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"content": "\u003cp>In the final pages of \u003cem>The Third Rainbow Girl—\u003c/em>a new book about the aftermath of the murders of two young women who were hitchhiking in West Virginia in 1980—author Emma Copley Eisenberg interviews a friend of the victims. Elizabeth Johndrow parted company with her friends a day before they were murdered; she’s the “third rainbow girl” of the title.\u003c/p>\n\u003cp>Eisenberg asks Johndrow, now in her 50s, why she and so many other young women hitchhiked back then. Johndrow says:\u003c/p>\n\u003cblockquote>\u003cp>Well, there was adventure to it … [H]itchhiking was like falling forward into the universe that you wanted …\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13874425\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM.png\" alt=\"'The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia,' by Emma Copley Eisenberg.\" width=\"303\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM-160x240.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">‘The Third Rainbow Girl:\u003cbr>The Long Life of a Double Murder in Appalachia,’\u003cbr>by Emma Copley Eisenberg.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Third Rainbow Girl\u003c/em> is a haunting and hard-to-characterize book about restless women and the things that await them on the road. At its simplest, it’s a true crime story about the still-unresolved murders of Vicki Durian, 26, and Nancy Santomero, 19.\u003c/p>\n\u003cp>Durian and Santomero had been hitchhiking from Arizona to the Rainbow Gathering—an counterculture peace festival held in the Monongahela National Forest in West Virginia. On the evening of June 25, 1980, their bodies were found in an isolated clearing in Pocahontas County, south of the festival. They had been shot at close range, and there were no signs of sexual assault.\u003c/p>\n\u003cp>The conventional wisdom was that the killer or killers had to be local—someone who knew that clearing. Twelve years later, seven local men—farmers, mechanics, timber haulers—were charged. The charges were dropped because of improper police procedure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In another twist, the investigation focused in on one local farmer, Jacob Beard, reputed to be a mean drunk. Beard was convicted, but then released from prison six years later when a serial killer, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/11/20/246297720/white-supremacist-murderer-who-shot-larry-flynt-is-executed\" target=\"_blank\" rel=\"noopener noreferrer\">Joseph Paul Franklin\u003c/a>, confessed to the murders. Franklin was the man who shot and paralyzed \u003cem>Hustler \u003c/em>publisher Larry Flynt and, because he was already on death row for other murders, he was never tried for the so-called Rainbow killings. Case closed. Sort of.\u003c/p>\n\u003cp>Eisenberg dives deep here into the backstories of the victims, investigators and suspects, as well as the cultural “backstory” of Appalachia itself. Because she lived and worked with teenage girls in Pocahontas County on and off for several years but isn’t a native, she’s suited to the insider-outsider reporter role.\u003c/p>\n\u003cp>The Pocahontas County that Eisenberg evokes is a singular place; for one thing, it sits within the\u003ca href=\"https://www.npr.org/sections/alltechconsidered/2013/10/08/218976699/enter-the-quiet-zone-where-cell-service-wi-fi-are-banned\" target=\"_blank\" rel=\"noopener noreferrer\"> National Radio Quiet Zone\u003c/a>—a region where cellphone signals and Wi-Fi are severely restricted in order not to interfere with a giant mountaintop telescope that listens for signals from space.\u003c/p>\n\u003cp>Life in a place like Pocahontas County, Eisenberg writes, “demanded that women and girls be powerful in the ways that more urban places I’ve lived have not.” And, yet, Eisenberg also acknowledges, that it’s a place, like the rest of America, where “misogyny is in the groundwater.”\u003c/p>\n\u003cp>Eisenberg is also fascinated by how prefabricated stories, myths, even fairy tales shape what’s considered to be truth. She chips away at the “hick monster story” that prevailed at the first trial of the local men, which painted them as backwoods predators hunting down loose hippie chicks from the city.\u003c/p>\n\u003cp>She’s also aware of the enduring lure of what the late Gwen Ifill is credited with calling the “missing white woman syndrome,” whereby foul play involving white women—especially if they’re pretty—stokes up public interest, while the same fate befalling women of color does not.\u003c/p>\n\u003cp>Eisenberg ruminates over the press coverage of the crime and how the fact that neither Vicki nor Nancy were considered pretty complicated the “damsels in distress” narrative and, perhaps, explained why the case never rose to a national obsession.\u003c/p>\n\u003cp>But there’s a deeper dimension to \u003cem>The Third Rainbow Girl \u003c/em>that gives it its contemplative power. Eisenberg intertwines her own raw story about coming-into-womanhood into the true crime narrative. I said earlier that “the third Rainbow Girl” was the one who lived, Elizabeth Johndrow. But Eisenberg, herself, is also very much “the third Rainbow Girl” here. She, too, felt the call of the wild, living among strangers, drinking too much, taking risks. “The spring I was to graduate college,” Eisenberg says, “there rose up in me the desire to drop so hard out of my life that I could hear my life trying to get in touch.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That un-nameable desire to travel a different path led Eisenberg to Pocahontas County and, ultimately, to write this evocative story of two other restless young women—sisters of the road—who passed through decades earlier and, sadly, never left.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2+Young+Women+Were+Murdered+In+1980%2C+%27Rainbow+Girl%27+Tells+Their+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the final pages of \u003cem>The Third Rainbow Girl—\u003c/em>a new book about the aftermath of the murders of two young women who were hitchhiking in West Virginia in 1980—author Emma Copley Eisenberg interviews a friend of the victims. Elizabeth Johndrow parted company with her friends a day before they were murdered; she’s the “third rainbow girl” of the title.\u003c/p>\n\u003cp>Eisenberg asks Johndrow, now in her 50s, why she and so many other young women hitchhiked back then. Johndrow says:\u003c/p>\n\u003cblockquote>\u003cp>Well, there was adventure to it … [H]itchhiking was like falling forward into the universe that you wanted …\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13874425\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM.png\" alt=\"'The Third Rainbow Girl: The Long Life of a Double Murder in Appalachia,' by Emma Copley Eisenberg.\" width=\"303\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-05-at-11.19.17-AM-160x240.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">‘The Third Rainbow Girl:\u003cbr>The Long Life of a Double Murder in Appalachia,’\u003cbr>by Emma Copley Eisenberg.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Third Rainbow Girl\u003c/em> is a haunting and hard-to-characterize book about restless women and the things that await them on the road. At its simplest, it’s a true crime story about the still-unresolved murders of Vicki Durian, 26, and Nancy Santomero, 19.\u003c/p>\n\u003cp>Durian and Santomero had been hitchhiking from Arizona to the Rainbow Gathering—an counterculture peace festival held in the Monongahela National Forest in West Virginia. On the evening of June 25, 1980, their bodies were found in an isolated clearing in Pocahontas County, south of the festival. They had been shot at close range, and there were no signs of sexual assault.\u003c/p>\n\u003cp>The conventional wisdom was that the killer or killers had to be local—someone who knew that clearing. Twelve years later, seven local men—farmers, mechanics, timber haulers—were charged. The charges were dropped because of improper police procedure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In another twist, the investigation focused in on one local farmer, Jacob Beard, reputed to be a mean drunk. Beard was convicted, but then released from prison six years later when a serial killer, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/11/20/246297720/white-supremacist-murderer-who-shot-larry-flynt-is-executed\" target=\"_blank\" rel=\"noopener noreferrer\">Joseph Paul Franklin\u003c/a>, confessed to the murders. Franklin was the man who shot and paralyzed \u003cem>Hustler \u003c/em>publisher Larry Flynt and, because he was already on death row for other murders, he was never tried for the so-called Rainbow killings. Case closed. Sort of.\u003c/p>\n\u003cp>Eisenberg dives deep here into the backstories of the victims, investigators and suspects, as well as the cultural “backstory” of Appalachia itself. Because she lived and worked with teenage girls in Pocahontas County on and off for several years but isn’t a native, she’s suited to the insider-outsider reporter role.\u003c/p>\n\u003cp>The Pocahontas County that Eisenberg evokes is a singular place; for one thing, it sits within the\u003ca href=\"https://www.npr.org/sections/alltechconsidered/2013/10/08/218976699/enter-the-quiet-zone-where-cell-service-wi-fi-are-banned\" target=\"_blank\" rel=\"noopener noreferrer\"> National Radio Quiet Zone\u003c/a>—a region where cellphone signals and Wi-Fi are severely restricted in order not to interfere with a giant mountaintop telescope that listens for signals from space.\u003c/p>\n\u003cp>Life in a place like Pocahontas County, Eisenberg writes, “demanded that women and girls be powerful in the ways that more urban places I’ve lived have not.” And, yet, Eisenberg also acknowledges, that it’s a place, like the rest of America, where “misogyny is in the groundwater.”\u003c/p>\n\u003cp>Eisenberg is also fascinated by how prefabricated stories, myths, even fairy tales shape what’s considered to be truth. She chips away at the “hick monster story” that prevailed at the first trial of the local men, which painted them as backwoods predators hunting down loose hippie chicks from the city.\u003c/p>\n\u003cp>She’s also aware of the enduring lure of what the late Gwen Ifill is credited with calling the “missing white woman syndrome,” whereby foul play involving white women—especially if they’re pretty—stokes up public interest, while the same fate befalling women of color does not.\u003c/p>\n\u003cp>Eisenberg ruminates over the press coverage of the crime and how the fact that neither Vicki nor Nancy were considered pretty complicated the “damsels in distress” narrative and, perhaps, explained why the case never rose to a national obsession.\u003c/p>\n\u003cp>But there’s a deeper dimension to \u003cem>The Third Rainbow Girl \u003c/em>that gives it its contemplative power. Eisenberg intertwines her own raw story about coming-into-womanhood into the true crime narrative. I said earlier that “the third Rainbow Girl” was the one who lived, Elizabeth Johndrow. But Eisenberg, herself, is also very much “the third Rainbow Girl” here. She, too, felt the call of the wild, living among strangers, drinking too much, taking risks. “The spring I was to graduate college,” Eisenberg says, “there rose up in me the desire to drop so hard out of my life that I could hear my life trying to get in touch.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That un-nameable desire to travel a different path led Eisenberg to Pocahontas County and, ultimately, to write this evocative story of two other restless young women—sisters of the road—who passed through decades earlier and, sadly, never left.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2+Young+Women+Were+Murdered+In+1980%2C+%27Rainbow+Girl%27+Tells+Their+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Andy Gill, Gang Of Four Guitarist Who Gave Punk Space and Groove, Dead at 64",
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"content": "\u003cp>Andy Gill, a guitarist renowned for his sharp, inverted approach to the instrument who founded the post-punk group Gang Of Four and later became a respected producer, died in a London hospital Feb. 1 from a respiratory illness, the group announced \u003ca href=\"https://gangoffour.uk/post/190589274003/andy-gill\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. He was 64.\u003c/p>\n\u003cp>As a co-founder of the implacably political Gang Of Four, which formed in Leeds in the late 1970s, Gill’s influence on the silhouette of rock and roll was deep and transformative; if the prevailing winds of style zigged, Gill and his co-founding bandmates—bassist Dave Allen, drummer Hugo Burnham and singer Jon King—could already be found zagging. “Instead of guitar solos, we had anti-solos, where you just stopped playing, left a hole,” Gill says in \u003cem>Rip It Up and Start Again\u003c/em>, a history of post-punk by Simon Reynolds.\u003c/p>\n\u003cp>On its canonical 1979 debut, \u003cem>Entertainment!\u003c/em>, Gang Of Four gave the frenzied sound of punk some breathing room; as Burnham and Allen provided the music’s danceable muscles, Gill’s staticky, stabbing lines—partially inspired by pub-rock group Dr. Feelgood and its guitarist, Wilko Johnson—were the tendons, anchoring and enabling. (Something was in the water in the north of England in 1979—just south of Gang Of Four’s birthplace, Joy Division was releasing its own, drastically different, expansion of punk’s signature squall.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_QJwR6D9d4\u003c/p>\n\u003cp>On the single “To Hell With Poverty!” released in 1981, a long, punitive screech from Gill becomes a slap-punch of a passage, before Allen and Burnham jump in at an oblique angle, shaping Gill’s tinny tizzy into a stomping boogie. The lyrics’ central couplet, “To hell with poverty / We’ll get drunk on cheap wine,” encapsulates the grain-of-salt political satire that animated and grounded the band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gang Of Four would release three more lauded albums—\u003cem>Solid Gold\u003c/em>, \u003cem>Songs of the Free\u003c/em> and \u003cem>Hard—\u003c/em>through the early ’80s. The quartet slowly shed its original lineup, with other musicians joining the core of Gill and King; following the ’83 release of \u003cem>Hard, \u003c/em>the group took an extended hiatus.\u003c/p>\n\u003cp>In 1984, Gill produced the self-titled debut album of the Red Hot Chili Peppers. Other notable production credits include the monumental self-titled return of Killing Joke in 2004, two recordings from another legendary post-punk group, The Jesus Lizard, and the posthumous solo album of INXS singer Michael Hutchence in 1999. Around that same time, groups like The Rapture began to emerge, faithfully reproducing and building on the tone and serration of the Gang’s early work.\u003c/p>\n\u003cp>As its influence persisted through the end of the 20th century and the start of the 21st, Gang of Four reunited intermittently, beginning in 1991 with the release of \u003cem>Mall\u003c/em> (featuring Gill and King). In 2004 the group’s original lineup came together to re-record earlier material and tour. Afterwards, Gill and singer Jon King released the album \u003cem>Content\u003c/em> in 2011. After King finally left the group , Gill—the only original member—continued to record and tour as Gang Of Four with new bandmates. In 2019, the group released a new album, \u003cem>Happy Now\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ll remember him for his kindness and generosity, his fearsome intelligence, bad jokes, mad stories and endless cups of Darjeeling tea,” the band wrote in its statement. “He just so happened to be a bit of a genius too.”\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=Andy+Gill%2C+Gang+of+Four+Guitarist+Who+Gave+Punk+Space+And+Groove%2C+Dead+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andy Gill, a guitarist renowned for his sharp, inverted approach to the instrument who founded the post-punk group Gang Of Four and later became a respected producer, died in a London hospital Feb. 1 from a respiratory illness, the group announced \u003ca href=\"https://gangoffour.uk/post/190589274003/andy-gill\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. He was 64.\u003c/p>\n\u003cp>As a co-founder of the implacably political Gang Of Four, which formed in Leeds in the late 1970s, Gill’s influence on the silhouette of rock and roll was deep and transformative; if the prevailing winds of style zigged, Gill and his co-founding bandmates—bassist Dave Allen, drummer Hugo Burnham and singer Jon King—could already be found zagging. “Instead of guitar solos, we had anti-solos, where you just stopped playing, left a hole,” Gill says in \u003cem>Rip It Up and Start Again\u003c/em>, a history of post-punk by Simon Reynolds.\u003c/p>\n\u003cp>On its canonical 1979 debut, \u003cem>Entertainment!\u003c/em>, Gang Of Four gave the frenzied sound of punk some breathing room; as Burnham and Allen provided the music’s danceable muscles, Gill’s staticky, stabbing lines—partially inspired by pub-rock group Dr. Feelgood and its guitarist, Wilko Johnson—were the tendons, anchoring and enabling. (Something was in the water in the north of England in 1979—just south of Gang Of Four’s birthplace, Joy Division was releasing its own, drastically different, expansion of punk’s signature squall.)\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/I_QJwR6D9d4'\n title='//www.youtube.com/embed/I_QJwR6D9d4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the single “To Hell With Poverty!” released in 1981, a long, punitive screech from Gill becomes a slap-punch of a passage, before Allen and Burnham jump in at an oblique angle, shaping Gill’s tinny tizzy into a stomping boogie. The lyrics’ central couplet, “To hell with poverty / We’ll get drunk on cheap wine,” encapsulates the grain-of-salt political satire that animated and grounded the band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gang Of Four would release three more lauded albums—\u003cem>Solid Gold\u003c/em>, \u003cem>Songs of the Free\u003c/em> and \u003cem>Hard—\u003c/em>through the early ’80s. The quartet slowly shed its original lineup, with other musicians joining the core of Gill and King; following the ’83 release of \u003cem>Hard, \u003c/em>the group took an extended hiatus.\u003c/p>\n\u003cp>In 1984, Gill produced the self-titled debut album of the Red Hot Chili Peppers. Other notable production credits include the monumental self-titled return of Killing Joke in 2004, two recordings from another legendary post-punk group, The Jesus Lizard, and the posthumous solo album of INXS singer Michael Hutchence in 1999. Around that same time, groups like The Rapture began to emerge, faithfully reproducing and building on the tone and serration of the Gang’s early work.\u003c/p>\n\u003cp>As its influence persisted through the end of the 20th century and the start of the 21st, Gang of Four reunited intermittently, beginning in 1991 with the release of \u003cem>Mall\u003c/em> (featuring Gill and King). In 2004 the group’s original lineup came together to re-record earlier material and tour. Afterwards, Gill and singer Jon King released the album \u003cem>Content\u003c/em> in 2011. After King finally left the group , Gill—the only original member—continued to record and tour as Gang Of Four with new bandmates. In 2019, the group released a new album, \u003cem>Happy Now\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ll remember him for his kindness and generosity, his fearsome intelligence, bad jokes, mad stories and endless cups of Darjeeling tea,” the band wrote in its statement. “He just so happened to be a bit of a genius too.”\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=Andy+Gill%2C+Gang+of+Four+Guitarist+Who+Gave+Punk+Space+And+Groove%2C+Dead+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Crooks Go All-Out to Take Home the Grand Fries in HBO's 'McMillions'",
