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"content": "\u003cp>The most intriguing thing about \u003cem>Girl on Film\u003c/em>, a comic-book memoir by someone who never set out to create comics, is that it isn’t a tragedy. Told one way, it could have been a story of a would-be artist stubbornly pursuing their dream for years, only to finally give up in despair. Cecil Castellucci chronicles her decade-plus quest to become a filmmaker from the birth of her obsession, when she first saw \u003cem>Star Wars\u003c/em> and \u003cem>Raiders of the Lost Ark\u003c/em> in junior high school, all the way through trying and failing to cut together her first feature in her early 20s.\u003c/p>\n\u003cfigure id=\"attachment_13870346\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870346\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85.jpg\" alt=\"'Girl on Film' by Cecil Castellucci, Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85-160x240.jpg 160w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl on Film’\u003cbr>by Cecil Castellucci, Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg. \u003ccite>(Archaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the while, though, we know Castellucci’s not going to become the next Spielberg. That’s because we know Castellucci not as a filmmaker, but as the bestselling author of such wonderful comics as \u003cem>Shade the Changing Girl\u003c/em>, \u003cem>The Plain Janes\u003c/em> and \u003cem>Year of the Beasts\u003c/em>. Castellucci’s also written Star Wars and Batgirl comics and all sorts of other works—from young-adult novels to opera librettos—as well as making music, creating performance pieces and, yes, directing a film (2005’s \u003cem>Happy Is Not Hard to Be\u003c/em>, which she also wrote and appeared in). She’s still not Spielberg, though.\u003c/p>\n\u003cp>But if you think that matters, you miss the point of Castellucci’s book. More than a life story, it’s an account of how to live an artist’s life even when it looks like your artistic ambitions are grandiose and impractical. In fact, Castellucci shows, your artistic ambitions are pretty much guaranteed to be grandiose and impractical. That doesn’t matter. What matters is how you live with your big dreams, what you give up for them, what you hang onto and what you let go.\u003c/p>\n\u003cp>For Castellucci, the dream of being a filmmaker kept her on track through her teenage years, motivating her to lay the groundwork for a multifaceted creative life. Her first big existential crisis comes in eighth grade, when she applies to two renowned Manhattan high schools, the High School of Performing Arts (the one from the 1980 movie \u003cem>Fame\u003c/em>) and the Bronx High School of Science. She’s accepted to both, forcing her to admit to her parents—both scientists—that she wants to be an artist. They’re fine with that, but it’s still a turning point for young Cecil. She’s owned her ambition out loud for the first time.\u003c/p>\n\u003cp>Cecil goes to Performing Arts, and the next several years are a whirlwind of aesthetic education and adolescent pains. She recalls how she learned from various mentors and crossed paths with various celebs (her best story is of being gifted a Warhol painting by her friend Chaz Bono, only to have Cher call up the next day and tell her she couldn’t have it after all). Most of all, though, she shows how sheer enthusiasm is the crucial quality in a young person trying to build an artistic life. Cecil tries her hand at everything, learns all she can from everyone she meets and shrugs off every slight. Things get harder when she starts film school at NYU, only to find she can’t afford it. The next few years are chaotic: She heads briefly to Europe, continues film school in Montreal, joins a band and begins to realize filmmaking may not be her path after all. With a turn of the page she’s in Los Angeles, recording music and writing a novel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Castellucci packs these twists and turns into the end of the book. She’s so committed to maintaining a sense of positivity, she breezes past the story’s only real crisis in a couple of pages. Fortunately, this doesn’t weaken her main project—fulfilled so winningly everywhere else—of showing what the life of a “baby artist” can look like. This book isn’t flagged as a young-adult title, but it cries out to be given to a creative teen.