstein Sentenced To 23 Years In Prison",
"headTitle": "Harvey Weinstein Sentenced To 23 Years In Prison | KQED",
"content": "\u003cp>Harvey Weinstein has been sentenced to 23 years in prison. Judge James Burke handed down the decision in a Manhattan courtroom Wednesday as the disgraced movie mogul watched, flanked by his legal team. \u003c/p>\n\u003cp>His 20-year sentence for a criminal sexual act, the more serious of the two counts he was convicted of \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\">last month\u003c/a>, is on the higher end of New York state’s guidelines. For the other count, rape in the third degree, Weinstein was sentenced to three years in prison.\u003c/p>\n\u003cp>The sentence Wednesday caps Weinstein’s precipitous fall from the heights of Hollywood, where for decades he brandished his power and influence like a blunt instrument — and allegedly sexually assaulted dozens of young women, intimidating them and others into silence.\u003c/p>\n\u003cp>Those allegations, which \u003ca href=\"https://www.npr.org/798222176\">gathered momentum\u003c/a> with the release of a pair of exposés in October 2017, landed him in court earlier this year to face his first criminal trial. The charges, including two counts of predatory sexual assault, could have led to him spending the rest of his life in prison — though jurors, after hearing weeks of arguments and deliberating another five days, acquitted him of the most serious charges.\u003c/p>\n\u003cp>Weinstein’s legal team cited this mixed verdict in its sentencing letter to the court, pointing out his charity work and \u003ca href=\"https://www.npr.org/804584532\">arguing that\u003c/a> two of the principal witnesses in the trial — Miriam Haley and Jessica Mann — offered “extremely complicated” descriptions of their relationships with Weinstein.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Given his age and specific medical risk factors,” his attorneys said, “any additional term of imprisonment above the mandatory minimum — although the grave reality is that Mr. Weinstein may not even outlive that term — is likely to constitute a de facto life sentence.”\u003c/p>\n\u003cp>Weinstein displayed signs of poor health throughout the court hearings, which he attended with the aid of a walker. After his verdict was read — and before heading to the Rikers Island jail complex, where he awaited sentencing — authorities rerouted him to a hospital, where doctors placed a stent in his heart.\u003c/p>\n\u003cp>When he returned for his sentencing hearing Wednesday, he did so in a wheelchair.\u003c/p>\n\u003cp>Weinstein, who did not take the stand during the trial, did, however, speak to the court during the hearing. He compared himself to \u003ca href=\"https://www.npr.org/2015/11/06/454996142/bryan-cranston-becomes-blacklisted-screenwriter-dalton-trumbo-in-new-biopic\">Dalton Trumbo\u003c/a>, an American screenwriter who was notoriously blacklisted in the 1940s for being a member of the Communist Party. And Weinstein, whose alleged assaults help spur the #MeToo movement, which boosts the voices of survivors, compared environment it has created to the Red Scare.\u003c/p>\n\u003cp>“I’m worried about this country,” he said.\u003c/p>\n\u003cp>Prosecutors, for their part, argued against leniency by relating a list of deeply detailed allegations of sexual assault, harassment and other abuse dating back to the 1970s. In their letter to the judge, prosecutors said the examples bolstered the accounts offered by Mann, Haley and the four other women who \u003ca href=\"https://www.npr.org/802340962\">told their stories\u003c/a> on the witness stand.\u003c/p>\n\u003cp>“Rape is not that one moment of penetration,” Mann said in her statement to the court Wednesday. “It is forever.”\u003c/p>\n\u003cp>She and the five other women who testified that Weinstein assaulted them sat side-by-side together during the sentencing hearing as a gesture of solidarity. Among the group was Tarale Wulff, whose allegation of rape was not included in the charges but who nevertheless took the stand during the trial to support the prosecutors’ case.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://medium.com/@TaraleWulff/harvey-weinsteins-prison-sentence-can-never-heal-me-but-it-s-a-start-68d91feb9702?source=friends_link&sk=0fe62b935c20d5a8888d0ed242d4d32a\">published Tuesday\u003c/a>, she uttered a similar sentiment in hoping that Weinstein’s sentence “reflects what he has done to us.”\u003c/p>\n\u003cp>“Those events,” she wrote, “will continue to haunt me and the other survivors for the rest of our lives.”\u003c/p>\n\u003cp>Wednesday does not represent the last of Weinstein’s legal woes. Los Angeles prosecutors have \u003ca href=\"https://www.npr.org/2020/01/06/794012813/harvey-weinstein-is-charged-with-sexual-assault-in-los-angeles-as-n-y-trial-begi\">filed criminal charges\u003c/a> of their own against the former producer, alleging two incidents over a two-night period.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Rose Friedman contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Sentenced+To+23+Years+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harvey Weinstein has been sentenced to 23 years in prison. Judge James Burke handed down the decision in a Manhattan courtroom Wednesday as the disgraced movie mogul watched, flanked by his legal team. \u003c/p>\n\u003cp>His 20-year sentence for a criminal sexual act, the more serious of the two counts he was convicted of \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\">last month\u003c/a>, is on the higher end of New York state’s guidelines. For the other count, rape in the third degree, Weinstein was sentenced to three years in prison.\u003c/p>\n\u003cp>The sentence Wednesday caps Weinstein’s precipitous fall from the heights of Hollywood, where for decades he brandished his power and influence like a blunt instrument — and allegedly sexually assaulted dozens of young women, intimidating them and others into silence.