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"content": "\u003cp>\u003cem>\u003cstrong>McMillions \u003c/strong>\u003c/em>\u003cstrong>premiered on HBO on Monday, February 3rd.\u003c/strong>\u003c/p>\n\u003cp>Wherever there are gains, there is the risk of ill-gotten gains. Even at the drive-thru.\u003c/p>\n\u003cp>The McDonald’s Monopoly game, featuring both instant-win opportunities and game pieces that could be collected to win prizes in sets, has been run in markets around the world off and on since 1987. It has encouraged people to collect their game pieces from french fry boxes and cups, and even from inside magazines. And, as Jeff Maysh \u003ca href=\"https://www.thedailybeast.com/how-an-ex-cop-rigged-mcdonalds-monopoly-game-and-stole-millions\" target=\"_blank\" rel=\"noopener noreferrer\">detailed in \u003cem>The Daily Beast \u003c/em>in 2018\u003c/a>, throughout the 1990s, it was the subject of massive fraud.\u003c/p>\n\u003cp>Now, HBO has a documentary series called \u003cem>McMillions\u003c/em> (which they style in some places, but not all, as \u003cem>McMillion$\u003c/em>). Told in six parts, it begins with a flashy FBI agent who discovered a Post-It note on his partner’s desk about the case and sank his teeth into it, and it widens out to include McDonald’s personnel, other investigators, and the people closely and less closely connected to the scheme that saw game pieces directed into the hands of particular conspirators. How did they do it? How did it turn out that, the agent asserts on camera, there were “almost no legitimate winners” of the major prizes for more than 10 years? It takes multiple hours to explain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kK2ZGOsbeqo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>McMillion$ \u003c/em>is blessed with one of the great tools of an enjoyable documentary: a great cast of characters. The first couple of episodes are anchored by Doug Mathews, the agent who started chasing the fraud with his partner Rick Dent. You may find Mathews delightful, as I did, or you may find him an obnoxious showboat, as some of my correspondents on Twitter did. Both of those positions seem entirely defensible. (Dent very firmly declines to participate in the documentary because he is the opposite of Mathews, who appears to be having a tremendous amount of fun telling the story.) Without giving anything away, practically everyone involved seems to have a larger-than-life personality, at least in the three episodes offered to press.\u003c/p>\n\u003cp>But what elevates the series above your basic can-you-believe-this whale of a tale is that directors James Lee Hernandez and Brian Lazarte are able to pull back and show the parts of this story that are substantially less whimsical. One woman is originally introduced as an almost comically bad liar, but later given an opportunity to explain how she wound up in this situation. It isn’t that hard to understand how she felt it was a relatively minor moral wrong to deprive people of a lucky windfall and grant yourself one instead—that that chance is a “blessing,” as one “winner” puts it. And she explains how she, too, was taken advantage of. [aside postid='arts_13873021']\u003c/p>\n\u003cp>Big crime, when nonviolent, can have an element that’s sort of funny—audacious, inventive, and doomed to blow up in the faces of the perpetrators. But big criminals often suck in small criminals, and in those stories, you often find desperation and naiveté. If the government entices you to do something you’d never have done on your own, that’s entrapment; if a criminal entices you to do something you’d never have done on your own, that’s your life changed. \u003cem>McMillions \u003c/em>does a good job making that turn, almost leveraging its own lightness to make the point.\u003c/p>\n\u003cp>The first episode is masterful in setting up the FBI agents as heroes: It draws the Jacksonville, Fl. office where the investigation went down as a sleepy destination, an unusually boring place to be part of the FBI. It uses music you might hear in a ’70s cop show when important discoveries go down. It focuses on Mathews’ desire to go undercover for the fun of it. There’s clever use of abrupt silences to bring out the comedy in his high-octane yarn-spinning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the series goes on, it changes shape, which is one of the reasons I wish the whole thing had been available to preview. I’m curious about the ultimate structure of these six episodes, but the first three had my full attention.\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=Crooks+Go+All-Out+To+Take+Home+The+Grand+Fries+In+%27McMillions%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>McMillions \u003c/strong>\u003c/em>\u003cstrong>premiered on HBO on Monday, February 3rd.\u003c/strong>\u003c/p>\n\u003cp>Wherever there are gains, there is the risk of ill-gotten gains. Even at the drive-thru.\u003c/p>\n\u003cp>The McDonald’s Monopoly game, featuring both instant-win opportunities and game pieces that could be collected to win prizes in sets, has been run in markets around the world off and on since 1987. It has encouraged people to collect their game pieces from french fry boxes and cups, and even from inside magazines. And, as Jeff Maysh \u003ca href=\"https://www.thedailybeast.com/how-an-ex-cop-rigged-mcdonalds-monopoly-game-and-stole-millions\" target=\"_blank\" rel=\"noopener noreferrer\">detailed in \u003cem>The Daily Beast \u003c/em>in 2018\u003c/a>, throughout the 1990s, it was the subject of massive fraud.\u003c/p>\n\u003cp>Now, HBO has a documentary series called \u003cem>McMillions\u003c/em> (which they style in some places, but not all, as \u003cem>McMillion$\u003c/em>). Told in six parts, it begins with a flashy FBI agent who discovered a Post-It note on his partner’s desk about the case and sank his teeth into it, and it widens out to include McDonald’s personnel, other investigators, and the people closely and less closely connected to the scheme that saw game pieces directed into the hands of particular conspirators. How did they do it? How did it turn out that, the agent asserts on camera, there were “almost no legitimate winners” of the major prizes for more than 10 years? It takes multiple hours to explain.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kK2ZGOsbeqo'\n title='//www.youtube.com/embed/kK2ZGOsbeqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>McMillion$ \u003c/em>is blessed with one of the great tools of an enjoyable documentary: a great cast of characters. The first couple of episodes are anchored by Doug Mathews, the agent who started chasing the fraud with his partner Rick Dent. You may find Mathews delightful, as I did, or you may find him an obnoxious showboat, as some of my correspondents on Twitter did. Both of those positions seem entirely defensible. (Dent very firmly declines to participate in the documentary because he is the opposite of Mathews, who appears to be having a tremendous amount of fun telling the story.) Without giving anything away, practically everyone involved seems to have a larger-than-life personality, at least in the three episodes offered to press.\u003c/p>\n\u003cp>But what elevates the series above your basic can-you-believe-this whale of a tale is that directors James Lee Hernandez and Brian Lazarte are able to pull back and show the parts of this story that are substantially less whimsical. One woman is originally introduced as an almost comically bad liar, but later given an opportunity to explain how she wound up in this situation. It isn’t that hard to understand how she felt it was a relatively minor moral wrong to deprive people of a lucky windfall and grant yourself one instead—that that chance is a “blessing,” as one “winner” puts it. And she explains how she, too, was taken advantage of. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Big crime, when nonviolent, can have an element that’s sort of funny—audacious, inventive, and doomed to blow up in the faces of the perpetrators. But big criminals often suck in small criminals, and in those stories, you often find desperation and naiveté. If the government entices you to do something you’d never have done on your own, that’s entrapment; if a criminal entices you to do something you’d never have done on your own, that’s your life changed. \u003cem>McMillions \u003c/em>does a good job making that turn, almost leveraging its own lightness to make the point.\u003c/p>\n\u003cp>The first episode is masterful in setting up the FBI agents as heroes: It draws the Jacksonville, Fl. office where the investigation went down as a sleepy destination, an unusually boring place to be part of the FBI. It uses music you might hear in a ’70s cop show when important discoveries go down. It focuses on Mathews’ desire to go undercover for the fun of it. There’s clever use of abrupt silences to bring out the comedy in his high-octane yarn-spinning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the series goes on, it changes shape, which is one of the reasons I wish the whole thing had been available to preview. I’m curious about the ultimate structure of these six episodes, but the first three had my full attention.\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=Crooks+Go+All-Out+To+Take+Home+The+Grand+Fries+In+%27McMillions%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Goodbye to 'The Good Place'",
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"content": "\u003cp>Endings are sad, but without them, nothing matters.\u003c/p>\n\u003cp>That was only one of the lessons of the thoughtful, emotional finale of NBC’s \u003cem>The Good Place\u003c/em>, which itself ended after four seasons and only 52 episodes. But, as the show itself stressed in its last couple of installments, heaven is not continuing forever: It’s leaving at the right time, when you’ve done your work. When you’re ready.\u003c/p>\n\u003cp>Creator Michael Schur, who also was behind \u003cem>Parks & Recreation\u003c/em>, has a kind of grudging, aggravated optimism that echoes in a lot of his work. \u003cem>The Good Place \u003c/em>was full of reminders of how petty and nasty people can be when they’re not specifically trying to discipline their worst instincts. It was also emphatic about the fact that it’s almost impossible to successfully weave your way through the complicated world of trying to be decent, given the way our current systems of commerce and government work. Similarly, the people we knew in Pawnee, Ind., were constantly besieged by smallness and disappointment—remember how Leslie Knope’s beautiful dream of elected office ended the first time.\u003c/p>\n\u003cp>But \u003cem>The Good Place\u003c/em>, like \u003cem>Parks\u003c/em>, became a show about the fact that even given those setbacks and disappointments, people can be good, can do good, can grant each other grace. And more than \u003cem>Parks\u003c/em>, \u003cem>The Good Place \u003c/em>became a playfully direct and explicit exploration of that idea.\u003c/p>\n\u003cp>Earlier on, the show was more about Eleanor, a self-proclaimed dirtbag in life trying in the afterlife to become good through concerted effort, with the help of her friends: Chidi, her teacher; Tahani, her nemesis-turned-friend; Jason, the Floridian dingdong DJ she adored; Janet, who is not a girl \u003cem>or \u003c/em>a robot; and Michael, her tormentor-turned-ally. She learned to sacrifice, to tell the truth, to be better, to persevere. And she became a leader. She learned to step in when no one knew what to do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This season, though—especially the last few episodes—seemed less about learning what it means to be good, which all of our friends on the show already were, and more about accepting what it means to be human. Longstanding notions of heaven, on which Schur and his extraordinary writers were riffing throughout the series, have a very particular weirdness to them that I think was ultimately too much for that limited, humanist, often frustrated optimism to swallow: that paradise is doing whatever you want, forever. [aside postid='pop_105436']\u003c/p>\n\u003cp>One problem with a traditional heaven (pardon me while I critique ancient notions of the afterlife; it’s that kind of television show) is that while it works well as a reward, as a carrot to dangle as the payoff for being good while on earth, it is so far removed from human experience that it doesn’t say very much about humanity. It’s a very flat, all-the-flavors-of-ice-cream, I-want-a-pony notion of heaven. But when we long for happiness on earth, is it for that? Is it because we want all the flavors of ice cream and a pony? Doing whatever we want forever?\u003c/p>\n\u003cp>In the penultimate episode, “Patty,” the group reached the real Good Place, where they learned that, indeed, it’s fun to do whatever you want. But they also learned that a frictionless existence is meaningless. They learned, as the show explicitly stated in the finale via a cameo from the philosophy professor Todd May, that mortality gives meaning to human life, so some kind of ending is necessary to make even the afterlife a place of true happiness. To be human is to know you are not forever; to know you are forever is to lose your humanity. Thus, Eleanor and friends developed a system in which even people in heaven could decide that the time had come for it to be over. Again: Heaven is not never leaving; it’s leaving at the right time, when the work is done.\u003c/p>\n\u003cp>Jason was the first to realize, after playing a perfect game of \u003cem>Madden\u003c/em> with his father, Donkey Doug, that he was ready to go. He said goodbye to Janet, coming to terms with the deeply relatable fear that he’d be forgotten, and he went into the redwoods where the show put its last door. And then, in true Jason fashion, he just kind of hung around, chilling, waiting for one last chance to see Janet. Like a monk, she pointed out. He didn’t get it.\u003c/p>\n\u003cp>Tahani went a different direction. Like the party planner she always was, Tahani decided to become an architect, designing entire afterlives in her peacock bow tie. She likes to plan, she likes to design, she likes to do for others—and now, she figured out how to do it from a place of generosity (as well as, sure, a desire to continue to get credit for her great ideas; she’s only post-human, after all).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Bnq6IRgt4yE&t=16s\u003c/p>\n\u003cp>And then Chidi. Eleanor’s selfishness was now translated through love, and she tried to tempt him to stay with trips to Athens and Paris, asking him over and over to tell her all about philosophy again. He was willing to stay for her, but inevitably, because he had taught her well, she realized—and explained very clearly, in specific language of moral philosophy—that this was selfish of her, and that she had to let him go. So she did.\u003c/p>\n\u003cp>If there was a part of the finale I didn’t quite think resonated, it was the visit to Mindy St. Claire to persuade her to go through the system and attempt to qualify for the Good Place. I’ve always found the idea of the Medium Place very funny, and Maribeth Monroe is always marvelous in the role. But here, the idea that this was part of Eleanor’s final work that needed to be done didn’t \u003cem>quite \u003c/em>seem of a piece with the rest of the finale, even if her explanation that Mindy was the person she might have been if she hadn’t met her friends was very sweet.\u003c/p>\n\u003cp>What did seem spot-on was that Eleanor couldn’t leave until she saw to Michael. One of the show’s best swerves has been its reversal of the relationship between Michael and Eleanor from one where he was like a benevolent father to one where he is more like her well-meaning but disoriented teenage son. And Michael had the same problem that all of Eleanor’s friends had in the afterlife when they first got to the Good Place: he had no end in sight. He wasn’t even able to walk through the door, as he learned in the finale’s funniest sequence, in which Michael discovered that he didn’t disappear after passing through, even if he tried to hide behind a tree to make it seem like he did. (If all this show had done was bring out this dopey, broad part of Ted Danson’s comedic talent, it would have been worth it.)\u003c/p>\n\u003cp>No, Michael needed a chance to be human. Human, with all the annoyances and limitations and—this was perhaps what was stressed the most—uncertainty that humanity brings. And, granted his humanity, he delighted in burning his hands on a microwave dinner and playing with his giant dog (named Jason) and all the dumb, ordinary things he had never gotten to experience.\u003c/p>\n\u003cp>And then Eleanor could pass through the door, completing the journey she took when she died after being hit by some grocery carts … and then a truck. She began as a fraud, or so she believed, and ended up saving the world. She learned humanity from a bunch of very flawed people, none of whom understood it perfectly themselves.\u003c/p>\n\u003cp>What a weird, often extremely goofy, ultimately very profound 52 episodes those were. Not everything worked: I don’t think the new humans introduced this season as test cases ever clicked at all, despite good performances from the actors. At times, the systems of demons and trains and places and tests became so convoluted that I gave up, and I still probably couldn’t ace a test on exactly what happened in some of those systems.\u003c/p>\n\u003cp>But I understood its final philosophical stance perfectly. Fragility and preciousness are not paired out of some regrettable irony; they are reliant on each other. It’s because we know our time with people will end that we can find ourselves flooded with gratitude for their presence. The friction of our limitations is what necessitates effort (of all kinds), and effort—rewarded and not—is where we find meaning. Surround yourself with friends who love you and love them deeply, and you will grow. It’s worth applying every part of yourself, including your intellect, to the question of how to do the right thing.\u003c/p>\n\u003cp>There was so much in this series to admire: outstanding performances from the core cast and tons of guests, wonderful writing, weird jokes (Knish From A Rose 4-ever), a positively divine official podcast, glorious production design, inventive visual effects and, yes, the decision to exit when it was time. Maybe too early. Maybe. But isn’t that the way it goes?\u003c/p>\n\u003cp>Schur has talked about the fact that after the end of \u003cem>Parks\u003c/em>, NBC was willing to try just about anything he wanted to make. So naturally, he made a philosophical comedy about decency that regularly quoted philosophers, took strong positions on frozen yogurt (suitable only for a \u003cem>fake\u003c/em> heaven), pulled off some remarkable surprises and packed a year of sobbing into a 75-minute finale.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Humanity is beautiful and weird and frustrating, and joy and loss are twins. That’s a lot to get out of a show that also taught me to yell “BORTLES!” when I’m trying to get out of trouble.\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+Goodbye+To+%27The+Good+Place%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Endings are sad, but without them, nothing matters.\u003c/p>\n\u003cp>That was only one of the lessons of the thoughtful, emotional finale of NBC’s \u003cem>The Good Place\u003c/em>, which itself ended after four seasons and only 52 episodes. But, as the show itself stressed in its last couple of installments, heaven is not continuing forever: It’s leaving at the right time, when you’ve done your work. When you’re ready.\u003c/p>\n\u003cp>Creator Michael Schur, who also was behind \u003cem>Parks & Recreation\u003c/em>, has a kind of grudging, aggravated optimism that echoes in a lot of his work. \u003cem>The Good Place \u003c/em>was full of reminders of how petty and nasty people can be when they’re not specifically trying to discipline their worst instincts. It was also emphatic about the fact that it’s almost impossible to successfully weave your way through the complicated world of trying to be decent, given the way our current systems of commerce and government work. Similarly, the people we knew in Pawnee, Ind., were constantly besieged by smallness and disappointment—remember how Leslie Knope’s beautiful dream of elected office ended the first time.\u003c/p>\n\u003cp>But \u003cem>The Good Place\u003c/em>, like \u003cem>Parks\u003c/em>, became a show about the fact that even given those setbacks and disappointments, people can be good, can do good, can grant each other grace. And more than \u003cem>Parks\u003c/em>, \u003cem>The Good Place \u003c/em>became a playfully direct and explicit exploration of that idea.\u003c/p>\n\u003cp>Earlier on, the show was more about Eleanor, a self-proclaimed dirtbag in life trying in the afterlife to become good through concerted effort, with the help of her friends: Chidi, her teacher; Tahani, her nemesis-turned-friend; Jason, the Floridian dingdong DJ she adored; Janet, who is not a girl \u003cem>or \u003c/em>a robot; and Michael, her tormentor-turned-ally. She learned to sacrifice, to tell the truth, to be better, to persevere. And she became a leader. She learned to step in when no one knew what to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This season, though—especially the last few episodes—seemed less about learning what it means to be good, which all of our friends on the show already were, and more about accepting what it means to be human. Longstanding notions of heaven, on which Schur and his extraordinary writers were riffing throughout the series, have a very particular weirdness to them that I think was ultimately too much for that limited, humanist, often frustrated optimism to swallow: that paradise is doing whatever you want, forever. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One problem with a traditional heaven (pardon me while I critique ancient notions of the afterlife; it’s that kind of television show) is that while it works well as a reward, as a carrot to dangle as the payoff for being good while on earth, it is so far removed from human experience that it doesn’t say very much about humanity. It’s a very flat, all-the-flavors-of-ice-cream, I-want-a-pony notion of heaven. But when we long for happiness on earth, is it for that? Is it because we want all the flavors of ice cream and a pony? Doing whatever we want forever?\u003c/p>\n\u003cp>In the penultimate episode, “Patty,” the group reached the real Good Place, where they learned that, indeed, it’s fun to do whatever you want. But they also learned that a frictionless existence is meaningless. They learned, as the show explicitly stated in the finale via a cameo from the philosophy professor Todd May, that mortality gives meaning to human life, so some kind of ending is necessary to make even the afterlife a place of true happiness. To be human is to know you are not forever; to know you are forever is to lose your humanity. Thus, Eleanor and friends developed a system in which even people in heaven could decide that the time had come for it to be over. Again: Heaven is not never leaving; it’s leaving at the right time, when the work is done.\u003c/p>\n\u003cp>Jason was the first to realize, after playing a perfect game of \u003cem>Madden\u003c/em> with his father, Donkey Doug, that he was ready to go. He said goodbye to Janet, coming to terms with the deeply relatable fear that he’d be forgotten, and he went into the redwoods where the show put its last door. And then, in true Jason fashion, he just kind of hung around, chilling, waiting for one last chance to see Janet. Like a monk, she pointed out. He didn’t get it.\u003c/p>\n\u003cp>Tahani went a different direction. Like the party planner she always was, Tahani decided to become an architect, designing entire afterlives in her peacock bow tie. She likes to plan, she likes to design, she likes to do for others—and now, she figured out how to do it from a place of generosity (as well as, sure, a desire to continue to get credit for her great ideas; she’s only post-human, after all).\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/Bnq6IRgt4yE'\n title='//www.youtube.com/embed/Bnq6IRgt4yE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then Chidi. Eleanor’s selfishness was now translated through love, and she tried to tempt him to stay with trips to Athens and Paris, asking him over and over to tell her all about philosophy again. He was willing to stay for her, but inevitably, because he had taught her well, she realized—and explained very clearly, in specific language of moral philosophy—that this was selfish of her, and that she had to let him go. So she did.\u003c/p>\n\u003cp>If there was a part of the finale I didn’t quite think resonated, it was the visit to Mindy St. Claire to persuade her to go through the system and attempt to qualify for the Good Place. I’ve always found the idea of the Medium Place very funny, and Maribeth Monroe is always marvelous in the role. But here, the idea that this was part of Eleanor’s final work that needed to be done didn’t \u003cem>quite \u003c/em>seem of a piece with the rest of the finale, even if her explanation that Mindy was the person she might have been if she hadn’t met her friends was very sweet.