\u003c/p>\n\u003cp>Castellucci has divided the work of illustration among four different artists. It’s an unorthodox approach that could have stumbled, but Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg complement each other well. Most use fairly heavy lines, which harmonizes their pages. Duffy’s a standout with her brusque, energetic linework. Leta’s fragile lines are the most distinctive, so Castellucci reserves her for interludes where the adult Cecil contemplates the vicissitudes of memory. These sections aren’t particularly successful, actually; they’re a distraction from the bubbly momentum of young Cecil’s journey. Said journey may not have wound up where Castellucci thought it would when she was 12, but it’s still a fascinating one to follow. Most importantly, it’s far from over.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky \u003c/em>\u003cem>has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times.\u003cem> She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+%27Girl+On+Film%27+Grows+Up+And+Finds+Her+Artistic+Path&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Spoiler alert: Cecil Castellucci never became a filmmaker, despite her Hollywood dreams. But her new graphic memoir winningly recounts how she found her way as a novelist and comics writer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most intriguing thing about \u003cem>Girl on Film\u003c/em>, a comic-book memoir by someone who never set out to create comics, is that it isn’t a tragedy. Told one way, it could have been a story of a would-be artist stubbornly pursuing their dream for years, only to finally give up in despair. Cecil Castellucci chronicles her decade-plus quest to become a filmmaker from the birth of her obsession, when she first saw \u003cem>Star Wars\u003c/em> and \u003cem>Raiders of the Lost Ark\u003c/em> in junior high school, all the way through trying and failing to cut together her first feature in her early 20s.\u003c/p>\n\u003cfigure id=\"attachment_13870346\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870346\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85.jpg\" alt=\"'Girl on Film' by Cecil Castellucci, Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85-160x240.jpg 160w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl on Film’\u003cbr>by Cecil Castellucci, Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg. \u003ccite>(Archaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the while, though, we know Castellucci’s not going to become the next Spielberg. That’s because we know Castellucci not as a filmmaker, but as the bestselling author of such wonderful comics as \u003cem>Shade the Changing Girl\u003c/em>, \u003cem>The Plain Janes\u003c/em> and \u003cem>Year of the Beasts\u003c/em>. Castellucci’s also written Star Wars and Batgirl comics and all sorts of other works—from young-adult novels to opera librettos—as well as making music, creating performance pieces and, yes, directing a film (2005’s \u003cem>Happy Is Not Hard to Be\u003c/em>, which she also wrote and appeared in). She’s still not Spielberg, though.\u003c/p>\n\u003cp>But if you think that matters, you miss the point of Castellucci’s book. More than a life story, it’s an account of how to live an artist’s life even when it looks like your artistic ambitions are grandiose and impractical. In fact, Castellucci shows, your artistic ambitions are pretty much guaranteed to be grandiose and impractical. That doesn’t matter. What matters is how you live with your big dreams, what you give up for them, what you hang onto and what you let go.\u003c/p>\n\u003cp>For Castellucci, the dream of being a filmmaker kept her on track through her teenage years, motivating her to lay the groundwork for a multifaceted creative life. Her first big existential crisis comes in eighth grade, when she applies to two renowned Manhattan high schools, the High School of Performing Arts (the one from the 1980 movie \u003cem>Fame\u003c/em>) and the Bronx High School of Science. She’s accepted to both, forcing her to admit to her parents—both scientists—that she wants to be an artist. They’re fine with that, but it’s still a turning point for young Cecil. She’s owned her ambition out loud for the first time.