\u003c/p>\n\u003cp>Those allegations, which \u003ca href=\"https://www.npr.org/798222176\">gathered momentum\u003c/a> with the release of a pair of exposés in October 2017, landed him in court earlier this year to face his first criminal trial. The charges, including two counts of predatory sexual assault, could have led to him spending the rest of his life in prison — though jurors, after hearing weeks of arguments and deliberating another five days, acquitted him of the most serious charges.\u003c/p>\n\u003cp>Weinstein’s legal team cited this mixed verdict in its sentencing letter to the court, pointing out his charity work and \u003ca href=\"https://www.npr.org/804584532\">arguing that\u003c/a> two of the principal witnesses in the trial — Miriam Haley and Jessica Mann — offered “extremely complicated” descriptions of their relationships with Weinstein.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Given his age and specific medical risk factors,” his attorneys said, “any additional term of imprisonment above the mandatory minimum — although the grave reality is that Mr. Weinstein may not even outlive that term — is likely to constitute a de facto life sentence.”\u003c/p>\n\u003cp>Weinstein displayed signs of poor health throughout the court hearings, which he attended with the aid of a walker. After his verdict was read — and before heading to the Rikers Island jail complex, where he awaited sentencing — authorities rerouted him to a hospital, where doctors placed a stent in his heart.\u003c/p>\n\u003cp>When he returned for his sentencing hearing Wednesday, he did so in a wheelchair.\u003c/p>\n\u003cp>Weinstein, who did not take the stand during the trial, did, however, speak to the court during the hearing. He compared himself to \u003ca href=\"https://www.npr.org/2015/11/06/454996142/bryan-cranston-becomes-blacklisted-screenwriter-dalton-trumbo-in-new-biopic\">Dalton Trumbo\u003c/a>, an American screenwriter who was notoriously blacklisted in the 1940s for being a member of the Communist Party. And Weinstein, whose alleged assaults help spur the #MeToo movement, which boosts the voices of survivors, compared environment it has created to the Red Scare.\u003c/p>\n\u003cp>“I’m worried about this country,” he said.\u003c/p>\n\u003cp>Prosecutors, for their part, argued against leniency by relating a list of deeply detailed allegations of sexual assault, harassment and other abuse dating back to the 1970s. In their letter to the judge, prosecutors said the examples bolstered the accounts offered by Mann, Haley and the four other women who \u003ca href=\"https://www.npr.org/802340962\">told their stories\u003c/a> on the witness stand.\u003c/p>\n\u003cp>“Rape is not that one moment of penetration,” Mann said in her statement to the court Wednesday. “It is forever.”\u003c/p>\n\u003cp>She and the five other women who testified that Weinstein assaulted them sat side-by-side together during the sentencing hearing as a gesture of solidarity. Among the group was Tarale Wulff, whose allegation of rape was not included in the charges but who nevertheless took the stand during the trial to support the prosecutors’ case.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://medium.com/@TaraleWulff/harvey-weinsteins-prison-sentence-can-never-heal-me-but-it-s-a-start-68d91feb9702?source=friends_link&sk=0fe62b935c20d5a8888d0ed242d4d32a\">published Tuesday\u003c/a>, she uttered a similar sentiment in hoping that Weinstein’s sentence “reflects what he has done to us.”\u003c/p>\n\u003cp>“Those events,” she wrote, “will continue to haunt me and the other survivors for the rest of our lives.”\u003c/p>\n\u003cp>Wednesday does not represent the last of Weinstein’s legal woes. Los Angeles prosecutors have \u003ca href=\"https://www.npr.org/2020/01/06/794012813/harvey-weinstein-is-charged-with-sexual-assault-in-los-angeles-as-n-y-trial-begi\">filed criminal charges\u003c/a> of their own against the former producer, alleging two incidents over a two-night period.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Rose Friedman contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Sentenced+To+23+Years+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fans of the VH1 reality show \u003cem>RuPaul’s Drag Race \u003c/em>know that every episode ends with a mantra. After finishing the weekly challenge, the drag queens competing for the title of “America’s Next Drag Superstar” (and a hefty cash prize) gather on the runway before host RuPaul Charles, where the drag icon proclaims: “If you can’t love yourself, how in the hell you gonna love somebody else?”\u003c/p>\n\u003cp>RuPaul says that repeating these words is an important touchstone—both for the show and for life: “These mantras are set to align you with the truth of who you are,” he says. “You are love—and you cannot give something that you do not have.”\u003c/p>\n\u003cp>RuPaul got his start in Atlanta in the ’80s, performing a punk-inspired “genderf***” drag—for example, pairing an old prom dress and a tiara with combat boots and a mohawk.\u003c/p>\n\u003cp>“We did drag as a social commentary,” he says. “It was a reaction to the Reagan ’80s, and it wasn’t trying to look real or pass [as a woman]. It was a rebellion against the status quo.”\u003c/p>\n\u003cp>In 1993, RuPaul’s break-out hit \u003ca href=\"https://www.youtube.com/watch?v=Vw9LOrHU8JI\" target=\"_blank\" rel=\"noopener noreferrer\">“Supermodel (You Better Work)”\u003c/a> brought him—and drag—national attention. Now 59, he sits at the helm of a drag empire. Since it began in 2009, \u003cem>RuPaul’s Drag Race\u003c/em> has launched the careers of hundreds of drag queens. The Emmy-winning series, now in its 12th season, has spin-offs in Chile, Thailand, Canada and the U.K.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vw9LOrHU8JI\u003c/p>\n\u003cp>RuPaul, who splits time between Los Angeles and a 60,000-acre ranch in Wyoming, says one of the secrets to his success is adaptability.