\u003c/p>\n\u003cp>What did seem spot-on was that Eleanor couldn’t leave until she saw to Michael. One of the show’s best swerves has been its reversal of the relationship between Michael and Eleanor from one where he was like a benevolent father to one where he is more like her well-meaning but disoriented teenage son. And Michael had the same problem that all of Eleanor’s friends had in the afterlife when they first got to the Good Place: he had no end in sight. He wasn’t even able to walk through the door, as he learned in the finale’s funniest sequence, in which Michael discovered that he didn’t disappear after passing through, even if he tried to hide behind a tree to make it seem like he did. (If all this show had done was bring out this dopey, broad part of Ted Danson’s comedic talent, it would have been worth it.)\u003c/p>\n\u003cp>No, Michael needed a chance to be human. Human, with all the annoyances and limitations and—this was perhaps what was stressed the most—uncertainty that humanity brings. And, granted his humanity, he delighted in burning his hands on a microwave dinner and playing with his giant dog (named Jason) and all the dumb, ordinary things he had never gotten to experience.\u003c/p>\n\u003cp>And then Eleanor could pass through the door, completing the journey she took when she died after being hit by some grocery carts … and then a truck. She began as a fraud, or so she believed, and ended up saving the world. She learned humanity from a bunch of very flawed people, none of whom understood it perfectly themselves.\u003c/p>\n\u003cp>What a weird, often extremely goofy, ultimately very profound 52 episodes those were. Not everything worked: I don’t think the new humans introduced this season as test cases ever clicked at all, despite good performances from the actors. At times, the systems of demons and trains and places and tests became so convoluted that I gave up, and I still probably couldn’t ace a test on exactly what happened in some of those systems.\u003c/p>\n\u003cp>But I understood its final philosophical stance perfectly. Fragility and preciousness are not paired out of some regrettable irony; they are reliant on each other. It’s because we know our time with people will end that we can find ourselves flooded with gratitude for their presence. The friction of our limitations is what necessitates effort (of all kinds), and effort—rewarded and not—is where we find meaning. Surround yourself with friends who love you and love them deeply, and you will grow. It’s worth applying every part of yourself, including your intellect, to the question of how to do the right thing.\u003c/p>\n\u003cp>There was so much in this series to admire: outstanding performances from the core cast and tons of guests, wonderful writing, weird jokes (Knish From A Rose 4-ever), a positively divine official podcast, glorious production design, inventive visual effects and, yes, the decision to exit when it was time. Maybe too early. Maybe. But isn’t that the way it goes?\u003c/p>\n\u003cp>Schur has talked about the fact that after the end of \u003cem>Parks\u003c/em>, NBC was willing to try just about anything he wanted to make. So naturally, he made a philosophical comedy about decency that regularly quoted philosophers, took strong positions on frozen yogurt (suitable only for a \u003cem>fake\u003c/em> heaven), pulled off some remarkable surprises and packed a year of sobbing into a 75-minute finale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Humanity is beautiful and weird and frustrating, and joy and loss are twins. That’s a lot to get out of a show that also taught me to yell “BORTLES!” when I’m trying to get out of trouble.\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+Goodbye+To+%27The+Good+Place%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why a Day Like Sunday Hasn't Been Seen in 900 Years",
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"content": "\u003cp>Maybe symmetry is inherently pleasing. Perhaps it is the whiff of cosmic clout. Or it could be that in our divided times, uniting over something as indisputable as the date is just the divertissement we crave.\u003c/p>\n\u003cp>https://twitter.com/lisamurkowski/status/1224033773773295617\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Whatever the case, Sunday’s super-rare date of 02-02-2020, the only eight-digit global palindrome of the century, has people talking, with #PalindromeDay trending on Twitter.\u003c/p>\n\u003cp>https://twitter.com/MKBHD/status/1223970983717081089\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Palindrome derives from the Greek word for running back again, and defines a number, word or phrase that is the same read forward and backward. (Think: “Madam, in Eden, I’m Adam.”)\u003c/p>\n\u003cp>https://twitter.com/StigAbell/status/1223870626408079365\u003c/p>\n\u003cp>Palindromic dates have long been viewed as carrying \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/11/11/363286759/on-armistice-day-in-u-k-a-sea-of-red-poppies-remembers-the-fallen\" target=\"_blank\" rel=\"noopener noreferrer\">special significance\u003c/a> and even \u003ca href=\"https://themysticmedium.com/palindromic-numbers/\" target=\"_blank\" rel=\"noopener noreferrer\">spirituality\u003c/a>. Adding to the universal appeal and rarity of Sunday’s date is its achieving the eight-digit palindrome pinnacle, working in the cross-cultural formats of MM-DD-YYYY and DD-MM-YYYY.\u003c/p>\n\u003cp>https://twitter.com/patch72/status/1223924022213214208\u003c/p>\n\u003cp>\u003ca href=\"https://faculty.up.edu/ainan/\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Inan\u003c/a> is professor of electrical engineering at the University of Portland and a palindrome aficionado. Tracing back and looking ahead over centuries, he mines palindromes like gems and says the last time we had an eight-digit palindrome date was 908 years ago on 11-11-1111.\u003c/p>\n\u003cp>“I tell my students they are lucky to have such a date in their lifetime,” Inan \u003ca href=\"https://www.oregonlive.com/trending/2020/01/super-bowl-sunday-is-a-big-day-for-a-portland-professor-because-hes-a-palindrome-expert.html\" target=\"_blank\" rel=\"noopener noreferrer\">tells The Oregonian\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/TundeTASH/status/1223992831615868928\u003c/p>\n\u003cp>While the U.S. was marking the palindrome of 11-02-2011, in the U.K., it was 02-11-2011, or just another Wednesday.\u003c/p>\n\u003cp>But on Sunday, the Brits got in on the fun. The math department at the Solihull School in the U.K. calculated some palindromic bonuses; Sunday also happens to fall on the 33rd day of the year, with 333 days remaining in the year. (2020 is a leap year and with the added day in February has 366 days.)\u003c/p>\n\u003cp>https://twitter.com/SolSchMaths/status/1223874879428136960\u003c/p>\n\u003cp>Ivanka Trump \u003ca href=\"https://twitter.com/IvankaTrump/status/1223950232683192321\" target=\"_blank\" rel=\"noopener noreferrer\">points out \u003c/a>to her 7.6 million Twitter followers that most of us won’t be around on the the next eight-digit palindrome date of 12-12-2121.\u003c/p>\n\u003cp>https://twitter.com/IvankaTrump/status/1223950232683192321\u003c/p>\n\u003cp>After that, it will be 908-year wait until the next one on 03-03-3030.\u003c/p>\n\u003cp>Other palindromes using fewer digits, like 8-10-18, are more commonplace.\u003c/p>\n\u003cp>Some couples view palindromes as dates to seize the day and take the plunge.\u003c/p>\n\u003cp>Little Vegas Chapel tweeted Sunday, “Today marks the first specialty date of the month! Congratulations to all the wonderful couples getting married on this day of 2/2/20!”\u003c/p>\n\u003cp>But in China, where officials are trying to get ahead of the fast-spreading coronavirus outbreak, the date saw a surge of couples registering to wed, spurring the government to advise couples to postpone their weddings.\u003c/p>\n\u003cp>The civil affairs administration said the registration process involves an official portrait, requiring people to remove their masks, a move deemed too risky in the outbreak that’s infected more than 14,000 people and killed more than 300.\u003c/p>\n\u003cp>“Where marriage registrations have been announced or promised for February 2 this year, you are advised to cancel it and explain the situation to others,” the notice said, \u003ca href=\"https://www.voanews.com/science-health/coronavirus-outbreak/china-urges-no-weddings-short-funerals-contain-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">according to VOA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ministry also asked for funerals to be held in a “simple and expeditious manner to avoid gatherings of people.”\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=Why+A+Day+Like+Sunday+Hasn%27t+Been+Seen+In+900+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Number buffs got pumped for more than the Super Bowl on 02-02-2020, a date that marked a rare global palindrome. Many chose it as a good day to get married.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe symmetry is inherently pleasing. Perhaps it is the whiff of cosmic clout. Or it could be that in our divided times, uniting over something as indisputable as the date is just the divertissement we crave.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>Whatever the case, Sunday’s super-rare date of 02-02-2020, the only eight-digit global palindrome of the century, has people talking, with #PalindromeDay trending on Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Palindrome derives from the Greek word for running back again, and defines a number, word or phrase that is the same read forward and backward. (Think: “Madam, in Eden, I’m Adam.”)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Palindromic dates have long been viewed as carrying \u003ca href=\"https://www.npr.org/sections/thetwo-way/2014/11/11/363286759/on-armistice-day-in-u-k-a-sea-of-red-poppies-remembers-the-fallen\" target=\"_blank\" rel=\"noopener noreferrer\">special significance\u003c/a> and even \u003ca href=\"https://themysticmedium.com/palindromic-numbers/\" target=\"_blank\" rel=\"noopener noreferrer\">spirituality\u003c/a>. Adding to the universal appeal and rarity of Sunday’s date is its achieving the eight-digit palindrome pinnacle, working in the cross-cultural formats of MM-DD-YYYY and DD-MM-YYYY.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://faculty.up.edu/ainan/\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Inan\u003c/a> is professor of electrical engineering at the University of Portland and a palindrome aficionado. Tracing back and looking ahead over centuries, he mines palindromes like gems and says the last time we had an eight-digit palindrome date was 908 years ago on 11-11-1111.\u003c/p>\n\u003cp>“I tell my students they are lucky to have such a date in their lifetime,” Inan \u003ca href=\"https://www.oregonlive.com/trending/2020/01/super-bowl-sunday-is-a-big-day-for-a-portland-professor-because-hes-a-palindrome-expert.html\" target=\"_blank\" rel=\"noopener noreferrer\">tells The Oregonian\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>While the U.S. was marking the palindrome of 11-02-2011, in the U.K., it was 02-11-2011, or just another Wednesday.\u003c/p>\n\u003cp>But on Sunday, the Brits got in on the fun. The math department at the Solihull School in the U.K. calculated some palindromic bonuses; Sunday also happens to fall on the 33rd day of the year, with 333 days remaining in the year. (2020 is a leap year and with the added day in February has 366 days.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Ivanka Trump \u003ca href=\"https://twitter.com/IvankaTrump/status/1223950232683192321\" target=\"_blank\" rel=\"noopener noreferrer\">points out \u003c/a>to her 7.6 million Twitter followers that most of us won’t be around on the the next eight-digit palindrome date of 12-12-2121.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After that, it will be 908-year wait until the next one on 03-03-3030.\u003c/p>\n\u003cp>Other palindromes using fewer digits, like 8-10-18, are more commonplace.\u003c/p>\n\u003cp>Some couples view palindromes as dates to seize the day and take the plunge.\u003c/p>\n\u003cp>Little Vegas Chapel tweeted Sunday, “Today marks the first specialty date of the month! Congratulations to all the wonderful couples getting married on this day of 2/2/20!”\u003c/p>\n\u003cp>But in China, where officials are trying to get ahead of the fast-spreading coronavirus outbreak, the date saw a surge of couples registering to wed, spurring the government to advise couples to postpone their weddings.\u003c/p>\n\u003cp>The civil affairs administration said the registration process involves an official portrait, requiring people to remove their masks, a move deemed too risky in the outbreak that’s infected more than 14,000 people and killed more than 300.\u003c/p>\n\u003cp>“Where marriage registrations have been announced or promised for February 2 this year, you are advised to cancel it and explain the situation to others,” the notice said, \u003ca href=\"https://www.voanews.com/science-health/coronavirus-outbreak/china-urges-no-weddings-short-funerals-contain-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">according to VOA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ministry also asked for funerals to be held in a “simple and expeditious manner to avoid gatherings of people.”\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=Why+A+Day+Like+Sunday+Hasn%27t+Been+Seen+In+900+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’m going to eat a little crow.\u003c/p>\n\u003cp>You see, creepy things creep me out, and not in a good way. One of my earliest memories is of a group of dancers dressed in black, pulling toilet paper from where their eyes should be; I was two years old, they were on \u003cem>The Muppet Show\u003c/em>, and I have never recovered. Right there in the middle of Kermit and Fozzie came this absolutely terrifying act (terrifying to a two-year-old, and shoot, maybe to a much older person) whose commentary on human interaction was COMPLETELY lost on toddler me, and set me up for plenty of nightmares. Though I have since learned that \u003ca href=\"https://www.mummenschanz.com/3/\" target=\"_blank\" rel=\"noopener noreferrer\">Mummenschanz\u003c/a> is a highly respected theater troupe, they set me up to be very wary of creepiness, and I’ve lived my life avoiding it as best I can.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3eazq_8jCOg\u003c/p>\n\u003cp>SO, several years ago, when Ransom Riggs debuted \u003cem>Miss Peregrine’s Home for Peculiar Children\u003c/em>, I bought it, opened it, and shelved it right away. Perhaps if I had opened the book to any of the 352 pages other than page 115, it wouldn’t have languished for lo, these past nine years. But page 115 was all it took for me to put the book away for almost a decade. What’s on page 115 that prompted such a reaction? Cue the Mummenschanz mimes.\u003c/p>\n\u003cp>Page 115 shows a photograph of two young children dressed in extremely creepy, vintage white clown costumes, one masked child pulling a very long curled ribbon from the masked mouth of the other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oh, help.\u003c/p>\n\u003cp>BUT, when the I had the opportunity to see Riggs as he kicked off his \u003cem>The Conference of the Birds\u003c/em> tour, I had to give my two-year-old self a stern talking-to and get with the program. \u003cem>The Conference of the Birds\u003c/em> is the fifth book in the \u003cem>Miss Peregrine\u003c/em> series, so not only did I have to face page 115, I had some serious catching up to do. I would love to say I was really grown up about it, but I made sure to start reading in broad daylight.\u003c/p>\n\u003cp>(And I’m glad I did, because there’s another picture of the creepy clown kids on page 50.)\u003c/p>\n\u003cp>I was all set to grit my teeth, act my age, and get it over with.\u003c/p>\n\u003cp>But the STORY.\u003c/p>\n\u003cp>Boy, can Ransom Riggs tell a story. If he’d been stuck in rainy 1818 Switzerland with Lord Byron, and Mary and Percy Shelley and taken up Byron’s challenge to write a ghost story, \u003cem>Miss Peregrine \u003c/em>would have given \u003cem>Frankenstein\u003c/em> a run for its money.\u003c/p>\n\u003cp>I read the first three books in two days.\u003c/p>\n\u003cp>If you are anything like me and came to the party quite late, the \u003cem>Miss Peregrine\u003c/em> series tells the story of Jacob Portman, grandson of the master storyteller and soon-to-be-revealed hero Abe Portman, his journey of self-discovery, teenaged angst, Welsh islands, romantic drama, and oh yes, time loops, ymbrynes, hollowgasts, Wights, and a cast of endearing (and at times quite annoying) peculiars who can control bees, raise the dead (for a little while at least), float, have two mouths, are invisible, shoot fire and see monsters no one else can see—all with the help of a generous sprinkling of vintage photographs, some creepy in their own right, some not.\u003c/p>\n\u003cp>I don’t know how to explain it without giving it away, but I will say I don’t know that I will ever look at an old photo the same way again.\u003c/p>\n\u003cp>As I sat in the broad daylight, tearing my way through \u003cem>Miss Peregrine’s Home for Peculiar Children, Hollow City\u003c/em>, and \u003cem>Library of Souls\u003c/em>, I found myself scanning the photos of my grandparents and great grandparents that hung around me. I tried to imagine the mind of Ransom Riggs, who, when he began \u003cem>Miss Peregrine\u003c/em>, found the photos first and the story second. What might he have dreamt for the people in my photographs? My grandmother in 1928, with her flapper dress on, head high, leg hitched up on the running board of an old car? My Native American grandmother, merely a blur in the background while the foreground is populated with chickens? A framed letter from some distant cousin, telling my great-grandmother in 1922 that another cousin Ida is lonesome in the country? What would their peculiarity have been?\u003c/p>\n\u003cp>Riggs’ methods are as fascinating as his stories.\u003c/p>\n\u003cp>My deep dive into the world of \u003cem>Miss Peregrine\u003c/em> has had to slow down a bit as piano recitals, 100 days of school, the science fair, and stomach viruses dominate my time, and I wish it hadn’t. Jacob and the peculiars are in America now, literally the Wild West of peculiar-dom, and I want to know what happens, creepy photographs and all (fans of the creepy will not be disappointed by the newly-released \u003cem>The Conference of the Birds\u003c/em>. Let’s just say I plan on flipping pages 92 and 93 super-fast.) Will Jacob and his friends decipher the prophecy and save peculiar-kind? Is the title a direct reference to the 1177 Persian poem of the same name, or is it just a coincidence? (I’m betting the former, and if so, what does it portend?) What does the photo showing a girl in bed surrounded by pictures of Elvis have to do with anything? I have to find out.\u003c/p>\n\u003cp>And WHY do I have to find out? Because the moment I started reading \u003cem>Miss Peregrine\u003c/em>, I couldn’t wait to share it with my son. It’s just the sort of story he’ll want to read in, oh, about three years, maybe four depending on how he can take the clown kids, but he’s never been scarred by the Mummenschanz mimes, so maybe he has a leg up. Actually, I want to share this series with everyone, kid or adult. It’s really that fascinating a story.\u003c/p>\n\u003cp>So, Mr. Riggs, clown kids aside, I offer my apologies for keeping you on the shelf for so long. Perhaps I will write a strongly-worded letter to Mummenschanz and ask them to add a disclaimer to any upcoming \u003cem>Muppet Show\u003c/em> appearance. In the meantime, I’m happy to eat a little crow.\u003c/p>\n\u003cp>Or in this case (really bad joke coming), eat a little peregrine.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Eating+Crow+With+%27Miss+Peregrine%27+%E2%80%94+And+Enjoying+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oh, help.\u003c/p>\n\u003cp>BUT, when the I had the opportunity to see Riggs as he kicked off his \u003cem>The Conference of the Birds\u003c/em> tour, I had to give my two-year-old self a stern talking-to and get with the program. \u003cem>The Conference of the Birds\u003c/em> is the fifth book in the \u003cem>Miss Peregrine\u003c/em> series, so not only did I have to face page 115, I had some serious catching up to do. I would love to say I was really grown up about it, but I made sure to start reading in broad daylight.\u003c/p>\n\u003cp>(And I’m glad I did, because there’s another picture of the creepy clown kids on page 50.)\u003c/p>\n\u003cp>I was all set to grit my teeth, act my age, and get it over with.\u003c/p>\n\u003cp>But the STORY.\u003c/p>\n\u003cp>Boy, can Ransom Riggs tell a story. If he’d been stuck in rainy 1818 Switzerland with Lord Byron, and Mary and Percy Shelley and taken up Byron’s challenge to write a ghost story, \u003cem>Miss Peregrine \u003c/em>would have given \u003cem>Frankenstein\u003c/em> a run for its money.\u003c/p>\n\u003cp>I read the first three books in two days.\u003c/p>\n\u003cp>If you are anything like me and came to the party quite late, the \u003cem>Miss Peregrine\u003c/em> series tells the story of Jacob Portman, grandson of the master storyteller and soon-to-be-revealed hero Abe Portman, his journey of self-discovery, teenaged angst, Welsh islands, romantic drama, and oh yes, time loops, ymbrynes, hollowgasts, Wights, and a cast of endearing (and at times quite annoying) peculiars who can control bees, raise the dead (for a little while at least), float, have two mouths, are invisible, shoot fire and see monsters no one else can see—all with the help of a generous sprinkling of vintage photographs, some creepy in their own right, some not.\u003c/p>\n\u003cp>I don’t know how to explain it without giving it away, but I will say I don’t know that I will ever look at an old photo the same way again.\u003c/p>\n\u003cp>As I sat in the broad daylight, tearing my way through \u003cem>Miss Peregrine’s Home for Peculiar Children, Hollow City\u003c/em>, and \u003cem>Library of Souls\u003c/em>, I found myself scanning the photos of my grandparents and great grandparents that hung around me. I tried to imagine the mind of Ransom Riggs, who, when he began \u003cem>Miss Peregrine\u003c/em>, found the photos first and the story second. What might he have dreamt for the people in my photographs? My grandmother in 1928, with her flapper dress on, head high, leg hitched up on the running board of an old car? My Native American grandmother, merely a blur in the background while the foreground is populated with chickens? A framed letter from some distant cousin, telling my great-grandmother in 1922 that another cousin Ida is lonesome in the country? What would their peculiarity have been?\u003c/p>\n\u003cp>Riggs’ methods are as fascinating as his stories.\u003c/p>\n\u003cp>My deep dive into the world of \u003cem>Miss Peregrine\u003c/em> has had to slow down a bit as piano recitals, 100 days of school, the science fair, and stomach viruses dominate my time, and I wish it hadn’t. Jacob and the peculiars are in America now, literally the Wild West of peculiar-dom, and I want to know what happens, creepy photographs and all (fans of the creepy will not be disappointed by the newly-released \u003cem>The Conference of the Birds\u003c/em>. Let’s just say I plan on flipping pages 92 and 93 super-fast.) Will Jacob and his friends decipher the prophecy and save peculiar-kind? Is the title a direct reference to the 1177 Persian poem of the same name, or is it just a coincidence? (I’m betting the former, and if so, what does it portend?) What does the photo showing a girl in bed surrounded by pictures of Elvis have to do with anything? I have to find out.\u003c/p>\n\u003cp>And WHY do I have to find out? Because the moment I started reading \u003cem>Miss Peregrine\u003c/em>, I couldn’t wait to share it with my son. It’s just the sort of story he’ll want to read in, oh, about three years, maybe four depending on how he can take the clown kids, but he’s never been scarred by the Mummenschanz mimes, so maybe he has a leg up. Actually, I want to share this series with everyone, kid or adult. It’s really that fascinating a story.\u003c/p>\n\u003cp>So, Mr. Riggs, clown kids aside, I offer my apologies for keeping you on the shelf for so long. Perhaps I will write a strongly-worded letter to Mummenschanz and ask them to add a disclaimer to any upcoming \u003cem>Muppet Show\u003c/em> appearance. In the meantime, I’m happy to eat a little crow.\u003c/p>\n\u003cp>Or in this case (really bad joke coming), eat a little peregrine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Eating+Crow+With+%27Miss+Peregrine%27+%E2%80%94+And+Enjoying+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Assistant' Helps Explain How Predatory Behavior Stays Hidden",