\u003c/p>\n\u003cp>Cecil goes to Performing Arts, and the next several years are a whirlwind of aesthetic education and adolescent pains. She recalls how she learned from various mentors and crossed paths with various celebs (her best story is of being gifted a Warhol painting by her friend Chaz Bono, only to have Cher call up the next day and tell her she couldn’t have it after all). Most of all, though, she shows how sheer enthusiasm is the crucial quality in a young person trying to build an artistic life. Cecil tries her hand at everything, learns all she can from everyone she meets and shrugs off every slight. Things get harder when she starts film school at NYU, only to find she can’t afford it. The next few years are chaotic: She heads briefly to Europe, continues film school in Montreal, joins a band and begins to realize filmmaking may not be her path after all. With a turn of the page she’s in Los Angeles, recording music and writing a novel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Castellucci packs these twists and turns into the end of the book. She’s so committed to maintaining a sense of positivity, she breezes past the story’s only real crisis in a couple of pages. Fortunately, this doesn’t weaken her main project—fulfilled so winningly everywhere else—of showing what the life of a “baby artist” can look like. This book isn’t flagged as a young-adult title, but it cries out to be given to a creative teen.\u003c/p>\n\u003cp>Castellucci has divided the work of illustration among four different artists. It’s an unorthodox approach that could have stumbled, but Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg complement each other well. Most use fairly heavy lines, which harmonizes their pages. Duffy’s a standout with her brusque, energetic linework. Leta’s fragile lines are the most distinctive, so Castellucci reserves her for interludes where the adult Cecil contemplates the vicissitudes of memory. These sections aren’t particularly successful, actually; they’re a distraction from the bubbly momentum of young Cecil’s journey. Said journey may not have wound up where Castellucci thought it would when she was 12, but it’s still a fascinating one to follow. Most importantly, it’s far from over.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky \u003c/em>\u003cem>has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times.\u003cem> She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+%27Girl+On+Film%27+Grows+Up+And+Finds+Her+Artistic+Path&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For several nights this month, searchlights have been illuminating the sky on the U.S.-Mexico border between El Paso, Texas, and Ciudad Juárez, Mexico. They don’t have anything to do with stepped-up border enforcement. Instead, they’re part of a binational art installation that aims to connect people on both sides of the Rio Grande.\u003c/p>\n\u003cp>The large-scale interactive installation is called Border Tuner. Here’s how it works: You step up to a microphone and turn a small wheel that controls a set of searchlights. Someone at another station just across the border does the same. When your lights intersect in the sky, it opens a two-way channel of communication.\u003c/p>\n\u003cp>You can’t see each other’s faces, but you can hear each other’s voices, booming from a loudspeaker. And you can start a conversation.\u003c/p>\n\u003cp>[aside postID=arts_13862548,arts_12291457,arts_13863441]\u003c/p>\n\u003cp>On a chilly night this week, Edna Leon leaned into a microphone at one of the stations outside Bowie High School, where there are three tuner stations. On the other side of the border in Juárez, Chamizal Park has three stations.\u003c/p>\n\u003cp>“Buenas noches,” Leon said, tentatively, unsure who was on the other end. Three large searchlights flickered in time with her voice.\u003c/p>\n\u003cp>A response came back over the loudspeaker: “Buenas, buenas.”\u003c/p>\n\u003cp>Leon introduced herself. She explained that she lives in El Paso but is originally from Meoqui, in the Mexican state of Chihuahua.\u003c/p>\n\u003cp>“I have roots there, but it’s a struggle to be able to go” and visit, she said in Spanish. “So it makes me emotional to be able to communicate with my country without barriers, a passport, inspections.”\u003c/p>\n\u003cp>“How beautiful,” said her conversation partner.\u003c/p>\n\u003cp>Border Tuner, which ends on Sunday, was two years in the making. It’s the brainchild of electronic artist Rafael Lozano-Hemmer. He’s originally from Mexico City and is now based in Montreal.\u003c/p>\n\u003cp>Lozano-Hemmer has created interactive sound and light installations all over the world, including in Abu Dhabi and Dublin. He had been drawn to the U.S.-Mexico border for years, but his desire to work here intensified after President Trump’s election. He began meeting with artists in the region.\u003c/p>\n\u003cp>“I realized that everybody in the field is tired of a very specific border story coming out about divisiveness, about racism, about militarization,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13870295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-800x529.jpg\" alt=\"Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he's new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they'll get tacos together.