\u003c/p>\n\u003cp>“In this life, if you can stay flexible, you have a really good chance of navigating a really rich experience for yourself on this planet,” he says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On his belief that identity is an illusion \u003c/strong>\u003c/p>\n\u003cp>It’s all a lie—this world is a lie. So don’t base your value on the lie. I’ve always been attracted to things that were irreverent, [like] Monty Python, I thought, “Oh, there’s my tribe!” Because even as a kid, I knew that I had a sense that none of this was real, that it was all an illusion and that it would be a mistake to base my value on the lie: Boys, go here. Girls go there. Blacks over here, whites over here … all these superficial rules we come up with are just BS!\u003c/p>\n\u003cp>\u003cstrong>On how his mother influenced his punk sensibility \u003c/strong>\u003c/p>\n\u003cp>My mother was very world-weary. She was someone who I suspect—and she wasn’t very open about anything in her childhood or her background—but I suspect that some horrible thing had happened to her. I felt that. She never talked about it, but she was someone who, because of her world weariness, she instilled in me the ability to not pay attention to what other people had to say about what I was doing. She loved me so much, and she was so proud of the fact that I was gonna do my own thing.\u003c/p>\n\u003cp>So it was a very punk rock approach to life, and I got that from her. She famously says, “If they ain’t paying your bills, pay them no mind.” And I lived my life that way. Yes, I mean, people have said lots of nasty things about me to me and still do, but am I gonna let that stop me? Uh-uh. I will laugh at it and say … The joke is on you, person, because I am going to get as much out of this life as I possibly can—and I have! At 59 years old, I have done a lot of stuff and I’m still going to do a lot of stuff.\u003c/p>\n\u003cp>\u003cstrong>On the nightclub scene in the Village in New York in the late ’80s \u003c/strong>\u003c/p>\n\u003cp>We were the children of Warhol. We were the children of David Bowie. And all things were possible. There was a club scene. And back then there were so many clubs. You could go to six different nightclubs per night. And we’re talking Monday through Sunday. You could go every night to a different nightclub. And back then, the clubs were filled with everyone—straight, gay, black, white, Puerto Rican, uptown, downtown, men, women, everybody. And that was the scene, that tapestry of what New York is, or was, was so evident in the nightclub scene. And it was fabulous! It was gorgeous. I’m so proud and so happy I got to experience that.\u003c/p>\n\u003cp>\u003cstrong>On establishing the “Glamizon” look of drag he’s now known for today\u003c/strong>\u003c/p>\n\u003cp>[In 1989] I worked on a demo tape so I could send it to a record company. And that’s what I did for a year. I worked on a demo and basically ate popcorn and seltzer water from the Film Forum because I had a friend who worked there, and so that’s how I sustained myself. And I do a … few gigs here and there. But I wasn’t in the clubs every night like I had been. And in ’92, I got a record deal with Tommy Boy Records, which was a subsidiary of Warner Bros. Records. I had also met with Mathu and Zaldy, two visual designers [on] costume, makeup, everything, and we’d come up with my look, which was then elevated from my \u003cem>Soul Train \u003c/em>dancer look … to the glamazon that you know today. It’s very studied and precise … and that’s how it came about.\u003c/p>\n\u003cp>But also, I knew that, commercially, as someone who’s paying attention, that if I wanted to make it mainstream, I would have to be non-threatening to Betty and Joe Beer Can. And what I did was I came up with a recipe, which was one-part Cher, two-parts David Bowie, one-part Diana Ross and two heaping spoonfuls of Dolly Parton.\u003c/p>\n\u003cp>\u003cstrong>On why drag queens model themselves after the icons like Cher, Liza Minnelli, Barbra Streisand and Diana Ross\u003c/strong>\u003c/p>\n\u003cp>I’ll tell you exactly what it is: It is that they embody both strength and vulnerability. And that is what the child in you, in me and everyone listening remembers, deep in the recesses of your consciousness. … The ability to oscillate between those two emotions, that the strength and the vulnerability is what we are doing on this planet. And that balance, dear listener, is what life is all about. It’s not one or the other. And all of these women that you talked about—Cher and Diana, Barbra—they all exemplify … that vulnerability and strength, that duality.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=RuPaul%27s+Recipe+For+Success%3F+Love+Yourself+And+Stay+Flexible&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans of the VH1 reality show \u003cem>RuPaul’s Drag Race \u003c/em>know that every episode ends with a mantra. After finishing the weekly challenge, the drag queens competing for the title of “America’s Next Drag Superstar” (and a hefty cash prize) gather on the runway before host RuPaul Charles, where the drag icon proclaims: “If you can’t love yourself, how in the hell you gonna love somebody else?”\u003c/p>\n\u003cp>RuPaul says that repeating these words is an important touchstone—both for the show and for life: “These mantras are set to align you with the truth of who you are,” he says. “You are love—and you cannot give something that you do not have.”\u003c/p>\n\u003cp>RuPaul got his start in Atlanta in the ’80s, performing a punk-inspired “genderf***” drag—for example, pairing an old prom dress and a tiara with combat boots and a mohawk.\u003c/p>\n\u003cp>“We did drag as a social commentary,” he says. “It was a reaction to the Reagan ’80s, and it wasn’t trying to look real or pass [as a woman]. It was a rebellion against the status quo.”