"headTitle": "‘The Assistant’ Helps Explain How Predatory Behavior Stays Hidden | KQED",
"content": "\u003cp>I emerged from an early screening of \u003cem>The Assistant \u003c/em>a few weeks ago to the news that a jury had been selected in Harvey Weinstein’s \u003ca href=\"https://www.npr.org/2020/01/22/798222176/the-harvey-weinstein-trial-a-brief-timeline-of-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">sexual assault and rape trial\u003c/a>. Coming more than two years after \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a> and \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Yorker\u003c/em>\u003c/a> first published their reports of sexual harassment and assault against the famed film producer, the headlines were a stark reminder of how long it can take for a wealthy and well-connected man to face the accusations against him in court—even after a stunning public downfall that helped give rise to the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo\u003c/a> movement.\u003c/p>\n\u003cp>Although it’s not clear exactly when it’s taking place, Kitty Green’s quietly devastating movie returns us to a time before #MeToo and its explosive revelations of sexual abuse rattled the world and the entertainment industry in particular.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6cLf0i-kYio\u003c/p>\n\u003cp>The story unfolds over a single day in a New York film production office run by a powerful mogul who is clearly modeled on Weinstein. But the character is never identified or seen. He looms menacingly large off-screen, invisible yet ever-present. Sometimes we hear his voice, booming yet muffled behind his office door. Sometimes we hear him barking on the phone at his overworked junior assistant, Jane, a college graduate who was hired just a few months ago.\u003c/p>\n\u003cp>The actress Julia Garner, who won an Emmy for \u003cem>Ozark\u003c/em>, plays Jane with piercing reserve. Whatever excitement she may have once felt at the chance to work for one of the film industry’s most powerful figures seems to have abandoned her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jane’s work day begins early: It’s still dark when she arrives at the office and starts making coffee and printing out box-office reports. In the first sign that something might be amiss, we see her scrubbing a stain off the couch in her boss’ office, then picking up a woman’s earring off the floor.\u003c/p>\n\u003cp>Her day gets busier from there. Her co-workers arrive, most of them youngish white men who regard her with indifference at best and contempt at worst. The boss’ wife calls several times, sounding irate and demanding to know where her husband is. He’s catching a red-eye to Los Angeles that night, which means that Jane, the first to arrive at work, will also be the last to leave.\u003c/p>\n\u003cp>You get the sense that no one wants to acknowledge the elephant in the room, but it clearly has something to do with the young women who drop by the office. One of them comes by to claim the lost earring. Another is being eyed as a candidate for an assistant job; as Jane learns, she’s newly arrived from Idaho and is being put up by the boss at a fancy hotel in Manhattan.\u003c/p>\n\u003cp>None of this comes as a shock to Jane; everything we see happening seems to have happened before. But something about the young woman from Idaho, who couldn’t seem more vulnerable or out of her element, causes something to snap inside Jane.\u003c/p>\n\u003cp>Later in the day, she meets with a human resources representative, played by Matthew Macfadyen of HBO’s \u003cem>Succession\u003c/em>. He seems attentive and sympathetic at first. But Jane has trouble articulating her suspicions, and eventually he changes the subject.\u003c/p>\n\u003cp>Jane’s conversation with HR is not just fruitless but demoralizing, and in Garner’s long pauses and terse replies, you can hear the seething frustration of a woman being condescended to and ignored.\u003c/p>\n\u003cp>\u003cem>The Assistant\u003c/em> is Green’s first narrative feature, but it feels of a piece with her earlier documentaries, \u003cem>Ukraine Is Not a Brothel \u003c/em>and \u003ca href=\"https://www.npr.org/2017/04/30/526250798/casting-jonben-t-is-a-new-look-at-an-old-case\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Casting JonBenet\u003c/em>\u003c/a>\u003cem>, \u003c/em>both of which addressed the exploitation of women. Her nonfiction experience may account for the cool, observational intelligence of her filmmaking here. \u003cem>The Assistant\u003c/em> is one of the most soul-deadeningly realistic movies about office life I’ve seen recently, and I mean that in a good way: It’s so vivid in its portrait of entry-level monotony that it could fill you with dread even if you didn’t suspect what was really going on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some might find the storytelling too oblique, or frustrating in its deliberately limited perspective. But it’s the rigorous understatement of \u003cem>The Assistant\u003c/em> that makes it so powerful in its vision of how easily the Harvey Weinsteins of the world could exploit their absolute authority for years with little fear of consequence. Moment by moment, it pulls us into a world where predatory behavior is concealed behind closed doors, and the silence of a hushed workplace becomes its own kind of complicity.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Assistant%27+Helps+Explain+How+Predatory+Behavior+Stays+Hidden&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I emerged from an early screening of \u003cem>The Assistant \u003c/em>a few weeks ago to the news that a jury had been selected in Harvey Weinstein’s \u003ca href=\"https://www.npr.org/2020/01/22/798222176/the-harvey-weinstein-trial-a-brief-timeline-of-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">sexual assault and rape trial\u003c/a>. Coming more than two years after \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a> and \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Yorker\u003c/em>\u003c/a> first published their reports of sexual harassment and assault against the famed film producer, the headlines were a stark reminder of how long it can take for a wealthy and well-connected man to face the accusations against him in court—even after a stunning public downfall that helped give rise to the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo\u003c/a> movement.\u003c/p>\n\u003cp>Although it’s not clear exactly when it’s taking place, Kitty Green’s quietly devastating movie returns us to a time before #MeToo and its explosive revelations of sexual abuse rattled the world and the entertainment industry in particular.\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/6cLf0i-kYio'\n title='//www.youtube.com/embed/6cLf0i-kYio'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story unfolds over a single day in a New York film production office run by a powerful mogul who is clearly modeled on Weinstein. But the character is never identified or seen. He looms menacingly large off-screen, invisible yet ever-present. Sometimes we hear his voice, booming yet muffled behind his office door. Sometimes we hear him barking on the phone at his overworked junior assistant, Jane, a college graduate who was hired just a few months ago.\u003c/p>\n\u003cp>The actress Julia Garner, who won an Emmy for \u003cem>Ozark\u003c/em>, plays Jane with piercing reserve. Whatever excitement she may have once felt at the chance to work for one of the film industry’s most powerful figures seems to have abandoned her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jane’s work day begins early: It’s still dark when she arrives at the office and starts making coffee and printing out box-office reports. In the first sign that something might be amiss, we see her scrubbing a stain off the couch in her boss’ office, then picking up a woman’s earring off the floor.\u003c/p>\n\u003cp>Her day gets busier from there. Her co-workers arrive, most of them youngish white men who regard her with indifference at best and contempt at worst. The boss’ wife calls several times, sounding irate and demanding to know where her husband is. He’s catching a red-eye to Los Angeles that night, which means that Jane, the first to arrive at work, will also be the last to leave.\u003c/p>\n\u003cp>You get the sense that no one wants to acknowledge the elephant in the room, but it clearly has something to do with the young women who drop by the office. One of them comes by to claim the lost earring. Another is being eyed as a candidate for an assistant job; as Jane learns, she’s newly arrived from Idaho and is being put up by the boss at a fancy hotel in Manhattan.\u003c/p>\n\u003cp>None of this comes as a shock to Jane; everything we see happening seems to have happened before. But something about the young woman from Idaho, who couldn’t seem more vulnerable or out of her element, causes something to snap inside Jane.\u003c/p>\n\u003cp>Later in the day, she meets with a human resources representative, played by Matthew Macfadyen of HBO’s \u003cem>Succession\u003c/em>. He seems attentive and sympathetic at first. But Jane has trouble articulating her suspicions, and eventually he changes the subject.\u003c/p>\n\u003cp>Jane’s conversation with HR is not just fruitless but demoralizing, and in Garner’s long pauses and terse replies, you can hear the seething frustration of a woman being condescended to and ignored.\u003c/p>\n\u003cp>\u003cem>The Assistant\u003c/em> is Green’s first narrative feature, but it feels of a piece with her earlier documentaries, \u003cem>Ukraine Is Not a Brothel \u003c/em>and \u003ca href=\"https://www.npr.org/2017/04/30/526250798/casting-jonben-t-is-a-new-look-at-an-old-case\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Casting JonBenet\u003c/em>\u003c/a>\u003cem>, \u003c/em>both of which addressed the exploitation of women. Her nonfiction experience may account for the cool, observational intelligence of her filmmaking here. \u003cem>The Assistant\u003c/em> is one of the most soul-deadeningly realistic movies about office life I’ve seen recently, and I mean that in a good way: It’s so vivid in its portrait of entry-level monotony that it could fill you with dread even if you didn’t suspect what was really going on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some might find the storytelling too oblique, or frustrating in its deliberately limited perspective. But it’s the rigorous understatement of \u003cem>The Assistant\u003c/em> that makes it so powerful in its vision of how easily the Harvey Weinsteins of the world could exploit their absolute authority for years with little fear of consequence. Moment by moment, it pulls us into a world where predatory behavior is concealed behind closed doors, and the silence of a hushed workplace becomes its own kind of complicity.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Assistant%27+Helps+Explain+How+Predatory+Behavior+Stays+Hidden&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a book you might have heard of by now. It’s called \u003cem>American Dirt\u003c/em>, and it’s the much-hyped new novel from author Jeanine Cummins that was released this week.\u003c/p>\n\u003cp>It’s the story of a Mexican woman named Lydia and her 8-year-old son Luca, who flee their home and undertake a harrowing journey to the U.S. border after gunmen from a local drug cartel kill most of their family. It’s been hailed as “a \u003cem>Grapes of Wrath\u003c/em> for our times.” In fact, that quote is on the cover of the book.\u003c/p>\n\u003cp>And that is one of the many problems with \u003cem>American Dirt\u003c/em>, according to several critics. There have been tweet threads and \u003ca href=\"https://medium.com/@davidbowles/non-mexican-crap-ff3b48a873b5\">essays\u003c/a>, all arguing that the book deploys harmful stereotypes. Even a hashtag — \u003ca href=\"https://twitter.com/search?q=my%20latino%20novel&src=typed_query\">My Latino Novel\u003c/a> — has popped up on Twitter, where people are writing their own parodies. But there is so much more to say about race and identity in publishing, about who gets to tell what stories and which of those voices are elevated in the mainstream culture.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Esmeralda Bermudez']“This is a wonderful, melodramatic telenovela, something I would love watching for cheap entertainment. … But this should not be called by anyone ‘the great immigrant novel, the story of our time.'”[/pullquote]\u003c/p>\n\u003cp>\u003cem>Los Angeles Times\u003c/em> writer Esmeralda Bermudez has been one of the most vocal critics of \u003cem>American Dirt\u003c/em>. “In 17 years of journalism, in interviewing thousands of immigrants, I’ve never come across anyone like \u003cem>American Dirt’s\u003c/em> main character,” Bermudez says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She’s this middle-class, bookstore-owning woman who left Mexico with a small fortune in her pocket, like she was going to go to France or something. With inheritance money. With an ATM to her mom’s life savings. And why did she leave? Because she was flirting with a drug lord who’s now trying to kill her. This is a wonderful, melodramatic telenovela, something I would love watching for cheap entertainment, like a narco-thriller on Netflix. But this should not be called by anyone ‘the great immigrant novel, the story of our time, \u003cem>The Grapes of Wrath\u003c/em>.’ Why? How did we get to a point in our industry, in the book industry, in society, that this is the low standard that we have?”\u003c/p>\n\u003cp>Writer Myriam Gurba, \u003ca href=\"https://tropicsofmeta.com/2019/12/12/pendeja-you-aint-steinbeck-my-bronca-with-fake-ass-social-justice-literature/\">another critic of the book\u003c/a>, pointed out a particular inauthenticity: “There is a scene where the main character encounters an ice rink. And she’s utterly shocked at the existence of this ice rink, as if she’s unaware that winter sports are played in Mexico. And I was laughing,” Gurba says. “I laughed out loud when I got to that section because I learned to ice skate in Mexico. I learned to ice skate at age 9 in Guadalajara.”\u003c/p>\n\u003cp>Bermudez, like many others speaking out against the book, says that despite the author’s intentions, it doesn’t reflect the truth of the migrant experience. “My grandfather, my aunt, my uncle were killed in El Salvador at a time of death squads. Death squads sponsored by the U.S. I was separated from my mom, I didn’t meet her until I was five because of all this violence. I wanted to see myself reflected in this book. It’s painful that not only did I not see myself, but I found all these things that constantly make us feel small.”\u003c/p>\n\u003cp>She says she understands that Americans who aren’t migrants themselves or come from migrant families may walk away from this book with a completely different feeling. “This book has left a lot of white readers with this very fuzzy feeling, like, ‘Oh my God’ about immigrants. And my skin is crawling. My skin is crawling.”\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Esmeralda Bermudez']“I wanted to see myself reflected in this book. It’s painful that not only did I not see myself, but I found all these things that constantly make us feel small.”[/pullquote]\u003c/p>\n\u003cp>We recorded an interview with Cummins, the book’s author, last week — an interview that never aired because the criticism of \u003cem>American Dirt\u003c/em> started coming down hard, and the conversation about this book had to change. So we called Cummins back. She says she’s tried to avoid the criticism, especially on Twitter. When I share some of what’s being said, Cummins says, “I don’t know how to respond to this. … Not everyone has to love my book. I endeavored to be incredibly culturally sensitive, I did the work, I did five years of research. The whole intention in my heart when I wrote this book was to try to upend the stereotypes that I saw being very prevalent in our national dialogue. And I felt like there was room … for us to examine the humanity of the people involved.”\u003c/p>\n\u003cp>Cummins says she’s aware of her own privilege, her cultural blind spots, and the imbalances in the publishing industry. “And that’s not a problem that I can fix, nor is it a problem that I’m responsible for,” she says. “All I can do is write the book that I believe in. And I did that.”\u003c/p>\n\u003cp>You can find \u003ca href=\"https://www.npr.org/2020/01/24/799164276/american-dirt-author-jeanine-cummins-answers-vocal-critics\">the rest of my conversation with Cummins here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Lisa Weiner and Reena Advani, and adapted for the Web by Petra Mayer.\u003c/em>\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>There’s a book you might have heard of by now. It’s called \u003cem>American Dirt\u003c/em>, and it’s the much-hyped new novel from author Jeanine Cummins that was released this week.\u003c/p>\n\u003cp>It’s the story of a Mexican woman named Lydia and her 8-year-old son Luca, who flee their home and undertake a harrowing journey to the U.S. border after gunmen from a local drug cartel kill most of their family. It’s been hailed as “a \u003cem>Grapes of Wrath\u003c/em> for our times.” In fact, that quote is on the cover of the book.\u003c/p>\n\u003cp>And that is one of the many problems with \u003cem>American Dirt\u003c/em>, according to several critics. There have been tweet threads and \u003ca href=\"https://medium.com/@davidbowles/non-mexican-crap-ff3b48a873b5\">essays\u003c/a>, all arguing that the book deploys harmful stereotypes. Even a hashtag — \u003ca href=\"https://twitter.com/search?q=my%20latino%20novel&src=typed_query\">My Latino Novel\u003c/a> — has popped up on Twitter, where people are writing their own parodies. But there is so much more to say about race and identity in publishing, about who gets to tell what stories and which of those voices are elevated in the mainstream culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Los Angeles Times\u003c/em> writer Esmeralda Bermudez has been one of the most vocal critics of \u003cem>American Dirt\u003c/em>. “In 17 years of journalism, in interviewing thousands of immigrants, I’ve never come across anyone like \u003cem>American Dirt’s\u003c/em> main character,” Bermudez says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She’s this middle-class, bookstore-owning woman who left Mexico with a small fortune in her pocket, like she was going to go to France or something. With inheritance money. With an ATM to her mom’s life savings. And why did she leave? Because she was flirting with a drug lord who’s now trying to kill her. This is a wonderful, melodramatic telenovela, something I would love watching for cheap entertainment, like a narco-thriller on Netflix. But this should not be called by anyone ‘the great immigrant novel, the story of our time, \u003cem>The Grapes of Wrath\u003c/em>.’ Why? How did we get to a point in our industry, in the book industry, in society, that this is the low standard that we have?”\u003c/p>\n\u003cp>Writer Myriam Gurba, \u003ca href=\"https://tropicsofmeta.com/2019/12/12/pendeja-you-aint-steinbeck-my-bronca-with-fake-ass-social-justice-literature/\">another critic of the book\u003c/a>, pointed out a particular inauthenticity: “There is a scene where the main character encounters an ice rink. And she’s utterly shocked at the existence of this ice rink, as if she’s unaware that winter sports are played in Mexico. And I was laughing,” Gurba says. “I laughed out loud when I got to that section because I learned to ice skate in Mexico. I learned to ice skate at age 9 in Guadalajara.”\u003c/p>\n\u003cp>Bermudez, like many others speaking out against the book, says that despite the author’s intentions, it doesn’t reflect the truth of the migrant experience. “My grandfather, my aunt, my uncle were killed in El Salvador at a time of death squads. Death squads sponsored by the U.S. I was separated from my mom, I didn’t meet her until I was five because of all this violence. I wanted to see myself reflected in this book. It’s painful that not only did I not see myself, but I found all these things that constantly make us feel small.”\u003c/p>\n\u003cp>She says she understands that Americans who aren’t migrants themselves or come from migrant families may walk away from this book with a completely different feeling. “This book has left a lot of white readers with this very fuzzy feeling, like, ‘Oh my God’ about immigrants. And my skin is crawling. My skin is crawling.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We recorded an interview with Cummins, the book’s author, last week — an interview that never aired because the criticism of \u003cem>American Dirt\u003c/em> started coming down hard, and the conversation about this book had to change. So we called Cummins back. She says she’s tried to avoid the criticism, especially on Twitter. When I share some of what’s being said, Cummins says, “I don’t know how to respond to this. … Not everyone has to love my book. I endeavored to be incredibly culturally sensitive, I did the work, I did five years of research. The whole intention in my heart when I wrote this book was to try to upend the stereotypes that I saw being very prevalent in our national dialogue. And I felt like there was room … for us to examine the humanity of the people involved.”\u003c/p>\n\u003cp>Cummins says she’s aware of her own privilege, her cultural blind spots, and the imbalances in the publishing industry. “And that’s not a problem that I can fix, nor is it a problem that I’m responsible for,” she says. “All I can do is write the book that I believe in. And I did that.”\u003c/p>\n\u003cp>You can find \u003ca href=\"https://www.npr.org/2020/01/24/799164276/american-dirt-author-jeanine-cummins-answers-vocal-critics\">the rest of my conversation with Cummins here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Lisa Weiner and Reena Advani, and adapted for the Web by Petra Mayer.\u003c/em>\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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"title": "A Drug Kingpin Worries Over His Imminent Regicide In 'The Gentlemen'",