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he’s new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they’ll get tacos together. \u003ccite>(Carlos Morales/Marfa Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While all of this is true, there’s so many other narratives that are being missed about interdependence and coexistence and about the fact that connections between, at least, El Paso and Ciudad Juárez go deep historically, fraternally, socially, environmentally, economically,\u003cstrong>“\u003c/strong> he said.\u003c/p>\n\u003cp>Lozano-Hemmer designed a project to highlight those connections, in partnership with the Rubin Center for the Visual Arts at the University of Texas at El Paso and the El Paso Community Foundation.\u003c/p>\n\u003cp>Pulling off a large-scale art installation across international lines was no easy feat. Lozano-Hemmer had to coordinate with authorities on both sides of the border, including the Department of Homeland Security and the Federal Aviation Administration.\u003c/p>\n\u003cp>And when the U.S. government replaced a border fence between Bowie High School and Chamizal Park with new, stronger material, Lozano-Hemmer says he had to adapt his technology. Now, the searchlights form a sort of bridge above the barrier.\u003c/p>\n\u003cp>“The idea that the artwork takes place above that wall to me is symbolically important because it’s almost like you’re trying to ignore it,” Lozano-Hemmer said. “You’re trying to say we still share the atmosphere.”\u003c/p>\n\u003cp>Each night of the installation begins with a 30-minute curated performance by local artists, activists, and historians. There have been programs focused on indigenous voices, and on voices from the LGBTQ community. There was a cumbia night, and a night full of cover bands paying tribute to Juan Gabriel and Selena.\u003c/p>\n\u003cp>But the most intimate moments come when strangers connect. Two children discuss their favorite animals. An attorney who volunteers with asylum seekers and a middle school art teacher thank each other for their work. A woman in El Paso apologizes for President Trump; her conversation partner, in Juárez, tells her not to worry and that “he’s only one person.” Two women discover they love to sing, and perform a song together, their voices harmonizing through beams of light.\u003c/p>\n\u003cp>A young girl named Anabella celebrated her eighth birthday at Border Tuner. Small crowds on both sides of the border sang “Happy Birthday” in English and Spanish.\u003c/p>\n\u003cp>“It was really cool for my daughter to be able to experience something this magical on her birthday,” said Anabella’s mother, Tracy Harris. She said the installation has been a learning opportunity for her two children. “It just kind of hits them like, ‘Hey, there’s other kids, there’s other people over there, and they’re like us.'”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 KERA. To see more, visit \u003ca href=\"https://www.kera.org/\">KERA\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Interactive+Art+Installation+Lets+Strangers+Talk+To+Each+Other+Across+The+Border&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a chilly night this week, Edna Leon leaned into a microphone at one of the stations outside Bowie High School, where there are three tuner stations. On the other side of the border in Juárez, Chamizal Park has three stations.\u003c/p>\n\u003cp>“Buenas noches,” Leon said, tentatively, unsure who was on the other end. Three large searchlights flickered in time with her voice.\u003c/p>\n\u003cp>A response came back over the loudspeaker: “Buenas, buenas.”\u003c/p>\n\u003cp>Leon introduced herself. She explained that she lives in El Paso but is originally from Meoqui, in the Mexican state of Chihuahua.\u003c/p>\n\u003cp>“I have roots there, but it’s a struggle to be able to go” and visit, she said in Spanish. “So it makes me emotional to be able to communicate with my country without barriers, a passport, inspections.”\u003c/p>\n\u003cp>“How beautiful,” said her conversation partner.\u003c/p>\n\u003cp>Border Tuner, which ends on Sunday, was two years in the making. It’s the brainchild of electronic artist Rafael Lozano-Hemmer. He’s originally from Mexico City and is now based in Montreal.\u003c/p>\n\u003cp>Lozano-Hemmer has created interactive sound and light installations all over the world, including in Abu Dhabi and Dublin. He had been drawn to the U.S.-Mexico border for years, but his desire to work here intensified after President Trump’s election. He began meeting with artists in the region.