\u003c/p>\n\u003cp>In 1993, RuPaul’s break-out hit \u003ca href=\"https://www.youtube.com/watch?v=Vw9LOrHU8JI\" target=\"_blank\" rel=\"noopener noreferrer\">“Supermodel (You Better Work)”\u003c/a> brought him—and drag—national attention. Now 59, he sits at the helm of a drag empire. Since it began in 2009, \u003cem>RuPaul’s Drag Race\u003c/em> has launched the careers of hundreds of drag queens. The Emmy-winning series, now in its 12th season, has spin-offs in Chile, Thailand, Canada and the U.K.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/Vw9LOrHU8JI'\n title='//www.youtube.com/embed/Vw9LOrHU8JI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>RuPaul, who splits time between Los Angeles and a 60,000-acre ranch in Wyoming, says one of the secrets to his success is adaptability.\u003c/p>\n\u003cp>“In this life, if you can stay flexible, you have a really good chance of navigating a really rich experience for yourself on this planet,” he says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On his belief that identity is an illusion \u003c/strong>\u003c/p>\n\u003cp>It’s all a lie—this world is a lie. So don’t base your value on the lie. I’ve always been attracted to things that were irreverent, [like] Monty Python, I thought, “Oh, there’s my tribe!” Because even as a kid, I knew that I had a sense that none of this was real, that it was all an illusion and that it would be a mistake to base my value on the lie: Boys, go here. Girls go there. Blacks over here, whites over here … all these superficial rules we come up with are just BS!\u003c/p>\n\u003cp>\u003cstrong>On how his mother influenced his punk sensibility \u003c/strong>\u003c/p>\n\u003cp>My mother was very world-weary. She was someone who I suspect—and she wasn’t very open about anything in her childhood or her background—but I suspect that some horrible thing had happened to her. I felt that. She never talked about it, but she was someone who, because of her world weariness, she instilled in me the ability to not pay attention to what other people had to say about what I was doing. She loved me so much, and she was so proud of the fact that I was gonna do my own thing.\u003c/p>\n\u003cp>So it was a very punk rock approach to life, and I got that from her. She famously says, “If they ain’t paying your bills, pay them no mind.” And I lived my life that way. Yes, I mean, people have said lots of nasty things about me to me and still do, but am I gonna let that stop me? Uh-uh. I will laugh at it and say … The joke is on you, person, because I am going to get as much out of this life as I possibly can—and I have! At 59 years old, I have done a lot of stuff and I’m still going to do a lot of stuff.\u003c/p>\n\u003cp>\u003cstrong>On the nightclub scene in the Village in New York in the late ’80s \u003c/strong>\u003c/p>\n\u003cp>We were the children of Warhol. We were the children of David Bowie. And all things were possible. There was a club scene. And back then there were so many clubs. You could go to six different nightclubs per night. And we’re talking Monday through Sunday. You could go every night to a different nightclub. And back then, the clubs were filled with everyone—straight, gay, black, white, Puerto Rican, uptown, downtown, men, women, everybody. And that was the scene, that tapestry of what New York is, or was, was so evident in the nightclub scene. And it was fabulous! It was gorgeous. I’m so proud and so happy I got to experience that.\u003c/p>\n\u003cp>\u003cstrong>On establishing the “Glamizon” look of drag he’s now known for today\u003c/strong>\u003c/p>\n\u003cp>[In 1989] I worked on a demo tape so I could send it to a record company. And that’s what I did for a year. I worked on a demo and basically ate popcorn and seltzer water from the Film Forum because I had a friend who worked there, and so that’s how I sustained myself. And I do a … few gigs here and there. But I wasn’t in the clubs every night like I had been. And in ’92, I got a record deal with Tommy Boy Records, which was a subsidiary of Warner Bros. Records. I had also met with Mathu and Zaldy, two visual designers [on] costume, makeup, everything, and we’d come up with my look, which was then elevated from my \u003cem>Soul Train \u003c/em>dancer look … to the glamazon that you know today. It’s very studied and precise … and that’s how it came about.\u003c/p>\n\u003cp>But also, I knew that, commercially, as someone who’s paying attention, that if I wanted to make it mainstream, I would have to be non-threatening to Betty and Joe Beer Can. And what I did was I came up with a recipe, which was one-part Cher, two-parts David Bowie, one-part Diana Ross and two heaping spoonfuls of Dolly Parton.\u003c/p>\n\u003cp>\u003cstrong>On why drag queens model themselves after the icons like Cher, Liza Minnelli, Barbra Streisand and Diana Ross\u003c/strong>\u003c/p>\n\u003cp>I’ll tell you exactly what it is: It is that they embody both strength and vulnerability. And that is what the child in you, in me and everyone listening remembers, deep in the recesses of your consciousness. … The ability to oscillate between those two emotions, that the strength and the vulnerability is what we are doing on this planet. And that balance, dear listener, is what life is all about. It’s not one or the other. And all of these women that you talked about—Cher and Diana, Barbra—they all exemplify … that vulnerability and strength, that duality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=RuPaul%27s+Recipe+For+Success%3F+Love+Yourself+And+Stay+Flexible&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Actor Max Von Sydow, From Bergman to 'Game of Thrones'",
"headTitle": "Remembering Actor Max Von Sydow, From Bergman to ‘Game of Thrones’ | KQED",