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"content": "\u003cp>The genie is out of the bottle. The motormouthed magician of whom I speak is Guy Ritchie. \u003cem>The Gentlemen\u003c/em> finds the unlikely director of \u003cem>Aladdin\u003c/em> v.2019 released from Disneyland to return to his distinctly loquacious crooks played by distinctly memorable actors. It’s the milieu that made him, and still the one that uses his gifts for language and misdirection best. If \u003cem>The Man from U.N.C.L.E. \u003c/em>hadn’t been so good (and so sadly underseen), I’d say he should never be allowed to make a movie for more than $50 million.\u003c/p>\n\u003cp>\u003cem>The Gentlemen\u003c/em> (a right bollocks title, that) feels like an unofficial sequel to \u003cem>Lock, Stock, and Two Smoking Barrels,\u003c/em> the low-budget, high-energy 1998 debut that brought Ritchie international acclaim. A Shakespearean farce about dealers, thieves, and one self-appointed “Porn King” in grimy London, \u003cem>Lock, Stock \u003c/em>was less splattery than the Quentin Tarantino crime comedies that preceded it, but equally drunk on language. That one followed young local hoods trying to escape a powerful graybeard mobster. \u003cem>The Gentlemen,\u003c/em> in turn, focuses on a crazy-rich middle-aged kingpin who fears being deposed by the next generation of sleazebags. \u003c/p>\n\u003cp>That would be Mickey, played by Academy Award-winning sentient tanning bed Matthew McConaughey and a formidable array of plaid suits. He’s angling to sell his marijuana empire to fellow American expat Matthew (an unrecognizable Jeremy Strong) and spend more time with spouse Rosalind (Michele Dockery), who runs a garage specializing in high-end cars. \u003c/p>\n\u003cp>https://youtu.be/2B0RpUGss2c\u003c/p>\n\u003cp>Mickey’s sales pitch to Matthew gets into the weeds, as it were, about how he has flourished cultivating and distributing his “skunk-a-mola white widow super cheese,” and the details of his criminal conspiracy are intriguing and plausible. Also, Rosiland isn’t sure she \u003cem>wants\u003c/em> Mickey to retire, a wrinkle that gives the movie’s only significant female character more nuance and agency than you might expect. In six seasons of \u003cem>Downton Abbey\u003c/em>, Dockery never \u003cem>once\u003c/em> got to say, “There’s f***ery afoot.” Points to Ritchie and his writing partners Ivan Atkinson and Marn Davies for each of these things. (I’ll be taking several of those points away shortly.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As usual with Ritchie, the plot is rigorous and largely circular. The filmmaker’s kinetic, self-aware way of “laying pipe,” as Hugh Grant’s scuzzy P.I. character says during one of his many flights of semi-reliable narration, is the main attraction here, even more than the vibrant cast he’s assembled. A few of these players, like Grant and Colin Farrell (sublime as a boxing coach trying to extricate himself from the underworld and instill virtue in his young fighters), have only gotten better in the years since they traded in stardom for blue-chip character actor status. Charlie Hunnam, star of Ritchie’s 2017 flop \u003cem>King Arthur,\u003c/em> is great too, playing Mickey’s fastidious lieutenant. Henry Golding, a breakout star after \u003cem>Crazy Rich Asians\u003c/em>, is a world removed from heartthrob turf as a lean-and-hungry gangster called Dry Eyes. His threat to Mickey goes like this: “When a silverback has more silver than back, he best move on before he gets \u003cem>moved\u003c/em> on.” More points!\u003c/p>\n\u003cp>You wonder if McConaughey noticed all the intriguing choices his castmates made, because he gives the least compelling performance in the movie by a country mile. Not for the first time, his vanity is a problem: Because we sense he is unwilling to allow another actor to have the upper hand not just in the film but in any individual scene, there’s just not much suspense about his fate. Since we never buy for one second that Mickey might lose, the film’s pleasures prove more mechanical than emotional. \u003c/p>\n\u003cp>Okay.\u003c/p>\n\u003cp>I wish I didn’t have to spend a couple of paragraphs on this, but there’s no getting around it: \u003cem>The Gentlemen\u003c/em> torpedoes much of the goodwill it earns in its first 95 minutes when Dockery’s character, Rosalind—a businesswoman whose authority has been persuasively established, but again, also the only woman in the film who gets more than a line or two—is suddenly threatened with rape. \u003c/p>\n\u003cp>Without dismissing the fact that sexual assault in real life happens sans provocation by people who exhibit no obvious sign of being rapists all the time, the movie’s shrugging handling of the episode is at best irresponsible and at worst deeply sexist. The prevailing attitude seems to be that the true victim of the assault is not the woman who gets groped and forced over a desk, but her husband, played by the film’s top-billed star, who kicks in the door just in time to shoot the would-be rapist dead before he can get his pants down. Everything I’ve just described occurs in perhaps only 60 seconds’ screen time, a minute that contributes nothing to the movie and costs it a great deal. \u003c/p>\n\u003cp>Thus my conditional endorsement of \u003cem>The Gentlemen\u003c/em> now comes with a large and ugly asterisk. That’s more than a shame. It’s a crime. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The genie is out of the bottle. The motormouthed magician of whom I speak is Guy Ritchie. \u003cem>The Gentlemen\u003c/em> finds the unlikely director of \u003cem>Aladdin\u003c/em> v.2019 released from Disneyland to return to his distinctly loquacious crooks played by distinctly memorable actors. It’s the milieu that made him, and still the one that uses his gifts for language and misdirection best. If \u003cem>The Man from U.N.C.L.E. \u003c/em>hadn’t been so good (and so sadly underseen), I’d say he should never be allowed to make a movie for more than $50 million.\u003c/p>\n\u003cp>\u003cem>The Gentlemen\u003c/em> (a right bollocks title, that) feels like an unofficial sequel to \u003cem>Lock, Stock, and Two Smoking Barrels,\u003c/em> the low-budget, high-energy 1998 debut that brought Ritchie international acclaim. A Shakespearean farce about dealers, thieves, and one self-appointed “Porn King” in grimy London, \u003cem>Lock, Stock \u003c/em>was less splattery than the Quentin Tarantino crime comedies that preceded it, but equally drunk on language. That one followed young local hoods trying to escape a powerful graybeard mobster. \u003cem>The Gentlemen,\u003c/em> in turn, focuses on a crazy-rich middle-aged kingpin who fears being deposed by the next generation of sleazebags. \u003c/p>\n\u003cp>That would be Mickey, played by Academy Award-winning sentient tanning bed Matthew McConaughey and a formidable array of plaid suits. He’s angling to sell his marijuana empire to fellow American expat Matthew (an unrecognizable Jeremy Strong) and spend more time with spouse Rosalind (Michele Dockery), who runs a garage specializing in high-end cars. \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/2B0RpUGss2c'\n title='//www.youtube.com/embed/2B0RpUGss2c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mickey’s sales pitch to Matthew gets into the weeds, as it were, about how he has flourished cultivating and distributing his “skunk-a-mola white widow super cheese,” and the details of his criminal conspiracy are intriguing and plausible. Also, Rosiland isn’t sure she \u003cem>wants\u003c/em> Mickey to retire, a wrinkle that gives the movie’s only significant female character more nuance and agency than you might expect. In six seasons of \u003cem>Downton Abbey\u003c/em>, Dockery never \u003cem>once\u003c/em> got to say, “There’s f***ery afoot.” Points to Ritchie and his writing partners Ivan Atkinson and Marn Davies for each of these things. (I’ll be taking several of those points away shortly.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As usual with Ritchie, the plot is rigorous and largely circular. The filmmaker’s kinetic, self-aware way of “laying pipe,” as Hugh Grant’s scuzzy P.I. character says during one of his many flights of semi-reliable narration, is the main attraction here, even more than the vibrant cast he’s assembled. A few of these players, like Grant and Colin Farrell (sublime as a boxing coach trying to extricate himself from the underworld and instill virtue in his young fighters), have only gotten better in the years since they traded in stardom for blue-chip character actor status. Charlie Hunnam, star of Ritchie’s 2017 flop \u003cem>King Arthur,\u003c/em> is great too, playing Mickey’s fastidious lieutenant. Henry Golding, a breakout star after \u003cem>Crazy Rich Asians\u003c/em>, is a world removed from heartthrob turf as a lean-and-hungry gangster called Dry Eyes. His threat to Mickey goes like this: “When a silverback has more silver than back, he best move on before he gets \u003cem>moved\u003c/em> on.” More points!\u003c/p>\n\u003cp>You wonder if McConaughey noticed all the intriguing choices his castmates made, because he gives the least compelling performance in the movie by a country mile. Not for the first time, his vanity is a problem: Because we sense he is unwilling to allow another actor to have the upper hand not just in the film but in any individual scene, there’s just not much suspense about his fate. Since we never buy for one second that Mickey might lose, the film’s pleasures prove more mechanical than emotional. \u003c/p>\n\u003cp>Okay.\u003c/p>\n\u003cp>I wish I didn’t have to spend a couple of paragraphs on this, but there’s no getting around it: \u003cem>The Gentlemen\u003c/em> torpedoes much of the goodwill it earns in its first 95 minutes when Dockery’s character, Rosalind—a businesswoman whose authority has been persuasively established, but again, also the only woman in the film who gets more than a line or two—is suddenly threatened with rape. \u003c/p>\n\u003cp>Without dismissing the fact that sexual assault in real life happens sans provocation by people who exhibit no obvious sign of being rapists all the time, the movie’s shrugging handling of the episode is at best irresponsible and at worst deeply sexist. The prevailing attitude seems to be that the true victim of the assault is not the woman who gets groped and forced over a desk, but her husband, played by the film’s top-billed star, who kicks in the door just in time to shoot the would-be rapist dead before he can get his pants down. Everything I’ve just described occurs in perhaps only 60 seconds’ screen time, a minute that contributes nothing to the movie and costs it a great deal. \u003c/p>\n\u003cp>Thus my conditional endorsement of \u003cem>The Gentlemen\u003c/em> now comes with a large and ugly asterisk. That’s more than a shame. It’s a crime. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s Note: This interview contains descriptions that some listeners and readers may find disturbing. \u003c/em>\u003c/p>\n\u003cp>Sex, power and assault are at the heart of a new study that looks at what it is that makes college the perfect storm for misunderstandings around sexual encounters.\u003c/p>\n\u003cp>Beginning in 2015, Professors Jennifer Hirsch and Shamus Khan interviewed more than 150 Columbia and Barnard College undergrads to learn about their sex lives. What they wanted out of sex, how troubling encounters unfolded, and how layers of misunderstandings led to assault.\u003c/p>\n\u003cp>In their new book, \u003cem>Sexual Citizens\u003c/em>, Hirsch and Khan make the case that prevention starts with education—and they offer new approaches for universities, parents and kids on how to tackle the problem and empower people to feel like they have the right to choose their sexual experiences.\u003c/p>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why the students opened up to them about sex \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hirsch: So the research that we did that we share in \u003cem>Sexual Citizens\u003c/em> was part of a bigger project, The Sexual Health Initiative to Foster Transformation, which I co-directed with Claude Mellins. And so one of the ways that we worked with the students, we had a group of undergraduates who advised us and we also had a research team in the day-to-day data collection with students. And, so, some of the interviews I did, or Shamus did, but some of the interviews were done by this group of younger researchers. And we generally find in doing this kind of research that people are hungry to tell the stories of their lives.\u003c/p>\n\u003cp>Khan: I mean, we sent out this note as part of the broader project, just announcing the project. And students emailed back saying, I have a story to tell. And one of the things that we found was that people are often, you know, adults and young people’s lives are often producing so much silence around sex and sexuality that many of the young people we spoke to expressed it as a relief that someone finally sat down and listened to them about their sexual lives. …\u003c/p>\n\u003cp>Hirsch: There were so many of them that we had to hire another interviewer with experience in trauma-based research. I remember walking up Amsterdam after doing one of those interviews sobbing because the story [one woman] had told me about being assaulted and then trafficked was so intense. And yet she slung her backpack over her back and walked out of the interview room. I think, it seemed like she had a feeling of satisfaction that there was going to be somebody at the university who knew how she had suffered and was going to think about what that suffering would mean.\u003c/p>\n\u003cp>\u003cstrong>On consent and misinterpretation\u003c/strong>\u003c/p>\n\u003cp>Khan: So, so much of what we think about when we think about assault is predation, or sociopaths—that is people who are trying to assault someone. But what we found really frequently was that often people who assaulted others thought that they were having sex. They didn’t think that they were committing an assault. They didn’t think they were a predator. And, you know, we had one young man tell us a story, for example, and he said to us, I put on a tie so I knew I was going to have sex. [aside postid='arts_13872577']\u003c/p>\n\u003cp>And, you know, he felt like she really liked him. She’d invited him to this formal and she had gotten very drunk. And he described to us her going in and out of consciousness as he, in his words, had sex with her. Thinking that’s what in some ways he was obligated to do. And in that context, you know, it has to do with … men who often think about their own needs and desires, but who also think about, you know, sex as something that they accomplish—and not really considering what the other person was thinking or what the other person’s [plan] might be in that moment.\u003c/p>\n\u003cp>\u003cstrong>On enormous neglect and lack of awareness \u003c/strong>\u003c/p>\n\u003cp>Hirsch: There’s neglect and there’s also, in many cases, a lack of awareness of their own power. In the book, we tell the story of a freshman, Lucy, being assaulted by a Scott. Obviously, all of these are pseudonyms. …Lucy was a freshman, it was orientation week. She met Scott in a bar. They stumbled back to the fraternity … he led her upstairs to his room, started to take off her pants. She said no. He said to her, it’s okay—but it wasn’t okay. He raped her. And in that moment, obviously, he’s a senior. She’s a freshman. So it’s not just gender that has power, it’s also age. It’s control over the space. It’s control over alcohol. So there’s so many forms of power that produce those experiences, those moments of vulnerability to assault. And the most charitable interpretation that we could give for Scott’s behavior is that he was unaware of how much power he exerted in that moment.\u003c/p>\n\u003cp>\u003cstrong>On describing assaults as assaults\u003c/strong>\u003c/p>\n\u003cp>Khan: There are lots of reasons why people don’t describe assaults as assaults. We need to remember that most people are assaulted by somebody they know, not by strangers. And given that, given that they know the person, given that they’ve often had some kind of sexual contact with them before, naming something an assault isn’t just describing what happened to you. It actually fundamentally transforms your relationship with that person—and often your relationships with your shared friends. It’s like saying, you know what, my boyfriend or my girlfriend is a sexual predator, is somebody who did something terrible to me. And many people don’t want to do that. They don’t want to say that. …\u003c/p>\n\u003cp>We heard from many young women who told us that they were in a room with a man and they didn’t really want to be there anymore. And so they just performed oral sex on him to get out of there. And those young men didn’t force those women to have sex—but I think that they fundamentally didn’t realize what it was that the person they were with wanted to do.\u003c/p>\n\u003cp>We had other stories of a young woman who was asked to go out for a walk with her ex-boyfriend, who was very upset about the fact that his sister had just gotten a cancer diagnosis and she was thinking she was going to comfort a friend. And he ended up raping her up against a tree and dragging her to the ground. And she told us this story—chuckling, laughing about how she later found dirt on her body. And she didn’t describe this as a rape, but instead as a weird experience that she had. For these women, it’s not that they’re fundamentally denying the experience of their assault. It’s that they’re enmeshed in so many relationships that are important to them that they don’t want to call it what we see it as, which is assault.\u003c/p>\n\u003cp>\u003cstrong>On changing the conversation\u003c/strong>\u003c/p>\n\u003cp>Khan: We’re trying to change the conversation away from: Did it happen or didn’t it happen? Did she say no or did she not say no as vigorously? And instead to say: How do we prevent this in the first place? So, I think that adjudicating that situation with that woman in the room, with that young man, is nearly impossible. But I think what we outlined in \u003cem>Sexual Citizens\u003c/em> is a way to make sure that that situation is less likely to happen in the first place.\u003c/p>\n\u003cp>\u003cstrong>On race\u003c/strong>\u003c/p>\n\u003cp>Hirsch: So, yes, I think that the stories that black men shared with us about an acutely racialized fear of false accusation drove home the way gender is not the only form of power that shapes experiences of assault or accusation. And, so, there was a sense of racialized precarity. Black men, students, that we spoke with felt like they were marginal on campus, didn’t fully belong. Were less secure. And so the way they navigated consent reflected not just gender, but also race in … a really painful way.\u003c/p>\n\u003cp>Khan: As Jennifer has said so many times, racial justice is fundamentally an issue of preventing sexual assault. We may not think about those two things together, but it’s really important that we do. In addition to black men, every single black woman that we spoke to told us a story of unwanted, sexualized touching—every single one. It was profoundly disturbing when we analyzed our data that that occurred to us. And this reflected the ways in which black women’s experiences in college was something where their bodies were seen as accessible, things that people could touch without consent in ways that other students didn’t describe to us.\u003c/p>\n\u003cp>\u003cstrong>On LGBTQ rates of assault\u003c/strong>\u003c/p>\n\u003cp>Khan: I think there were a lot of reasons why LGBTQ students experienced assault at higher rates. One was that they didn’t accept as normal the kind of touching that happens at parties. So, you know, if you’re in a college basement, at a party rubbing up against each other and someone, you know, casually uses their hand and grabs your butt or something like that—a lot of LGBT students were like, this is not what I’m here for. I’m here for a different kind of experience. Whereas for heterosexual students, you know, there was sort of an understanding that this was part and parcel of being a college student. But there are other reasons why LGBT students also experienced assault at such high, high, high levels. And that’s because every single LGBTQ student that we talked to told us that they had sex ed that wasn’t at all relevant to their own sexual experiences, or sexual identities. And so, really, they just had to figure out sex on their own without any guidance from the communities and families that had raised them.\u003c/p>\n\u003cp>\u003cstrong>On solving the problem\u003c/strong>\u003c/p>\n\u003cp>Hirsch: Part of what solving the problem would look like is starting out when kids are young. Teaching them how to be respectful of other people’s bodies, right. It starts out in kindergarten. Sit criss-cross applesauce. Keep your hands on your own body. So those sort of early lessons in interpersonal respect, which are part of comprehensive sex education but are also part of just good education, are a fundamental first step.