\u003c/p>\n\u003cp>“I realized that everybody in the field is tired of a very specific border story coming out about divisiveness, about racism, about militarization,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13870295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-800x529.jpg\" alt=\"Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he's new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they'll get tacos together.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he’s new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they’ll get tacos together. \u003ccite>(Carlos Morales/Marfa Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While all of this is true, there’s so many other narratives that are being missed about interdependence and coexistence and about the fact that connections between, at least, El Paso and Ciudad Juárez go deep historically, fraternally, socially, environmentally, economically,\u003cstrong>“\u003c/strong> he said.\u003c/p>\n\u003cp>Lozano-Hemmer designed a project to highlight those connections, in partnership with the Rubin Center for the Visual Arts at the University of Texas at El Paso and the El Paso Community Foundation.\u003c/p>\n\u003cp>Pulling off a large-scale art installation across international lines was no easy feat. Lozano-Hemmer had to coordinate with authorities on both sides of the border, including the Department of Homeland Security and the Federal Aviation Administration.\u003c/p>\n\u003cp>And when the U.S. government replaced a border fence between Bowie High School and Chamizal Park with new, stronger material, Lozano-Hemmer says he had to adapt his technology. Now, the searchlights form a sort of bridge above the barrier.\u003c/p>\n\u003cp>“The idea that the artwork takes place above that wall to me is symbolically important because it’s almost like you’re trying to ignore it,” Lozano-Hemmer said. “You’re trying to say we still share the atmosphere.”\u003c/p>\n\u003cp>Each night of the installation begins with a 30-minute curated performance by local artists, activists, and historians. There have been programs focused on indigenous voices, and on voices from the LGBTQ community. There was a cumbia night, and a night full of cover bands paying tribute to Juan Gabriel and Selena.\u003c/p>\n\u003cp>But the most intimate moments come when strangers connect. Two children discuss their favorite animals. An attorney who volunteers with asylum seekers and a middle school art teacher thank each other for their work. A woman in El Paso apologizes for President Trump; her conversation partner, in Juárez, tells her not to worry and that “he’s only one person.” Two women discover they love to sing, and perform a song together, their voices harmonizing through beams of light.\u003c/p>\n\u003cp>A young girl named Anabella celebrated her eighth birthday at Border Tuner. Small crowds on both sides of the border sang “Happy Birthday” in English and Spanish.\u003c/p>\n\u003cp>“It was really cool for my daughter to be able to experience something this magical on her birthday,” said Anabella’s mother, Tracy Harris. She said the installation has been a learning opportunity for her two children. “It just kind of hits them like, ‘Hey, there’s other kids, there’s other people over there, and they’re like us.'”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 KERA. To see more, visit \u003ca href=\"https://www.kera.org/\">KERA\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Interactive+Art+Installation+Lets+Strangers+Talk+To+Each+Other+Across+The+Border&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> [aside tag='fred-rogers, mister-rogers, fredrogers, misterrogers' label='Learning from Mister Rogers']\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Grammy Nominees For Best New Artist Point to a Sea Change in Pop",
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"content": "\u003cp>The Grammy Awards’ category for new artists has always been the\u003ca href=\"https://harrypotter.fandom.com/wiki/Hufflepuff\"> Hufflepuff\u003c/a> house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners\u003ca href=\"https://gizmodo.com/20-years-ago-today-milli-vanilli-lost-their-grammy-for-5694574\"> Milli Vanilli\u003c/a> did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that’s exactly what it suggests.