"content": "\u003cp>Actor Max von Sydow, whose career stretched across seven decades, died Sunday at the age of 90. The imposing Swedish star played the title character in \u003cem>The Exorcist\u003c/em> and more than 100 other roles.\u003c/p>\n\u003cp>In his 20s, near the start of his career, von Sydow played chess with Death—and lost. Director Ingmar Bergman had cast the then-unknown actor as a medieval knight in \u003cem>The Seventh Seal \u003c/em>(1957), which is set in a land ravaged by the plague. The knight tries to delay the inevitable by challenging Death to a game of chess. The agreement is that his soul won’t be claimed for as long as he can keep the game going.\u003c/p>\n\u003cfigure id=\"attachment_13876221\" class=\"wp-caption alignright\" style=\"max-width: 255px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/images.jpg\" alt=\"Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\" width=\"255\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images.jpg 255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images-160x124.jpg 160w\" sizes=\"(max-width: 255px) 100vw, 255px\">\u003cfigcaption class=\"wp-caption-text\">Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\u003c/figcaption>\u003c/figure>\n\u003cp>In real life, von Sydow kept the game going for decades, through a plethora of onscreen lives. Ten other Bergman features cemented his stature on the art house circuit, and dozens of roles helped make him into an international star. Two of those films also helped make his career in English: \u003cem>The Greatest Story Ever Told \u003c/em>(1965), in which he played Jesus, and \u003cem>Hawaii\u003c/em> (1966), in which he played a prim and proper missionary who is all but undone by Julie Andrews before he even embarks on his journey.\u003c/p>\n\u003cp>Though tall and handsome, von Sydow wasn’t often viewed by directors as a leading man, and especially not as a romantic lead. His deep voice and stern aspect often led to his being cast in more severe roles. In his mid-40s, for instance, he played Father Merrin, the frail, elderly title character in \u003cem>The Exorcist\u003c/em> (1973).\u003c/p>\n\u003cfigure id=\"attachment_13876216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg\" alt=\"Von Sydow played Jesus in 1965's 'The Greatest Story Ever Told.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played Jesus in 1965’s ‘The Greatest Story Ever Told.’ \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As von Sydow aged, his craggy face and steely gaze made him much in demand as a flat-out bad guy. He was a fedora-wearing assassin in \u003cem>Three Days of the Condor \u003c/em>(1975), Ming the Merciless in \u003cem>Flash Gordon\u003c/em> (1980), a Bond villain in \u003cem>Never Say Never Again\u003c/em> (1983) and a murderous bureaucrat in \u003cem>Minority Report\u003c/em> (2002). Even Woody Allen cast him as a spoiler of sorts: In \u003cem>Hannah and Her Sisters\u003c/em> (1986), he played a reclusive intellectual who sneers at a world with which he refuses to engage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But von Sydow also excelled in playing the diametric opposite of those dyspeptic souls: rugged farmers and working men overcoming hardship in such epic dramas as \u003cem>The Emigrants\u003c/em> (1971) and \u003cem>Pelle the Conqueror \u003c/em>(1987), which won him his first Oscar nomination.\u003c/p>\n\u003cfigure id=\"attachment_13876217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg\" alt=\"'Hawaii' (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hawaii’ (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Von Sydow was fluent in Swedish, Danish, English, Italian and French. That last one was spoken by one of his most rending characters: a helpless, wheelchair-bound father who discovers he has much in common with his paralyzed son in \u003cem>The Diving Bell and the Butterfly\u003c/em> (2007). And for all von Sydow’s facility with language, he earned his other Oscar nomination for a character in \u003cem>Extremely Loud & Incredibly Close\u003c/em> (2011) who doesn’t speak a word.\u003c/p>\n\u003cfigure id=\"attachment_13876223\" class=\"wp-caption alignright\" style=\"max-width: 268px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png\" alt=\"Von Sydow played the Three-Eyed Raven on 'Game of Thrones.'\" width=\"268\" height=\"171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png 268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM-160x102.png 160w\" sizes=\"(max-width: 268px) 100vw, 268px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played the Three-Eyed Raven on ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The imagination of Hollywood producers being less than boundless, acting’s elder statesmen tend to be given mostly bit parts at the end of their careers, and von Sydow—who played old before his time—was no exception. But he invariably made his onscreen minutes count, whether guiding young star-warriors in \u003cem>Star Wars: The Force Awakens \u003c/em>(2015) or stepping in as the Three-Eyed Raven to guide young Bran Stark in HBO’s \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor\u003c/em> \u003ca href=\"http://www.npr.org/people/348780107/nina-gregory\">Nina Gregory\u003c/a>,\u003cem> producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong\u003c/a> \u003cem>and digital producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\">Nicole Cohen\u003c/a> \u003cem>contributed to this report.\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=Remembering+Actor+Max+Von+Sydow%2C+From+Bergman+To+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Max von Sydow, whose career stretched across seven decades, died Sunday at the age of 90. The imposing Swedish star played the title character in \u003cem>The Exorcist\u003c/em> and more than 100 other roles.\u003c/p>\n\u003cp>In his 20s, near the start of his career, von Sydow played chess with Death—and lost. Director Ingmar Bergman had cast the then-unknown actor as a medieval knight in \u003cem>The Seventh Seal \u003c/em>(1957), which is set in a land ravaged by the plague. The knight tries to delay the inevitable by challenging Death to a game of chess. The agreement is that his soul won’t be claimed for as long as he can keep the game going.