\u003c/p>\n\u003cp>Khan: And I think further steps are: comprehensive sex ed. You know, it wasn’t just LGBTQ students who described sex ed that really didn’t meet their needs. Most young people describe the sex ed that they received as a sexual-diseases course, or something that was incredibly fear-based. Here are the risks of pregnancy. Here are the risks of sexually transmitted infections. Here are the risks of sex—sex is something terrifying and really dangerous. And instead, we need to think about talking to young people about sex that’s something that will be really important in their lives. That’s going to be one of the ways in which they connect to some of those [that] are the most meaningful relationships that they’ll have. And to talk to young people about sex where they treat the other person that they’re having sex with as a human being—not just a toy that they’re going to be playing with. And if we don’t do that, what’s going to happen is that young people are going to learn about sex, but they’re going to learn about it from things like pornography.\u003c/p>\n\u003cp>\u003cstrong>On what parents can do\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hirsch: I think, as parents, we have a choice. We can have conversations with our children and, you know, the other children in our lives, about sex and values and how to treat people and what feels good. Or we can let our kids have their sexual values be formed by pornography and advertising.\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=In+%27Sexual+Citizens%2C%27+Students+Open+Up+About+Sex%2C+Power+And+Assault+On+Campus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hirsch: So the research that we did that we share in \u003cem>Sexual Citizens\u003c/em> was part of a bigger project, The Sexual Health Initiative to Foster Transformation, which I co-directed with Claude Mellins. And so one of the ways that we worked with the students, we had a group of undergraduates who advised us and we also had a research team in the day-to-day data collection with students. And, so, some of the interviews I did, or Shamus did, but some of the interviews were done by this group of younger researchers. And we generally find in doing this kind of research that people are hungry to tell the stories of their lives.\u003c/p>\n\u003cp>Khan: I mean, we sent out this note as part of the broader project, just announcing the project. And students emailed back saying, I have a story to tell. And one of the things that we found was that people are often, you know, adults and young people’s lives are often producing so much silence around sex and sexuality that many of the young people we spoke to expressed it as a relief that someone finally sat down and listened to them about their sexual lives. …\u003c/p>\n\u003cp>Hirsch: There were so many of them that we had to hire another interviewer with experience in trauma-based research. I remember walking up Amsterdam after doing one of those interviews sobbing because the story [one woman] had told me about being assaulted and then trafficked was so intense. And yet she slung her backpack over her back and walked out of the interview room. I think, it seemed like she had a feeling of satisfaction that there was going to be somebody at the university who knew how she had suffered and was going to think about what that suffering would mean.\u003c/p>\n\u003cp>\u003cstrong>On consent and misinterpretation\u003c/strong>\u003c/p>\n\u003cp>Khan: So, so much of what we think about when we think about assault is predation, or sociopaths—that is people who are trying to assault someone. But what we found really frequently was that often people who assaulted others thought that they were having sex. They didn’t think that they were committing an assault. They didn’t think they were a predator. And, you know, we had one young man tell us a story, for example, and he said to us, I put on a tie so I knew I was going to have sex. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And, you know, he felt like she really liked him. She’d invited him to this formal and she had gotten very drunk. And he described to us her going in and out of consciousness as he, in his words, had sex with her. Thinking that’s what in some ways he was obligated to do. And in that context, you know, it has to do with … men who often think about their own needs and desires, but who also think about, you know, sex as something that they accomplish—and not really considering what the other person was thinking or what the other person’s [plan] might be in that moment.\u003c/p>\n\u003cp>\u003cstrong>On enormous neglect and lack of awareness \u003c/strong>\u003c/p>\n\u003cp>Hirsch: There’s neglect and there’s also, in many cases, a lack of awareness of their own power. In the book, we tell the story of a freshman, Lucy, being assaulted by a Scott. Obviously, all of these are pseudonyms. …Lucy was a freshman, it was orientation week. She met Scott in a bar. They stumbled back to the fraternity … he led her upstairs to his room, started to take off her pants. She said no. He said to her, it’s okay—but it wasn’t okay. He raped her. And in that moment, obviously, he’s a senior. She’s a freshman. So it’s not just gender that has power, it’s also age. It’s control over the space. It’s control over alcohol. So there’s so many forms of power that produce those experiences, those moments of vulnerability to assault. And the most charitable interpretation that we could give for Scott’s behavior is that he was unaware of how much power he exerted in that moment.\u003c/p>\n\u003cp>\u003cstrong>On describing assaults as assaults\u003c/strong>\u003c/p>\n\u003cp>Khan: There are lots of reasons why people don’t describe assaults as assaults. We need to remember that most people are assaulted by somebody they know, not by strangers. And given that, given that they know the person, given that they’ve often had some kind of sexual contact with them before, naming something an assault isn’t just describing what happened to you. It actually fundamentally transforms your relationship with that person—and often your relationships with your shared friends. It’s like saying, you know what, my boyfriend or my girlfriend is a sexual predator, is somebody who did something terrible to me. And many people don’t want to do that. They don’t want to say that. …\u003c/p>\n\u003cp>We heard from many young women who told us that they were in a room with a man and they didn’t really want to be there anymore. And so they just performed oral sex on him to get out of there. And those young men didn’t force those women to have sex—but I think that they fundamentally didn’t realize what it was that the person they were with wanted to do.\u003c/p>\n\u003cp>We had other stories of a young woman who was asked to go out for a walk with her ex-boyfriend, who was very upset about the fact that his sister had just gotten a cancer diagnosis and she was thinking she was going to comfort a friend. And he ended up raping her up against a tree and dragging her to the ground. And she told us this story—chuckling, laughing about how she later found dirt on her body. And she didn’t describe this as a rape, but instead as a weird experience that she had. For these women, it’s not that they’re fundamentally denying the experience of their assault. It’s that they’re enmeshed in so many relationships that are important to them that they don’t want to call it what we see it as, which is assault.\u003c/p>\n\u003cp>\u003cstrong>On changing the conversation\u003c/strong>\u003c/p>\n\u003cp>Khan: We’re trying to change the conversation away from: Did it happen or didn’t it happen? Did she say no or did she not say no as vigorously? And instead to say: How do we prevent this in the first place? So, I think that adjudicating that situation with that woman in the room, with that young man, is nearly impossible. But I think what we outlined in \u003cem>Sexual Citizens\u003c/em> is a way to make sure that that situation is less likely to happen in the first place.\u003c/p>\n\u003cp>\u003cstrong>On race\u003c/strong>\u003c/p>\n\u003cp>Hirsch: So, yes, I think that the stories that black men shared with us about an acutely racialized fear of false accusation drove home the way gender is not the only form of power that shapes experiences of assault or accusation. And, so, there was a sense of racialized precarity. Black men, students, that we spoke with felt like they were marginal on campus, didn’t fully belong. Were less secure. And so the way they navigated consent reflected not just gender, but also race in … a really painful way.\u003c/p>\n\u003cp>Khan: As Jennifer has said so many times, racial justice is fundamentally an issue of preventing sexual assault. We may not think about those two things together, but it’s really important that we do. In addition to black men, every single black woman that we spoke to told us a story of unwanted, sexualized touching—every single one. It was profoundly disturbing when we analyzed our data that that occurred to us. And this reflected the ways in which black women’s experiences in college was something where their bodies were seen as accessible, things that people could touch without consent in ways that other students didn’t describe to us.\u003c/p>\n\u003cp>\u003cstrong>On LGBTQ rates of assault\u003c/strong>\u003c/p>\n\u003cp>Khan: I think there were a lot of reasons why LGBTQ students experienced assault at higher rates. One was that they didn’t accept as normal the kind of touching that happens at parties. So, you know, if you’re in a college basement, at a party rubbing up against each other and someone, you know, casually uses their hand and grabs your butt or something like that—a lot of LGBT students were like, this is not what I’m here for. I’m here for a different kind of experience. Whereas for heterosexual students, you know, there was sort of an understanding that this was part and parcel of being a college student. But there are other reasons why LGBT students also experienced assault at such high, high, high levels. And that’s because every single LGBTQ student that we talked to told us that they had sex ed that wasn’t at all relevant to their own sexual experiences, or sexual identities. And so, really, they just had to figure out sex on their own without any guidance from the communities and families that had raised them.\u003c/p>\n\u003cp>\u003cstrong>On solving the problem\u003c/strong>\u003c/p>\n\u003cp>Hirsch: Part of what solving the problem would look like is starting out when kids are young. Teaching them how to be respectful of other people’s bodies, right. It starts out in kindergarten. Sit criss-cross applesauce. Keep your hands on your own body. So those sort of early lessons in interpersonal respect, which are part of comprehensive sex education but are also part of just good education, are a fundamental first step.\u003c/p>\n\u003cp>Khan: And I think further steps are: comprehensive sex ed. You know, it wasn’t just LGBTQ students who described sex ed that really didn’t meet their needs. Most young people describe the sex ed that they received as a sexual-diseases course, or something that was incredibly fear-based. Here are the risks of pregnancy. Here are the risks of sexually transmitted infections. Here are the risks of sex—sex is something terrifying and really dangerous. And instead, we need to think about talking to young people about sex that’s something that will be really important in their lives. That’s going to be one of the ways in which they connect to some of those [that] are the most meaningful relationships that they’ll have. And to talk to young people about sex where they treat the other person that they’re having sex with as a human being—not just a toy that they’re going to be playing with. And if we don’t do that, what’s going to happen is that young people are going to learn about sex, but they’re going to learn about it from things like pornography.\u003c/p>\n\u003cp>\u003cstrong>On what parents can do\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hirsch: I think, as parents, we have a choice. We can have conversations with our children and, you know, the other children in our lives, about sex and values and how to treat people and what feels good. Or we can let our kids have their sexual values be formed by pornography and advertising.\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=In+%27Sexual+Citizens%2C%27+Students+Open+Up+About+Sex%2C+Power+And+Assault+On+Campus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Harvey Weinstein Trial: A Brief Timeline of How We Got Here",
"headTitle": "The Harvey Weinstein Trial: A Brief Timeline of How We Got Here | KQED",
"content": "\u003cp>\u003cstrong>Updated at 1:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>This was never inevitable.\u003c/p>\n\u003cp>For much of Harvey Weinstein’s career, dark rumors of sexual assault and harassment tailed the Hollywood mega-producer. But they were rarely spoken with much volume. Only in recent years did the allegations gather the heft and momentum that culminated in this: a teeming courtroom in Manhattan where, in a matter of weeks, a judge might send Weinstein to prison for the rest of his life.\u003c/p>\n\u003cp>Opening statements start Wednesday in Weinstein’s \u003ca href=\"https://www.npr.org/2020/01/06/793613868/harvey-weinstein-heads-to-trial-for-sex-crimes-in-a-metoo-landmark\" target=\"_blank\" rel=\"noopener noreferrer\">criminal trial\u003c/a>. Weinstein has pleaded not guilty to the multiple sexual assault and rape charges he faces in New York state, and he has repeatedly denied wrongdoing, casting these encounters as entirely consensual.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what led to this?\u003c/p>\n\u003cp>While scores of women have accused Weinstein of crimes dating back decades—ranging from intimidation to rape—this timeline focuses on the incidents cited in criminal cases against him in Manhattan and, more recently, in Los Angeles, and the swell of popular momentum that helped drive prosecutors to press charges.\u003c/p>\n\u003ch3>\u003cstrong>Timeline\u003c/strong>\u003c/h3>\n\u003cp>\u003ca id=\"annabella\" class=\"anchor\">\u003c/a> \u003cstrong>Winter 1993-94: Weinstein allegedly rapes Annabella Sciorra\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873663\" class=\"wp-caption alignright\" style=\"max-width: 248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png\" alt=\"Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \" width=\"248\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png 248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM-160x215.png 160w\" sizes=\"(max-width: 248px) 100vw, 248px\">\u003cfigcaption class=\"wp-caption-text\">Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actress, perhaps best known for her Emmy-nominated work on \u003cem>The Sopranos\u003c/em>, says Weinstein raped her at her Manhattan apartment after an industry dinner. She says the producer dropped her off, only to reappear at her door and force his way inside.\u003c/p>\n\u003cp>Sciorra’s allegation went on to become the subject of pretrial arguments in Manhattan. While the alleged incident is too old to be prosecuted under state law, and while the defense team objected to its inclusion in the trial, her testimony will be \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">heard anyway\u003c/a>, in support of the charge of \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"lucia\" class=\"anchor\">\u003c/a> \u003cstrong>June 1, 2004: Weinstein allegedly forces Lucia Evans to perform oral sex\u003c/strong>\u003c/p>\n\u003cp>The former aspiring actress told \u003cem>The New Yorker—\u003c/em>in one of \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">a pair of major stories\u003c/a> that trained a national spotlight on the allegations—that Weinstein raped her in his office in Manhattan’s Tribeca neighborhood.\u003c/p>\n\u003cp>“He forced me to perform oral sex on him,” Evans said, adding: “I said, over and over, ‘I don’t want to do this, stop, don’t.’ I tried to get away, but maybe I didn’t try hard enough. I didn’t want to kick him or fight him.”\u003c/p>\n\u003cp>Her account led prosecutors to pursue a criminal sexual act charge against Weinstein, although it was dismissed in 2018. (More explanation on that \u003ca href=\"#dismissed\" target=\"_blank\" rel=\"noopener noreferrer\">later\u003c/a>.)\u003c/p>\n\u003cp>\u003ca id=\"mimi\" class=\"anchor\">\u003c/a> \u003cstrong>July 10, 2006: Weinstein allegedly forces himself on Mimi Haleyi\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873664\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-865953512.jpg\" alt=\"Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haleyi, a former production assistant at Weinstein’s now-bankrupt production company, says that after inviting her to his New York City home, the producer ignored her objections, pulled out her tampon and forcibly performed oral sex on her.\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2017\u003c/a>. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>Haleyi’s claim was included in a \u003ca href=\"#second\" target=\"_blank\" rel=\"noopener noreferrer\">second round of charges\u003c/a> against Weinstein.\u003c/p>\n\u003cp>\u003ca id=\"LAincidents\" class=\"anchor\">\u003c/a> \u003cstrong>Feb. 18-19, 2013: A pair of incidents in Los Angeles\u003c/strong>\u003c/p>\n\u003cp>Few details have been formally released as yet about these alleged incidents, which recently prompted Los Angeles prosecutors to \u003ca href=\"#LA\" target=\"_blank\" rel=\"noopener noreferrer\">file four charges\u003c/a> against Weinstein: one felony count each of forcible rape, forcible oral copulation, sexual penetration by use of force and sexual battery by restraint.\u003c/p>\n\u003cp>“On Feb. 18, 2013, Weinstein allegedly went to a hotel and raped a woman after pushing his way inside her room,” the office of Los Angeles County District Attorney Jackie Lacey \u003ca href=\"http://da.co.la.ca.us/media/news/hollywood-producer-harvey-weinstein-charged-sexually-assaulting-two-women-2013\" target=\"_blank\" rel=\"noopener noreferrer\">explained in early January\u003c/a>. “The next evening, the defendant is accused of sexually assaulting a woman at a hotel suite in Beverly Hills.”\u003c/p>\n\u003cp>\u003cstrong>March 18, 2013: Alleged rape in New York City\u003c/strong>\u003c/p>\n\u003cp>For a long time, even fewer details had been released about this allegation, which prompted two of the charges against Weinstein: first- and third-degree rape. Indeed, it was not until the trial’s opening statements that prosecutors released the name of the alleged victim, Jessica Mann, and the details of her story.\u003c/p>\n\u003cp>Prosecutors said Mann, an aspiring actress, had attended several industry events with Weinstein and endured increasingly aggressive sexual advances—including one incident in which, similar to Haleyi, Mann says Weinstein forcibly performed oral sex on her.\u003c/p>\n\u003cp>But it was later, on March 18—one month after the alleged incidents in LA—that Mann says she tried to confront Weinstein at a hotel in Midtown Manhattan. There, he allegedly coaxed her up to his room, forced her to disrobe and ordered her onto the bed.\u003c/p>\n\u003cp>“He got on top of her and he raped her, forcing his penis into her vagina,” Assistant District Attorney Meghan Hast told jurors on Wednesday. “Jessica just laid there. When he finished, he got off of her.”\u003c/p>\n\u003cp>\u003cstrong>March 2015: New York DA decides not to prosecute allegation\u003c/strong>\u003c/p>\n\u003cp>Ambra Battilana Gutierrez, a Filipina-Italian model, reported Weinstein to the New York Police Department for allegedly groping her during a meeting at his Tribeca office. She \u003ca href=\"https://podcasts.apple.com/us/podcast/episode-3-the-wire/id1487730212?i=1000459181175\" target=\"_blank\" rel=\"noopener noreferrer\">says that\u003c/a> later, at the urging of police, she wore a recording device for an arranged meetup at a Manhattan hotel and that Weinstein admitted that he groped her and sought unsuccessfully to get her to come to his room.\u003c/p>\n\u003cp>Ultimately, however, the office of Manhattan District Attorney Cyrus Vance decided not to pursue the case, saying \u003ca href=\"https://abcnews.go.com/Entertainment/charges-filed-harvey-weinstein/story?id=30232552\" target=\"_blank\" rel=\"noopener noreferrer\">at the time\u003c/a> that “a criminal charge is not supported.”\u003c/p>\n\u003cp>Years later, after the publication of a \u003cem>New Yorker\u003c/em> piece \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">detailing Gutierrez’s allegations\u003c/a>, her story would become a \u003ca href=\"https://www.thecut.com/2018/03/times-up-sexual-assault-cuomo-weinstein-cyrus-vance.html\" target=\"_blank\" rel=\"noopener noreferrer\">focus of intense criticism\u003c/a> leveled at Vance, whose office is now responsible for prosecuting the criminal trial. New York Attorney General Andrew Cuomo \u003ca href=\"https://www.governor.ny.gov/news/statement-governor-andrew-m-cuomo-181\" target=\"_blank\" rel=\"noopener noreferrer\">requested a review\u003c/a> of the DA’s decision in 2015, though it’s not clear whether that was ever completed.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5, 2017: \u003c/strong>\u003cem>\u003cstrong>The New York Times\u003c/strong>\u003c/em>\u003cstrong> publishes allegations\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873668\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1192172436.jpg\" alt=\"Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \" width=\"594\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436-160x106.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \u003ccite>(Kena Betancur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While rumors of sexual harassment and assault had long dogged Weinstein—even supplying \u003ca href=\"https://www.latimes.com/entertainment/la-et-entertainment-news-updates-seth-macfarlane-reveals-truth-about-his-1507755303-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">punchlines at the Oscars\u003c/a>—but it wasn’t until the \u003cem>Times\u003c/em> and \u003cem>The New Yorker\u003c/em> published exposés that the allegations found serious traction.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Times’ story\u003c/a>, written by Jodi Kantor and Megan Twohey, focused on allegations by a series of assistants and actresses, such as Ashley Judd and Rose McGowan.\u003c/p>\n\u003cp>Weinstein, in a statement released \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener noreferrer\">that same day\u003c/a>, pledged to take a leave of absence and acknowledged that “I have a long way to go.”\u003c/p>\n\u003cp>“I so respect all women and regret what happened,” he said, without admitting wrongdoing.