\u003c/p>\n\u003cp>Three breakthrough pop stars, each of whom embodies creativity and influence in the streaming age—and who, together, garnered this year’s most Grammy nominations across the board—compete with three women exploding the boundaries of genres that might have previously held them back, alongside two groups with major grassroots followings and a powerful way of defying categorization. These musicians are fluent in the style-defying language of 21st-century sounds; their members look like America, and beyond its borders, the changing pop world; and they all released genuinely great music in 2019. Whoever wins in this category will deserve it— and will likely play a role in shaping popular music for a long time.\u003c/p>\n\u003cp>\u003cstrong>Black Pumas\u003c/strong>\u003c/p>\n\u003cp>This Austin-based duo-plus represents what bands are becoming in the new century: versatile, open-ended partnerships forged by adept experimenting with form. Singer Eric Burton learned his chops both auditioning for \u003cem>American Idol\u003c/em> and busking on L.A.’s Santa Monica Pier; producer-multi-instrumentalist Adrian Quesada is a Latinx music veteran (he’s \u003ca href=\"https://www.grammy.com/search/grupo%20fantasma\">won\u003c/a> a Grammy as a member of the funk orchestra Grupo Fantasma). Together, they’re reinventing Southwestern soul with a blend that honors the region’s funky historical fusions while incorporating a hip-hop vibe. The sum of their experience makes them a great live act, the key to success as a band in 2019.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ptWQ_-xmvXY&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Billie Eilish\u003c/strong>\u003c/p>\n\u003cp>At 17 years old, Eilish is the youngest-ever multiple Grammy nominee across the top four categories: best new artist, record, album and song of the year. She could pull this off because, like the SoundCloud rappers who’ve inspired her, she writes her own material with her brother, Finneas—mostly eschewing teen pop’s starmaking machinery. (She was quietly signed to a major-label development deal at age fourteen, but she and Finneas recorded the bulk of the songs that have made her a star\u003ca href=\"https://www.prosoundnetwork.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom\"> at home\u003c/a>.) Homeschooled by Hollywood-savvy parents, enraptured by SoundCloud rappers like Tyler, The Creator but equally indebted to Avril Lavigne, vocally ultrafeminine but otherwise androgynous—Eilish embodies the erasure of binary thinking about music, emotion and the self: she is the living essence of Generation Z.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-PZsSWwc9xA&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Lil Nas X\u003c/strong>\u003c/p>\n\u003cp>If new technologies generate the stars they deserve, the social media platform TikTok must be particularly blessed, because its breakthrough star is absolutely fabulous. Montero Lamar Hill, now 20, was just another kid trying to get Internet famous when he discovered a beat made by a Dutch kid and bought it\u003ca href=\"https://www.cnbc.com/2019/07/23/lil-nas-x-bought-the-beat-used-in-old-town-road-for-30-on-beatstars.html\"> for $30\u003c/a>. Around it, he built “Old Town Road,” the single biggest challenge to old music biz ways issued in recent memory. Country music will never be the same, but neither will pop or hip-hop. His irresistible hit is the\u003ca href=\"https://www.rollingstone.com/music/music-news/ray-charles-whatd-i-say-origin-842880/\"> “What’d I Say”\u003c/a> of our time, refusing to be contained—as does Lil Nas X himself, as much a comedian, conceptualist and burgeoning fashion icon as he is a musician. Like TikTok itself—a tool for capturing teens’ mobile imaginations—Lil Nas X takes us all into brand-new territory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w2Ov5jzm3j8&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Lizzo\u003c/strong>\u003c/p>\n\u003cp>With two albums already under her sparkly belt, Lizzo is the kind of slow-burning phenomenon whose presence may seem odd in the best new artist category, but she belongs here—until 2019, the world was not entirely ready for her. The Houston-born, Minneapolis-nurtured rapper, singer and all-around generator of good vibes, challenges all kinds of preconceived notions about women’s pleasure, power and beauty, proudly queering the pitch of pop without being strident or politically correct. And she’s a band nerd who’s single-handedly revived the flute as a cool high school accessory. A comic artist with a serious mission, Lizzo defines America’s pleasure principle right now—her bold excessiveness is to 2019 is what cock-rock was to the 1970s, minus all the macho power plays. Prince loved her, and through her success, his spirit lives