\u003c/p>\n\u003cfigure id=\"attachment_13876221\" class=\"wp-caption alignright\" style=\"max-width: 255px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/images.jpg\" alt=\"Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\" width=\"255\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images.jpg 255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/images-160x124.jpg 160w\" sizes=\"(max-width: 255px) 100vw, 255px\">\u003cfigcaption class=\"wp-caption-text\">Max von Sydow played a medieval knight who takes on Death in a game of chess in 1957’s The Seventh Seal.’\u003c/figcaption>\u003c/figure>\n\u003cp>In real life, von Sydow kept the game going for decades, through a plethora of onscreen lives. Ten other Bergman features cemented his stature on the art house circuit, and dozens of roles helped make him into an international star. Two of those films also helped make his career in English: \u003cem>The Greatest Story Ever Told \u003c/em>(1965), in which he played Jesus, and \u003cem>Hawaii\u003c/em> (1966), in which he played a prim and proper missionary who is all but undone by Julie Andrews before he even embarks on his journey.\u003c/p>\n\u003cp>Though tall and handsome, von Sydow wasn’t often viewed by directors as a leading man, and especially not as a romantic lead. His deep voice and stern aspect often led to his being cast in more severe roles. In his mid-40s, for instance, he played Father Merrin, the frail, elderly title character in \u003cem>The Exorcist\u003c/em> (1973).\u003c/p>\n\u003cfigure id=\"attachment_13876216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg\" alt=\"Von Sydow played Jesus in 1965's 'The Greatest Story Ever Told.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_6501280124-d9e0068a9cb8c8e623df9279f64b82f2e13e5ff0-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played Jesus in 1965’s ‘The Greatest Story Ever Told.’ \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As von Sydow aged, his craggy face and steely gaze made him much in demand as a flat-out bad guy. He was a fedora-wearing assassin in \u003cem>Three Days of the Condor \u003c/em>(1975), Ming the Merciless in \u003cem>Flash Gordon\u003c/em> (1980), a Bond villain in \u003cem>Never Say Never Again\u003c/em> (1983) and a murderous bureaucrat in \u003cem>Minority Report\u003c/em> (2002). Even Woody Allen cast him as a spoiler of sorts: In \u003cem>Hannah and Her Sisters\u003c/em> (1986), he played a reclusive intellectual who sneers at a world with which he refuses to engage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But von Sydow also excelled in playing the diametric opposite of those dyspeptic souls: rugged farmers and working men overcoming hardship in such epic dramas as \u003cem>The Emigrants\u003c/em> (1971) and \u003cem>Pelle the Conqueror \u003c/em>(1987), which won him his first Oscar nomination.\u003c/p>\n\u003cfigure id=\"attachment_13876217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg\" alt=\"'Hawaii' (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ap_650520076-05b5fccf34e5e87eab1833c94f4542b545896170-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hawaii’ (1966) starred von Sydow and Julie Andrews as 19th-century American missionaries who travel to the islands to convert their inhabitants. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Von Sydow was fluent in Swedish, Danish, English, Italian and French. That last one was spoken by one of his most rending characters: a helpless, wheelchair-bound father who discovers he has much in common with his paralyzed son in \u003cem>The Diving Bell and the Butterfly\u003c/em> (2007). And for all von Sydow’s facility with language, he earned his other Oscar nomination for a character in \u003cem>Extremely Loud & Incredibly Close\u003c/em> (2011) who doesn’t speak a word.\u003c/p>\n\u003cfigure id=\"attachment_13876223\" class=\"wp-caption alignright\" style=\"max-width: 268px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png\" alt=\"Von Sydow played the Three-Eyed Raven on 'Game of Thrones.'\" width=\"268\" height=\"171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM.png 268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-09-at-11.59.55-AM-160x102.png 160w\" sizes=\"(max-width: 268px) 100vw, 268px\">\u003cfigcaption class=\"wp-caption-text\">Von Sydow played the Three-Eyed Raven on ‘Game of Thrones.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The imagination of Hollywood producers being less than boundless, acting’s elder statesmen tend to be given mostly bit parts at the end of their careers, and von Sydow—who played old before his time—was no exception. But he invariably made his onscreen minutes count, whether guiding young star-warriors in \u003cem>Star Wars: The Force Awakens \u003c/em>(2015) or stepping in as the Three-Eyed Raven to guide young Bran Stark in HBO’s \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor\u003c/em> \u003ca href=\"http://www.npr.org/people/348780107/nina-gregory\">Nina Gregory\u003c/a>,\u003cem> producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348740829/andrew-limbong\">Andrew Limbong\u003c/a> \u003cem>and digital producer \u003c/em>\u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\">Nicole Cohen\u003c/a> \u003cem>contributed to this report.\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=Remembering+Actor+Max+Von+Sydow%2C+From+Bergman+To+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated Friday at 3:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>On Friday afternoon, Hachette Book Group (HBG) announced publicly and to its employees that it will not publish Woody Allen’s memoir, \u003cem>Apropos of Nothing\u003c/em>, as planned next month.\u003c/p>\n\u003cp>In a statement to NPR, the publisher said: “Hachette Book Group has decided that it will not publish Woody Allen’s memoir \u003cem>A Propos of Nothing\u003c/em>, originally scheduled for sale in April 2020, and will return all rights to the author.”