\u003c/p>\n\u003cp>\u003ca id=\"nyer\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 10, 2017: The \u003c/strong>\u003cem>\u003cstrong>New Yorker\u003c/strong>\u003c/em>\u003cstrong> publishes more allegations\u003c/strong>\u003c/p>\n\u003cp>Published just days after the \u003cem>Times\u003c/em> article, \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">journalist Ronan Farrow’s piece\u003c/a> in the \u003cem>New Yorker\u003c/em> focused on a slew of other accusations—including the allegation by Lucia Evans that had been included in and but was later dropped from the list of criminal charges Weinstein faces in New York.\u003c/p>\n\u003cp>\u003cstrong>Oct. 14, 2017: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>is expelled\u003c/strong>\u003c/a>\u003cstrong> from the Academy\u003c/strong>\u003c/p>\n\u003cp>In one of the first signs that the reaction to the \u003cem>Times\u003c/em> and \u003cem>New Yorker\u003c/em> reports represented a sea change, complete with real-world implications for Weinstein, the Hollywood producer is expelled from the Academy of Motion Picture Arts and Sciences, the influential organization responsible for the Oscars.\u003c/p>\n\u003cp>“We do so not simply to separate ourselves from someone who does not merit the respect of his colleagues,” the academy’s 54-member Board of Governors explained in a statement after an emergency meeting, “but also to send a message that the era of willful ignorance and shameful complicity in sexually predatory behavior and workplace harassment in our industry is over.”\u003c/p>\n\u003cp>\u003cstrong>March 19, 2018: The Weinstein Company \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>files for bankruptcy\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Buffeted by months of negative press, the production company that Weinstein founded with his brother, Bob, goes belly up. The company declares bankruptcy and sells “substantially all” of its assets to Lantern Capital Partners, and it also voids the nondisclosure agreements it had reached with Weinstein’s accusers.\u003c/p>\n\u003cp>\u003ca id=\"original\" class=\"anchor\">\u003c/a> \u003cstrong>May 25, 2018: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>surrenders to police\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The former producer arrives at the New York Police Department’s 1st Precinct in Lower Manhattan, where he submits to arrest with droves of journalists looking on. It is Weinstein’s first arrest in connection with the sexual assault allegations.\u003c/p>\n\u003cp>The same day, Manhattan District Attorney Cyrus Vance Jr. submits Weinstein’s \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-criminal-charges-against-harvey-weinstein/\" target=\"_blank\" rel=\"noopener noreferrer\">initial slate of charges\u003c/a>: “The defendant is charged with Rape in the First and Third Degrees, as well as Criminal Sexual Act in the First Degree, for forcible sexual acts against two women in 2013 and 2004, respectively.”\u003c/p>\n\u003cp>About a week and a half later, Weinstein \u003ca href=\"https://www.npr.org/617095337\" target=\"_blank\" rel=\"noopener noreferrer\">pleads not guilty\u003c/a> to the charges, which will later change significantly as new information comes to light.\u003c/p>\n\u003cp>\u003ca id=\"second\" class=\"anchor\">\u003c/a> \u003cstrong>July 2, 2018: \u003c/strong>\u003ca href=\"https://www.npr.org/625330563\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Additional charges\u003c/strong>\u003c/a>\u003cstrong> against Weinstein announced\u003c/strong>\u003c/p>\n\u003cp>Manhattan DA Vance \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-additional-charges-against-harvey-weinstein-including-predatory-sexual-assault/\">announces the filing\u003c/a> of a superseding grand jury indictment, which adds charges connected with a third incident in 2006. The new slate includes one count of criminal sexual act in the first degree and two counts of predatory sexual assault, the most serious charge levied against Weinstein by New York City prosecutors.\u003c/p>\n\u003cp>\u003ca href=\"#mimi\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Haleyi\u003c/a>, who was involved in the alleged 2006 incident, \u003ca href=\"https://youtu.be/VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">had come forward\u003c/a> with her story more than half a year earlier, saying that during her time working at The Weinstein Company, Weinstein orally forced himself on her in his New York City home.\u003c/p>\n\u003cp>Weinstein pleads not guilty to the new charges a week after they are announced.\u003c/p>\n\u003cp>\u003ca id=\"dismissed\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 11, 2018: One charge against Weinstein is dismissed\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873670\" class=\"wp-caption alignnone\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-860971312.jpg\" alt=\"Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13.\" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Justice James Burke, the judge overseeing the Manhattan trial, dismissed one of the charges against the producer after it came to light that investigators didn’t properly present certain information to the grand jury.\u003c/p>\n\u003cp>Lucia Evans told the grand jury—and the \u003cem>New Yorker\u003c/em>—that Weinstein forced her to perform oral sex on him. But an unidentified friend of hers had contradicted that account in an interview with a detective, saying Evans called it a consensual act in exchange for the promise of acting work.\u003c/p>\n\u003cp>Prosecutors acknowledged later that the detective “failed to inform” them of “important details” of the interview prior to Evans’ grand jury testimony. Weinstein’s legal team pushed to have the criminal sexual act charge dismissed as a result, and prosecutors did not object.\u003c/p>\n\u003cp>\u003cstrong>Dec. 11, 2019: The Weinstein Company strikes \u003c/strong>\u003ca href=\"https://www.npr.org/787306873\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>tentative deal\u003c/strong>\u003c/a>\u003cstrong> with alleged victims\u003c/strong>\u003c/p>\n\u003cp>Weinstein and his now-bankrupt production company reach a tentative $47 million settlement to discharge their financial obligations. The deal contains $25 million earmarked for Weinstein’s alleged victims, including more than 30 actresses and former employees. It does not, however, require an admission of wrongdoing or any personal payments from Weinstein.\u003c/p>\n\u003cp>It is not a done deal, though: A judge still needs to sign off on the agreement for it to become final. And \u003ca href=\"https://www.npr.org/2019/05/24/726499228/wsj-harvey-weinstein-reaches-44-million-deal-over-sexual-misconduct\" target=\"_blank\" rel=\"noopener noreferrer\">previous attempts\u003c/a> have fallen through.\u003c/p>\n\u003cp>\u003cstrong>Jan. 6, 2020: Trial in New York City begins\u003c/strong>\u003c/p>\n\u003cp>Weinstein’s trial formally opens in Manhattan, with more than two weeks devoted to selecting a jury. After roughly a year and a half of pretrial wrangling, the charges Weinstein faces are as follows:\u003c/p>\n\u003cul>\n\u003cli>Two counts of predatory sexual assault\u003c/li>\n\u003cli>One count of rape in the first degree (connected to the 2013 incident)\u003c/li>\n\u003cli>One count of rape in the third degree (2013 incident)\u003c/li>\n\u003cli>One count of criminal sexual act in the first degree (2006 incident)\u003c/li>\n\u003c/ul>\n\u003cp>If convicted of the most serious crime on that list, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, Weinstein faces the possibility of spending the rest of his \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">life in prison\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"LA\" class=\"anchor\">\u003c/a> \u003cstrong>Jan. 6, 2020: Los Angeles prosecutors announce \u003c/strong>\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\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>charges of their own\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The same day that his trial opens in Manhattan, Weinstein is hit with new legal woes from the other side of the U.S.: \u003ca href=\"http://da.co.la.ca.us/sites/default/files/press/010620_Hollywood_Producer_Harvey_Weinstein_Charged_With_Sexually_Assaulting_Two_Women_in_2013.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">four felony counts of sexual assault\u003c/a>, filed by Los Angeles County District Attorney Lacey. The charges are connected with incidents that allegedly happened at local hotels over \u003ca href=\"#laincidents\" target=\"_blank\" rel=\"noopener noreferrer\">two nights in February 2013\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We believe the evidence will show that the defendant used his power and influence to gain access to his victims,” Lacey says, “and then commit violent crimes against them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Harvey+Weinstein+Trial%3A+A+Brief+Timeline+Of+How+We+Got+Here&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "For years, dark rumors swirled around the movie producer. So how did those whispered allegations result in a full-fledged criminal trial? Here's an abridged history.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>This was never inevitable.\u003c/p>\n\u003cp>For much of Harvey Weinstein’s career, dark rumors of sexual assault and harassment tailed the Hollywood mega-producer. But they were rarely spoken with much volume. Only in recent years did the allegations gather the heft and momentum that culminated in this: a teeming courtroom in Manhattan where, in a matter of weeks, a judge might send Weinstein to prison for the rest of his life.\u003c/p>\n\u003cp>Opening statements start Wednesday in Weinstein’s \u003ca href=\"https://www.npr.org/2020/01/06/793613868/harvey-weinstein-heads-to-trial-for-sex-crimes-in-a-metoo-landmark\" target=\"_blank\" rel=\"noopener noreferrer\">criminal trial\u003c/a>. Weinstein has pleaded not guilty to the multiple sexual assault and rape charges he faces in New York state, and he has repeatedly denied wrongdoing, casting these encounters as entirely consensual.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So what led to this?\u003c/p>\n\u003cp>While scores of women have accused Weinstein of crimes dating back decades—ranging from intimidation to rape—this timeline focuses on the incidents cited in criminal cases against him in Manhattan and, more recently, in Los Angeles, and the swell of popular momentum that helped drive prosecutors to press charges.\u003c/p>\n\u003ch3>\u003cstrong>Timeline\u003c/strong>\u003c/h3>\n\u003cp>\u003ca id=\"annabella\" class=\"anchor\">\u003c/a> \u003cstrong>Winter 1993-94: Weinstein allegedly rapes Annabella Sciorra\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873663\" class=\"wp-caption alignright\" style=\"max-width: 248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png\" alt=\"Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \" width=\"248\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png 248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM-160x215.png 160w\" sizes=\"(max-width: 248px) 100vw, 248px\">\u003cfigcaption class=\"wp-caption-text\">Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actress, perhaps best known for her Emmy-nominated work on \u003cem>The Sopranos\u003c/em>, says Weinstein raped her at her Manhattan apartment after an industry dinner. She says the producer dropped her off, only to reappear at her door and force his way inside.\u003c/p>\n\u003cp>Sciorra’s allegation went on to become the subject of pretrial arguments in Manhattan. While the alleged incident is too old to be prosecuted under state law, and while the defense team objected to its inclusion in the trial, her testimony will be \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">heard anyway\u003c/a>, in support of the charge of \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"lucia\" class=\"anchor\">\u003c/a> \u003cstrong>June 1, 2004: Weinstein allegedly forces Lucia Evans to perform oral sex\u003c/strong>\u003c/p>\n\u003cp>The former aspiring actress told \u003cem>The New Yorker—\u003c/em>in one of \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">a pair of major stories\u003c/a> that trained a national spotlight on the allegations—that Weinstein raped her in his office in Manhattan’s Tribeca neighborhood.\u003c/p>\n\u003cp>“He forced me to perform oral sex on him,” Evans said, adding: “I said, over and over, ‘I don’t want to do this, stop, don’t.’ I tried to get away, but maybe I didn’t try hard enough. I didn’t want to kick him or fight him.”\u003c/p>\n\u003cp>Her account led prosecutors to pursue a criminal sexual act charge against Weinstein, although it was dismissed in 2018. (More explanation on that \u003ca href=\"#dismissed\" target=\"_blank\" rel=\"noopener noreferrer\">later\u003c/a>.)\u003c/p>\n\u003cp>\u003ca id=\"mimi\" class=\"anchor\">\u003c/a> \u003cstrong>July 10, 2006: Weinstein allegedly forces himself on Mimi Haleyi\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873664\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-865953512.jpg\" alt=\"Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haleyi, a former production assistant at Weinstein’s now-bankrupt production company, says that after inviting her to his New York City home, the producer ignored her objections, pulled out her tampon and forcibly performed oral sex on her.\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2017\u003c/a>. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>Haleyi’s claim was included in a \u003ca href=\"#second\" target=\"_blank\" rel=\"noopener noreferrer\">second round of charges\u003c/a> against Weinstein.\u003c/p>\n\u003cp>\u003ca id=\"LAincidents\" class=\"anchor\">\u003c/a> \u003cstrong>Feb. 18-19, 2013: A pair of incidents in Los Angeles\u003c/strong>\u003c/p>\n\u003cp>Few details have been formally released as yet about these alleged incidents, which recently prompted Los Angeles prosecutors to \u003ca href=\"#LA\" target=\"_blank\" rel=\"noopener noreferrer\">file four charges\u003c/a> against Weinstein: one felony count each of forcible rape, forcible oral copulation, sexual penetration by use of force and sexual battery by restraint.\u003c/p>\n\u003cp>“On Feb. 18, 2013, Weinstein allegedly went to a hotel and raped a woman after pushing his way inside her room,” the office of Los Angeles County District Attorney Jackie Lacey \u003ca href=\"http://da.co.la.ca.us/media/news/hollywood-producer-harvey-weinstein-charged-sexually-assaulting-two-women-2013\" target=\"_blank\" rel=\"noopener noreferrer\">explained in early January\u003c/a>. “The next evening, the defendant is accused of sexually assaulting a woman at a hotel suite in Beverly Hills.”\u003c/p>\n\u003cp>\u003cstrong>March 18, 2013: Alleged rape in New York City\u003c/strong>\u003c/p>\n\u003cp>For a long time, even fewer details had been released about this allegation, which prompted two of the charges against Weinstein: first- and third-degree rape. Indeed, it was not until the trial’s opening statements that prosecutors released the name of the alleged victim, Jessica Mann, and the details of her story.\u003c/p>\n\u003cp>Prosecutors said Mann, an aspiring actress, had attended several industry events with Weinstein and endured increasingly aggressive sexual advances—including one incident in which, similar to Haleyi, Mann says Weinstein forcibly performed oral sex on her.\u003c/p>\n\u003cp>But it was later, on March 18—one month after the alleged incidents in LA—that Mann says she tried to confront Weinstein at a hotel in Midtown Manhattan. There, he allegedly coaxed her up to his room, forced her to disrobe and ordered her onto the bed.\u003c/p>\n\u003cp>“He got on top of her and he raped her, forcing his penis into her vagina,” Assistant District Attorney Meghan Hast told jurors on Wednesday. “Jessica just laid there. When he finished, he got off of her.”\u003c/p>\n\u003cp>\u003cstrong>March 2015: New York DA decides not to prosecute allegation\u003c/strong>\u003c/p>\n\u003cp>Ambra Battilana Gutierrez, a Filipina-Italian model, reported Weinstein to the New York Police Department for allegedly groping her during a meeting at his Tribeca office. She \u003ca href=\"https://podcasts.apple.com/us/podcast/episode-3-the-wire/id1487730212?i=1000459181175\" target=\"_blank\" rel=\"noopener noreferrer\">says that\u003c/a> later, at the urging of police, she wore a recording device for an arranged meetup at a Manhattan hotel and that Weinstein admitted that he groped her and sought unsuccessfully to get her to come to his room.\u003c/p>\n\u003cp>Ultimately, however, the office of Manhattan District Attorney Cyrus Vance decided not to pursue the case, saying \u003ca href=\"https://abcnews.go.com/Entertainment/charges-filed-harvey-weinstein/story?id=30232552\" target=\"_blank\" rel=\"noopener noreferrer\">at the time\u003c/a> that “a criminal charge is not supported.”\u003c/p>\n\u003cp>Years later, after the publication of a \u003cem>New Yorker\u003c/em> piece \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">detailing Gutierrez’s allegations\u003c/a>, her story would become a \u003ca href=\"https://www.thecut.com/2018/03/times-up-sexual-assault-cuomo-weinstein-cyrus-vance.html\" target=\"_blank\" rel=\"noopener noreferrer\">focus of intense criticism\u003c/a> leveled at Vance, whose office is now responsible for prosecuting the criminal trial. New York Attorney General Andrew Cuomo \u003ca href=\"https://www.governor.ny.gov/news/statement-governor-andrew-m-cuomo-181\" target=\"_blank\" rel=\"noopener noreferrer\">requested a review\u003c/a> of the DA’s decision in 2015, though it’s not clear whether that was ever completed.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5, 2017: \u003c/strong>\u003cem>\u003cstrong>The New York Times\u003c/strong>\u003c/em>\u003cstrong> publishes allegations\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873668\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1192172436.jpg\" alt=\"Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \" width=\"594\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436-160x106.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \u003ccite>(Kena Betancur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While rumors of sexual harassment and assault had long dogged Weinstein—even supplying \u003ca href=\"https://www.latimes.com/entertainment/la-et-entertainment-news-updates-seth-macfarlane-reveals-truth-about-his-1507755303-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">punchlines at the Oscars\u003c/a>—but it wasn’t until the \u003cem>Times\u003c/em> and \u003cem>The New Yorker\u003c/em> published exposés that the allegations found serious traction.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Times’ story\u003c/a>, written by Jodi Kantor and Megan Twohey, focused on allegations by a series of assistants and actresses, such as Ashley Judd and Rose McGowan.\u003c/p>\n\u003cp>Weinstein, in a statement released \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener noreferrer\">that same day\u003c/a>, pledged to take a leave of absence and acknowledged that “I have a long way to go.”\u003c/p>\n\u003cp>“I so respect all women and regret what happened,” he said, without admitting wrongdoing.\u003c/p>\n\u003cp>\u003ca id=\"nyer\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 10, 2017: The \u003c/strong>\u003cem>\u003cstrong>New Yorker\u003c/strong>\u003c/em>\u003cstrong> publishes more allegations\u003c/strong>\u003c/p>\n\u003cp>Published just days after the \u003cem>Times\u003c/em> article, \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">journalist Ronan Farrow’s piece\u003c/a> in the \u003cem>New Yorker\u003c/em> focused on a slew of other accusations—including the allegation by Lucia Evans that had been included in and but was later dropped from the list of criminal charges Weinstein faces in New York.\u003c/p>\n\u003cp>\u003cstrong>Oct. 14, 2017: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>is expelled\u003c/strong>\u003c/a>\u003cstrong> from the Academy\u003c/strong>\u003c/p>\n\u003cp>In one of the first signs that the reaction to the \u003cem>Times\u003c/em> and \u003cem>New Yorker\u003c/em> reports represented a sea change, complete with real-world implications for Weinstein, the Hollywood producer is expelled from the Academy of Motion Picture Arts and Sciences, the influential organization responsible for the Oscars.\u003c/p>\n\u003cp>“We do so not simply to separate ourselves from someone who does not merit the respect of his colleagues,” the academy’s 54-member Board of Governors explained in a statement after an emergency meeting, “but also to send a message that the era of willful ignorance and shameful complicity in sexually predatory behavior and workplace harassment in our industry is over.”\u003c/p>\n\u003cp>\u003cstrong>March 19, 2018: The Weinstein Company \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>files for bankruptcy\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Buffeted by months of negative press, the production company that Weinstein founded with his brother, Bob, goes belly up. The company declares bankruptcy and sells “substantially all” of its assets to Lantern Capital Partners, and it also voids the nondisclosure agreements it had reached with Weinstein’s accusers.\u003c/p>\n\u003cp>\u003ca id=\"original\" class=\"anchor\">\u003c/a> \u003cstrong>May 25, 2018: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>surrenders to police\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The former producer arrives at the New York Police Department’s 1st Precinct in Lower Manhattan, where he submits to arrest with droves of journalists looking on. It is Weinstein’s first arrest in connection with the sexual assault allegations.\u003c/p>\n\u003cp>The same day, Manhattan District Attorney Cyrus Vance Jr. submits Weinstein’s \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-criminal-charges-against-harvey-weinstein/\" target=\"_blank\" rel=\"noopener noreferrer\">initial slate of charges\u003c/a>: “The defendant is charged with Rape in the First and Third Degrees, as well as Criminal Sexual Act in the First Degree, for forcible sexual acts against two women in 2013 and 2004, respectively.”\u003c/p>\n\u003cp>About a week and a half later, Weinstein \u003ca href=\"https://www.npr.org/617095337\" target=\"_blank\" rel=\"noopener noreferrer\">pleads not guilty\u003c/a> to the charges, which will later change significantly as new information comes to light.\u003c/p>\n\u003cp>\u003ca id=\"second\" class=\"anchor\">\u003c/a> \u003cstrong>July 2, 2018: \u003c/strong>\u003ca href=\"https://www.npr.org/625330563\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Additional charges\u003c/strong>\u003c/a>\u003cstrong> against Weinstein announced\u003c/strong>\u003c/p>\n\u003cp>Manhattan DA Vance \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-additional-charges-against-harvey-weinstein-including-predatory-sexual-assault/\">announces the filing\u003c/a> of a superseding grand jury indictment, which adds charges connected with a third incident in 2006. The new slate includes one count of criminal sexual act in the first degree and two counts of predatory sexual assault, the most serious charge levied against Weinstein by New York City prosecutors.\u003c/p>\n\u003cp>\u003ca href=\"#mimi\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Haleyi\u003c/a>, who was involved in the alleged 2006 incident, \u003ca href=\"https://youtu.be/VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">had come forward\u003c/a> with her story more than half a year earlier, saying that during her time working at The Weinstein Company, Weinstein orally forced himself on her in his New York City home.\u003c/p>\n\u003cp>Weinstein pleads not guilty to the new charges a week after they are announced.\u003c/p>\n\u003cp>\u003ca id=\"dismissed\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 11, 2018: One charge against Weinstein is dismissed\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873670\" class=\"wp-caption alignnone\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-860971312.jpg\" alt=\"Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13.\" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Justice James Burke, the judge overseeing the Manhattan trial, dismissed one of the charges against the producer after it came to light that investigators didn’t properly present certain information to the grand jury.\u003c/p>\n\u003cp>Lucia Evans told the grand jury—and the \u003cem>New Yorker\u003c/em>—that Weinstein forced her to perform oral sex on him. But an unidentified friend of hers had contradicted that account in an interview with a detective, saying Evans called it a consensual act in exchange for the promise of acting work.\u003c/p>\n\u003cp>Prosecutors acknowledged later that the detective “failed to inform” them of “important details” of the interview prior to Evans’ grand jury testimony. Weinstein’s legal team pushed to have the criminal sexual act charge dismissed as a result, and prosecutors did not object.\u003c/p>\n\u003cp>\u003cstrong>Dec. 11, 2019: The Weinstein Company strikes \u003c/strong>\u003ca href=\"https://www.npr.org/787306873\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>tentative deal\u003c/strong>\u003c/a>\u003cstrong> with alleged victims\u003c/strong>\u003c/p>\n\u003cp>Weinstein and his now-bankrupt production company reach a tentative $47 million settlement to discharge their financial obligations. The deal contains $25 million earmarked for Weinstein’s alleged victims, including more than 30 actresses and former employees. It does not, however, require an admission of wrongdoing or any personal payments from Weinstein.\u003c/p>\n\u003cp>It is not a done deal, though: A judge still needs to sign off on the agreement for it to become final. And \u003ca href=\"https://www.npr.org/2019/05/24/726499228/wsj-harvey-weinstein-reaches-44-million-deal-over-sexual-misconduct\" target=\"_blank\" rel=\"noopener noreferrer\">previous attempts\u003c/a> have fallen through.\u003c/p>\n\u003cp>\u003cstrong>Jan. 6, 2020: Trial in New York City begins\u003c/strong>\u003c/p>\n\u003cp>Weinstein’s trial formally opens in Manhattan, with more than two weeks devoted to selecting a jury. After roughly a year and a half of pretrial wrangling, the charges Weinstein faces are as follows:\u003c/p>\n\u003cul>\n\u003cli>Two counts of predatory sexual assault\u003c/li>\n\u003cli>One count of rape in the first degree (connected to the 2013 incident)\u003c/li>\n\u003cli>One count of rape in the third degree (2013 incident)\u003c/li>\n\u003cli>One count of criminal sexual act in the first degree (2006 incident)\u003c/li>\n\u003c/ul>\n\u003cp>If convicted of the most serious crime on that list, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, Weinstein faces the possibility of spending the rest of his \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">life in prison\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"LA\" class=\"anchor\">\u003c/a> \u003cstrong>Jan. 6, 2020: Los Angeles prosecutors announce \u003c/strong>\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\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>charges of their own\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The same day that his trial opens in Manhattan, Weinstein is hit with new legal woes from the other side of the U.S.: \u003ca href=\"http://da.co.la.ca.us/sites/default/files/press/010620_Hollywood_Producer_Harvey_Weinstein_Charged_With_Sexually_Assaulting_Two_Women_in_2013.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">four felony counts of sexual assault\u003c/a>, filed by Los Angeles County District Attorney Lacey. The charges are connected with incidents that allegedly happened at local hotels over \u003ca href=\"#laincidents\" target=\"_blank\" rel=\"noopener noreferrer\">two nights in February 2013\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We believe the evidence will show that the defendant used his power and influence to gain access to his victims,” Lacey says, “and then commit violent crimes against them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Harvey+Weinstein+Trial%3A+A+Brief+Timeline+Of+How+We+Got+Here&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "complaint-filed-against-grammys-rape-allegation-corruption-harassment",
"title": "Complaint Filed Against Grammys: Rape Allegation, Corruption, Harassment",
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"headTitle": "Complaint Filed Against Grammys: Rape Allegation, Corruption, Harassment | KQED",
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"content": "\u003cp>In the latest round of chaotic volleys around the Grammy Awards, the Recording Academy’s short-lived president and CEO, Deborah Dugan — the organization’s first female chief executive — announced Tuesday afternoon that she has filed a discrimination complaint with the Equal Employment Opportunity Commission (EEOC) against the Academy, the organization that gives out the Grammys.\u003c/p>\n\u003cp>The EEOC complaint includes several bombshell accusations, including that her predecessor, Neil Portnow, raped a female artist in New York; that she was pressed to hire Portnow as a consultant for $750,000 by the Academy’s then-board chair, John Poppo; and that the Academy’s general counsel and former board chair, Joel Katz, sexually harassed Dugan in May 2019, as she was being courted for the top Academy job. \u003c/p>\n\u003cp>Last Thursday, Dugan was put on administrative leave just ten days before this year’s Grammy Awards telecast, which will take place on Sunday. She was announced as the organization’s leader last May, and took up her post in August.\u003c/p>\n\u003cp>As recently as last month, Dugan was giving interviews in which she \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">promised\u003c/a> “a major restructuring” of the Grammys. The pledged changes included meeting concrete, measurable goals meant to add greater gender and racial diversity to the awards process, and to ensure voting and membership transparency across the awards, and the Academy.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/WigdorLaw/status/1219730474526019584?s=20\">statement\u003c/a> issued Tuesday afternoon, her attorneys Douglas H. Wigdor and Michael J. Willemin said: “The complaint that we filed today against the National Academy of Recording Arts and Sciences (NARAS, the Academy’s former full name) highlights tactics reminiscent of those deployed by individuals defending Harvey Weinstein.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wigdor also represents a Jane Doe, one of the women who is \u003ca href=\"https://www.wigdorlaw.com/harvey-weinstein-criminal-trial-jane-doe-testify/\">slated to testify\u003c/a> in the Weinstein trial, which is \u003ca href=\"https://www.npr.org/2020/01/16/796912859/harvey-weinsteins-lawyers-want-jury-selection-done-in-private\">getting underway\u003c/a> in New York.\u003c/p>\n\u003cp>The lawyers’ statement continues: “The attempt by the Recording Academy to impugn the character of Deborah Dugan is a transparent effort to shift the focus away from its own unlawful activity. This blatant form of retaliation in corporate America is all too common, even post #MeToo, and we will utilize all lawful means necessary to ensure that those responsible are held accountable for their actions.”\u003c/p>\n\u003cp>In the EEOC complaint, Dugan describes the Academy as a “‘boys’ club network where men work together to the disadvantage of women and disenfranchised groups in order to line their own pockets and maintain a firm grip on the Academy’s dealings.”\u003c/p>\n\u003cp>In a statement sent Tuesday evening to NPR, the Academy said: “It is curious that Ms. Dugan never raised these grave allegations until a week after legal claims were made against her personally by a female employee who alleged Ms. Dugan had created a ‘toxic and intolerable’ work environment and engaged in ‘abusive and bullying conduct’. When Ms. Dugan did raise her ‘concerns’ to HR, she specifically instructed HR ‘not to take any action’ in response.”\u003c/p>\n\u003cp>“Nonetheless,” the Academy statement continues, “we immediately launched independent investigations to review both Ms. Dugan’s potential misconduct and her subsequent allegations. Both of these investigations remain ongoing. Ms. Dugan was placed on administrative leave only after offering to step down and demanding $22 million from the Academy, which is a not-for-profit organization. Our loyalty will always be to the 21,000 members of the Recording Industry. We regret that Music’s Biggest Night is being stolen from them by Ms. Dugan’s actions and we are working to resolve the matter as quickly as possible.”\u003c/p>\n\u003cp>In response, Dugan’s lawyer sent NPR another statement on Tuesday evening that disputed the timeline presented by the Academy, saying in part that she had “repeatedly raised concerns throughout her entire tenure” and that unnamed artists and board members had raised the same issues to the organization. In addition, Dugan’s lawyers said that on the morning she was placed on leave, the Academy offered her “millions of dollars” if she would drop her concerns, but only if she left within an hour. Dugan says that when she refused to accept that deal, she was placed on leave. \u003c/p>\n\u003cp>NPR asked the Recording Academy on Tuesday eveningf for a response to Dugan’s version of the chronology. As of Wednesday morning, the organization had not answered.\u003c/p>\n\u003cp>Since Dugan was placed on leave, the Recording Academy and its erstwhile leader have exchanged dueling narratives in the trade press about the reasons behind the move.\u003c/p>\n\u003cp>A statement from the Academy last Thursday stated, “In light of concerns raised to the Recording Academy board of trustees, including a formal allegation of misconduct by a senior female member of the Recording Academy team, the Board has placed Recording Academy President and CEO Deborah Dugan on administrative leave, effective immediately.”\u003c/p>\n\u003cp>But Dugan’s camp argued to \u003ca href=\"https://www.nytimes.com/2020/01/16/arts/music/grammys-deborah-dugan-misconduct.html\">\u003cem>The New York Times\u003c/em>\u003c/a>\u003cem> \u003c/em>the same day that the real reason for her dismissal was linked to a memo that she had sent the Academy’s HR department three weeks prior, in which she voiced the concerns her lawyers referenced, including “exorbitant and unnecessary” legal bills — including some \u003ca href=\"https://variety.com/2020/music/news/recording-academy-grammys-paid-millions-law-firms-deborah-dugan-1203471913\">$15 million\u003c/a> paid to two outside law firms between the years 2013 and 2017.\u003c/p>\n\u003cp>One of Dugan’s attorneys, Bryan Freedman, \u003ca href=\"https://twitter.com/ftllp/status/1218169527734661121?s=20\">tweeted\u003c/a> on Friday: “What has been reported is not nearly the story that needs to be told. When our ability to speak is not restrained by a 28-page contract and legal threats, we will expose what happens when you ‘step up’ at the Recording Academy, a public nonprofit.” \u003c/p>\n\u003cp>Freedman was referring to an infamous 2018 comment made by Dugan’s predecessor, Neil Portnow, in which the former Grammy chief opined that women working in the music industry would need to \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> in order to be recognized. (In 2002, Portnow replaced Michael Greene, who was forced to resign after allegations that he had sexually harassed and abused another Academy executive became public.) \u003cem>The\u003c/em> \u003cem>New York Times \u003c/em>identified the woman accusing Dugan as Portnow’s former assistant, who claimed that Dugan has a “bullying” style of managing employees.\u003c/p>\n\u003cp>On Monday, the Academy alleged via \u003cem>Billboard\u003c/em> that Dugan had offered to resign and drop her own accusations against the organization in exchange for a \u003ca href=\"https://www.billboard.com/articles/business/8548478/grammy-chief-deborah-dugan-buyout-recording-academy\">$22 million\u003c/a> payout. Similar accusations were repeated by the Academy board president, Harvey Mason Jr., in a \u003ca href=\"https://variety.com/2020/music/news/grammy-chiefslams-deborah-dugan-grammy-1203473731/\">memo\u003c/a> sent to Grammy members, in which Mason also claims that Dugan made her allegations only after the Academy began its investigation of her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Most recently before her Grammys appointment, Dugan led Red, the nonprofit group dedicated to fighting HIV/AIDS across Africa that was co-founded by U2’s Bono and Bobby Shriver. Before joining Red, Dugan was a lawyer, an executive at the EMI Record Group and a former president of Disney Publishing Worldwide. \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=Ousted+Female+Chief+Files+Discrimination+Complaint+Against+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Ousted chief Deborah Dugan made several bombshell allegations against the Recording Academy — including that her predecessor, Neil Portnow, raped a female artist.",
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"title": "Complaint Filed Against Grammys: Rape Allegation, Corruption, Harassment | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latest round of chaotic volleys around the Grammy Awards, the Recording Academy’s short-lived president and CEO, Deborah Dugan — the organization’s first female chief executive — announced Tuesday afternoon that she has filed a discrimination complaint with the Equal Employment Opportunity Commission (EEOC) against the Academy, the organization that gives out the Grammys.\u003c/p>\n\u003cp>The EEOC complaint includes several bombshell accusations, including that her predecessor, Neil Portnow, raped a female artist in New York; that she was pressed to hire Portnow as a consultant for $750,000 by the Academy’s then-board chair, John Poppo; and that the Academy’s general counsel and former board chair, Joel Katz, sexually harassed Dugan in May 2019, as she was being courted for the top Academy job. \u003c/p>\n\u003cp>Last Thursday, Dugan was put on administrative leave just ten days before this year’s Grammy Awards telecast, which will take place on Sunday. She was announced as the organization’s leader last May, and took up her post in August.\u003c/p>\n\u003cp>As recently as last month, Dugan was giving interviews in which she \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">promised\u003c/a> “a major restructuring” of the Grammys. The pledged changes included meeting concrete, measurable goals meant to add greater gender and racial diversity to the awards process, and to ensure voting and membership transparency across the awards, and the Academy.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/WigdorLaw/status/1219730474526019584?s=20\">statement\u003c/a> issued Tuesday afternoon, her attorneys Douglas H. Wigdor and Michael J. Willemin said: “The complaint that we filed today against the National Academy of Recording Arts and Sciences (NARAS, the Academy’s former full name) highlights tactics reminiscent of those deployed by individuals defending Harvey Weinstein.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wigdor also represents a Jane Doe, one of the women who is \u003ca href=\"https://www.wigdorlaw.com/harvey-weinstein-criminal-trial-jane-doe-testify/\">slated to testify\u003c/a> in the Weinstein trial, which is \u003ca href=\"https://www.npr.org/2020/01/16/796912859/harvey-weinsteins-lawyers-want-jury-selection-done-in-private\">getting underway\u003c/a> in New York.\u003c/p>\n\u003cp>The lawyers’ statement continues: “The attempt by the Recording Academy to impugn the character of Deborah Dugan is a transparent effort to shift the focus away from its own unlawful activity. This blatant form of retaliation in corporate America is all too common, even post #MeToo, and we will utilize all lawful means necessary to ensure that those responsible are held accountable for their actions.”\u003c/p>\n\u003cp>In the EEOC complaint, Dugan describes the Academy as a “‘boys’ club network where men work together to the disadvantage of women and disenfranchised groups in order to line their own pockets and maintain a firm grip on the Academy’s dealings.”\u003c/p>\n\u003cp>In a statement sent Tuesday evening to NPR, the Academy said: “It is curious that Ms. Dugan never raised these grave allegations until a week after legal claims were made against her personally by a female employee who alleged Ms. Dugan had created a ‘toxic and intolerable’ work environment and engaged in ‘abusive and bullying conduct’. When Ms. Dugan did raise her ‘concerns’ to HR, she specifically instructed HR ‘not to take any action’ in response.”\u003c/p>\n\u003cp>“Nonetheless,” the Academy statement continues, “we immediately launched independent investigations to review both Ms. Dugan’s potential misconduct and her subsequent allegations. Both of these investigations remain ongoing. Ms. Dugan was placed on administrative leave only after offering to step down and demanding $22 million from the Academy, which is a not-for-profit organization. Our loyalty will always be to the 21,000 members of the Recording Industry. We regret that Music’s Biggest Night is being stolen from them by Ms. Dugan’s actions and we are working to resolve the matter as quickly as possible.”\u003c/p>\n\u003cp>In response, Dugan’s lawyer sent NPR another statement on Tuesday evening that disputed the timeline presented by the Academy, saying in part that she had “repeatedly raised concerns throughout her entire tenure” and that unnamed artists and board members had raised the same issues to the organization. In addition, Dugan’s lawyers said that on the morning she was placed on leave, the Academy offered her “millions of dollars” if she would drop her concerns, but only if she left within an hour. Dugan says that when she refused to accept that deal, she was placed on leave. \u003c/p>\n\u003cp>NPR asked the Recording Academy on Tuesday eveningf for a response to Dugan’s version of the chronology. As of Wednesday morning, the organization had not answered.\u003c/p>\n\u003cp>Since Dugan was placed on leave, the Recording Academy and its erstwhile leader have exchanged dueling narratives in the trade press about the reasons behind the move.\u003c/p>\n\u003cp>A statement from the Academy last Thursday stated, “In light of concerns raised to the Recording Academy board of trustees, including a formal allegation of misconduct by a senior female member of the Recording Academy team, the Board has placed Recording Academy President and CEO Deborah Dugan on administrative leave, effective immediately.”\u003c/p>\n\u003cp>But Dugan’s camp argued to \u003ca href=\"https://www.nytimes.com/2020/01/16/arts/music/grammys-deborah-dugan-misconduct.html\">\u003cem>The New York Times\u003c/em>\u003c/a>\u003cem> \u003c/em>the same day that the real reason for her dismissal was linked to a memo that she had sent the Academy’s HR department three weeks prior, in which she voiced the concerns her lawyers referenced, including “exorbitant and unnecessary” legal bills — including some \u003ca href=\"https://variety.com/2020/music/news/recording-academy-grammys-paid-millions-law-firms-deborah-dugan-1203471913\">$15 million\u003c/a> paid to two outside law firms between the years 2013 and 2017.\u003c/p>\n\u003cp>One of Dugan’s attorneys, Bryan Freedman, \u003ca href=\"https://twitter.com/ftllp/status/1218169527734661121?s=20\">tweeted\u003c/a> on Friday: “What has been reported is not nearly the story that needs to be told. When our ability to speak is not restrained by a 28-page contract and legal threats, we will expose what happens when you ‘step up’ at the Recording Academy, a public nonprofit.” \u003c/p>\n\u003cp>Freedman was referring to an infamous 2018 comment made by Dugan’s predecessor, Neil Portnow, in which the former Grammy chief opined that women working in the music industry would need to \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> in order to be recognized. (In 2002, Portnow replaced Michael Greene, who was forced to resign after allegations that he had sexually harassed and abused another Academy executive became public.) \u003cem>The\u003c/em> \u003cem>New York Times \u003c/em>identified the woman accusing Dugan as Portnow’s former assistant, who claimed that Dugan has a “bullying” style of managing employees.\u003c/p>\n\u003cp>On Monday, the Academy alleged via \u003cem>Billboard\u003c/em> that Dugan had offered to resign and drop her own accusations against the organization in exchange for a \u003ca href=\"https://www.billboard.com/articles/business/8548478/grammy-chief-deborah-dugan-buyout-recording-academy\">$22 million\u003c/a> payout. Similar accusations were repeated by the Academy board president, Harvey Mason Jr., in a \u003ca href=\"https://variety.com/2020/music/news/grammy-chiefslams-deborah-dugan-grammy-1203473731/\">memo\u003c/a> sent to Grammy members, in which Mason also claims that Dugan made her allegations only after the Academy began its investigation of her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most recently before her Grammys appointment, Dugan led Red, the nonprofit group dedicated to fighting HIV/AIDS across Africa that was co-founded by U2’s Bono and Bobby Shriver. Before joining Red, Dugan was a lawyer, an executive at the EMI Record Group and a former president of Disney Publishing Worldwide. \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=Ousted+Female+Chief+Files+Discrimination+Complaint+Against+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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