\u003c/p>\n\u003cp>“The decision to cancel Mr. Allen’s book was a difficult one. At HBG we take our relationships with authors very seriously, and do not cancel books lightly. We have published and will continue to publish many challenging books. As publishers, we make sure every day in our work that different voices and conflicting points of views can be heard.”\u003c/p>\n\u003cp>“Also, as a company, we are committed to offering a stimulating, supportive and open work environment for all our staff. Over the past few days, HBG leadership had extensive conversations with our staff and others. After listening, we came to the conclusion that moving forward with publication would not be feasible for HBG.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The decision was announced to HBG’s employees as well at a brief town-hall meeting on Friday afternoon.\u003c/p>\n\u003cp>On Thursday afternoon, dozens of employees of the publishing imprints Grand Central Publishing and Little, Brown staged a walkout in both New York and Boston to protest Grand Central’s decision to publish Allen’s book.\u003c/p>\n\u003cp>Both imprints are owned by Hachette Book Group, the same house that published journalist Ronan Farrow’s \u003cem>Catch and Kill\u003c/em>. The walkout comes after Farrow \u003ca href=\"https://twitter.com/RonanFarrow/status/1234999252381618178\">announced\u003c/a> on Tuesday that he felt he could no longer work with HBG after the Allen acquisition.\u003c/p>\n\u003cp>Farrow is Allen’s son with actress Mia Farrow; his sister, Dylan Farrow, \u003ca href=\"https://www.vanityfair.com/style/2013/10/mia-farrow-children-family-scandal\">has accused\u003c/a> Allen of having sexually abused her as a child. Allen has long denied her allegations.\u003c/p>\n\u003cp>In his statement, Farrow wrote in part that HBG “concealed the decision from me and its own employees while we were working on \u003cem>Catch and Kill\u003c/em> — a book about how powerful men, including Woody Allen, avoid accountability for sexual abuse.”\u003c/p>\n\u003cp>[aside postID='news_11781549'label='Ronan Farrow on 'Catch and Kill,' the Weinstein Scandal and Investigative Journalism']\u003c/p>\n\u003cp>Dylan Farrow also released a \u003ca href=\"https://twitter.com/RealDylanFarrow/status/1234649622670430208/photo/1\">statement\u003c/a> on Monday evening, in which she said in part: “Hachette’s publishing of Woody Allen’s memoir is deeply upsetting to me personally and an utter betrayal of my brother whose brave reporting, capitalized on by Hachette, gave voice to numerous survivors of sexual assault by powerful men. … This provides yet another example of the profound privilege that power, money and notoriety affords. Hachette’s complicity in this should be called out for what it is and they should have to answer for it.”\u003c/p>\n\u003cp>Employees at both HBG’s New York and Boston offices participated in the Thursday walkout. Many also sent out an auto-reply email that read in part: “We stand in solidarity with Ronan Farrow, Dylan Farrow and survivors of sexual assault.” Those \u003ca href=\"https://twitter.com/davidfolkenflik/status/1235680790920523794?s=20\">include\u003c/a> Little, Brown executive editor Vanessa Mobley, who was the editor of \u003cem>Catch and Kill\u003c/em>.\u003c/p>\n\u003cp>In a statement sent to NPR Thursday afternoon, HBG CEO Michael Pietsch said: “We respect and understand the perspective of our employees who have decided to express their concern over the publication of this book. We will engage our staff in a fuller discussion about this at the earliest opportunity.”\u003c/p>\n\u003cp>NPR reached out for comment to Allen’s agent, who did not respond as of publication time.\u003c/p>\n\u003cp>The \u003cem>New York Post\u003c/em> \u003ca href=\"https://pagesix.com/2020/03/05/litlte-brown-staff-stages-walkout-in-support-of-ronan-and-dylan-farrow/\">reported\u003c/a> that HBG employees approached the company’s human resources department on Thursday afternoon to complain about the planned publication of Allen’s book. A Hachette employee told NPR that HBG’s CEO, Michael Pietsch, attempted to hold a town hall meeting on Thursday to discuss the issue, but the employees walked out before the meeting was held.\u003c/p>\n\u003cp>Farrow’s agent, \u003ca href=\"https://www.janklowandnesbit.com/people/lynn-nesbit\">Lynn Nesbit\u003c/a>, told NPR on Thursday, “I feel moved almost to tears by the walkout. It was such a brave gesture to management who, in my opinion, made such a misguided decision.”\u003c/p>\n\u003cp>Signing Allen, she said, was “a betrayal of Ronan, of the women in his book, of the issues in the book and of the staff of this publisher.” She added that Farrow is “grateful for the support of his colleagues at Little, Brown.”\u003c/p>\n\u003cp>Last year, \u003cem>The New York Times \u003c/em>reported that Allen had tried to sell the memoir to several major publishing houses, “only to be met with indifference or \u003ca href=\"https://www.nytimes.com/2019/05/02/movies/woody-allen-memoir.html\">hard passes\u003c/a>“; one source told NPR on Thursday afternoon that the title had been considered “radioactive” in the publishing world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Farrow also said in his Tuesday statement that HBG had not fact-checked Allen’s memoir nor did it contact Dylan Farrow for any response. “It also shows a lack of ethics and compassion for victims of sexual abuse, regardless of any personal connection or breach of trust here. … I’ve also told Hachette that a publisher that would conduct itself in this way is one I can’t work with in good conscience.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated Friday at 3:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>On Friday afternoon, Hachette Book Group (HBG) announced publicly and to its employees that it will not publish Woody Allen’s memoir, \u003cem>Apropos of Nothing\u003c/em>, as planned next month.\u003c/p>\n\u003cp>In a statement to NPR, the publisher said: “Hachette Book Group has decided that it will not publish Woody Allen’s memoir \u003cem>A Propos of Nothing\u003c/em>, originally scheduled for sale in April 2020, and will return all rights to the author.”\u003c/p>\n\u003cp>“The decision to cancel Mr. Allen’s book was a difficult one. At HBG we take our relationships with authors very seriously, and do not cancel books lightly. We have published and will continue to publish many challenging books. As publishers, we make sure every day in our work that different voices and conflicting points of views can be heard.”\u003c/p>\n\u003cp>“Also, as a company, we are committed to offering a stimulating, supportive and open work environment for all our staff. Over the past few days, HBG leadership had extensive conversations with our staff and others. After listening, we came to the conclusion that moving forward with publication would not be feasible for HBG.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The decision was announced to HBG’s employees as well at a brief town-hall meeting on Friday afternoon.\u003c/p>\n\u003cp>On Thursday afternoon, dozens of employees of the publishing imprints Grand Central Publishing and Little, Brown staged a walkout in both New York and Boston to protest Grand Central’s decision to publish Allen’s book.\u003c/p>\n\u003cp>Both imprints are owned by Hachette Book Group, the same house that published journalist Ronan Farrow’s \u003cem>Catch and Kill\u003c/em>. The walkout comes after Farrow \u003ca href=\"https://twitter.com/RonanFarrow/status/1234999252381618178\">announced\u003c/a> on Tuesday that he felt he could no longer work with HBG after the Allen acquisition.\u003c/p>\n\u003cp>Farrow is Allen’s son with actress Mia Farrow; his sister, Dylan Farrow, \u003ca href=\"https://www.vanityfair.com/style/2013/10/mia-farrow-children-family-scandal\">has accused\u003c/a> Allen of having sexually abused her as a child. Allen has long denied her allegations.\u003c/p>\n\u003cp>In his statement, Farrow wrote in part that HBG “concealed the decision from me and its own employees while we were working on \u003cem>Catch and Kill\u003c/em> — a book about how powerful men, including Woody Allen, avoid accountability for sexual abuse.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dylan Farrow also released a \u003ca href=\"https://twitter.com/RealDylanFarrow/status/1234649622670430208/photo/1\">statement\u003c/a> on Monday evening, in which she said in part: “Hachette’s publishing of Woody Allen’s memoir is deeply upsetting to me personally and an utter betrayal of my brother whose brave reporting, capitalized on by Hachette, gave voice to numerous survivors of sexual assault by powerful men. … This provides yet another example of the profound privilege that power, money and notoriety affords. Hachette’s complicity in this should be called out for what it is and they should have to answer for it.”\u003c/p>\n\u003cp>Employees at both HBG’s New York and Boston offices participated in the Thursday walkout. Many also sent out an auto-reply email that read in part: “We stand in solidarity with Ronan Farrow, Dylan Farrow and survivors of sexual assault.” Those \u003ca href=\"https://twitter.com/davidfolkenflik/status/1235680790920523794?s=20\">include\u003c/a> Little, Brown executive editor Vanessa Mobley, who was the editor of \u003cem>Catch and Kill\u003c/em>.\u003c/p>\n\u003cp>In a statement sent to NPR Thursday afternoon, HBG CEO Michael Pietsch said: “We respect and understand the perspective of our employees who have decided to express their concern over the publication of this book. We will engage our staff in a fuller discussion about this at the earliest opportunity.”\u003c/p>\n\u003cp>NPR reached out for comment to Allen’s agent, who did not respond as of publication time.\u003c/p>\n\u003cp>The \u003cem>New York Post\u003c/em> \u003ca href=\"https://pagesix.com/2020/03/05/litlte-brown-staff-stages-walkout-in-support-of-ronan-and-dylan-farrow/\">reported\u003c/a> that HBG employees approached the company’s human resources department on Thursday afternoon to complain about the planned publication of Allen’s book. A Hachette employee told NPR that HBG’s CEO, Michael Pietsch, attempted to hold a town hall meeting on Thursday to discuss the issue, but the employees walked out before the meeting was held.\u003c/p>\n\u003cp>Farrow’s agent, \u003ca href=\"https://www.janklowandnesbit.com/people/lynn-nesbit\">Lynn Nesbit\u003c/a>, told NPR on Thursday, “I feel moved almost to tears by the walkout. It was such a brave gesture to management who, in my opinion, made such a misguided decision.”\u003c/p>\n\u003cp>Signing Allen, she said, was “a betrayal of Ronan, of the women in his book, of the issues in the book and of the staff of this publisher.” She added that Farrow is “grateful for the support of his colleagues at Little, Brown.”\u003c/p>\n\u003cp>Last year, \u003cem>The New York Times \u003c/em>reported that Allen had tried to sell the memoir to several major publishing houses, “only to be met with indifference or \u003ca href=\"https://www.nytimes.com/2019/05/02/movies/woody-allen-memoir.html\">hard passes\u003c/a>“; one source told NPR on Thursday afternoon that the title had been considered “radioactive” in the publishing world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Farrow also said in his Tuesday statement that HBG had not fact-checked Allen’s memoir nor did it contact Dylan Farrow for any response. “It also shows a lack of ethics and compassion for victims of sexual abuse, regardless of any personal connection or breach of trust here. … I’ve also told Hachette that a publisher that would conduct itself in this way is one I can’t work with in good conscience.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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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"soldout": {
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