on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P00HMxdsVZI&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>To comprehend the bond this 25-year-old singer-songwriter-rocker-dance queen has with her fans, just check out her Wikipedia page, which reads, “Maggie Rogers is known for being a\u003ca href=\"https://maggierogers.store/apparel/magg010017-maggie-rogers-witchy-feminist-t-shirt-black/\"> Witchy Feminist Rockstar\u003c/a> and a legend.” That kind of enthusiasm can’t be manufactured, and anyone who’s seen Rogers bound across a stage as thousands of young women shout her lyrics won’t doubt its veracity. As a teen, Rogers pursued a conventional singer-songwriter role, but time spent in Berlin led her to dance music; she explored that intersection as a student at NYU’s Clive Davis Institute of Recorded Music, where her teacher, NPR Music contributor Jason King, introduced her to Pharrell one day. The rest is a classic discovery story—except that like Billie Eilish, Rogers resisted being molded by the major label who signed her. An infectiously enthusiastic songwriter and performer, she expresses a spirit of resistance that runs through the best pop music now—the refusal to be too polished or predictable.\u003c/p>\n\u003cp>\u003cstrong>Rosalía\u003c/strong>\u003c/p>\n\u003cp>As EDM’s influence \u003ca href=\"778532395\">fades\u003c/a> and hip-hop settles into position as pop’s foundation, the universe of Latin rhythm and melody is revitalizing the Top 40. Rosalía is the Catalan auteur leading the way. Like many young artists, she’s not abandoning her roots, but reimagining them. Her music is rooted in the folkloric, theatrical lineage of \u003cem>flamenco\u003c/em>, which she studied seriously for a decade before fashioning her hybrid urban Latin sound. Her 2018 album, \u003cem>El Mal Querer—\u003c/em>inspired by a 14th-century novel of “dark love”—won the hearts of critics and influencers, and she went on to collaborate with Latin pop superstar J Balvin on the song “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\">Con Altura\u003c/a>,” which became a worldwide smash. Rosalía’s fluidity in combining experimental and mainstream elements distinguishes her, as does the fact that she sings in Spanish—she’s the first artist who performs solely in that language to be nominated as best new artist.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rht7rBHuXW8&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003c/p>\n\u003cp>As much as 21st-century pop often floats forth from an unmoored Internet, it’s also generated within local communities whose reach grows through unprecedented platforms. NPR Music’s own\u003ca href=\"https://www.youtube.com/watch?v=QKzobTCIRDw\"> Tiny Desk\u003c/a> is one such platform, as New Orleans collective Tank and the Bangas discovered in the wake of winning our Tiny Desk Contest in 2017. By then, the group, led by slam poet and joy generator Tarriona “Tank” Ball on lead vocals, had come to embody what one writer called “\u003ca href=\"https://www.ft.com/content/9cba849c-057c-11e6-9b51-0fb5e65703ce\">New Orleans now\u003c/a>“: jazz-kissed but not old-timey, letting the good times roll in ways that acknowledge the complexities of life in an old city always seeking to transcend new problems. This is the kind of band that creates community wherever it goes—the best illustration of the new spin on jam bands that’s turned a sometimes-derided genre into the freshest ground out there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0zU-Jm87kzY&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Yola\u003c/strong>\u003c/p>\n\u003cp>No new artist stands for the power of reinvention more than the woman born Yolanda Quartey in Bristol in 1984. Before becoming Americana’s beloved new sensation following a move to Nashville in 2018, Yola had another life as a pop songwriter in her native England, and a singer with dance-driven acts like Massive Attack. Her first love, however, was country music, a genre she patiently and fiercely made her own, first with the band Phantom Limb and then in solo music that frames her as an inheritor to both Dusty Springfield and Dolly Parton. Working with vintage-sound master Dan Auerbach of The Black Keys, Yola has effortlessly updated classic country soul on her debut album \u003cem>Walk Through Fire\u003c/em>; even more powerful are her live performances, which inevitably win legions of new fans. With country at a crossroads, Yola is a major force in illustrating what the genre can be at its most authentically American.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=jWTwuQ3LeH4&feature=emb_logo\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=jWTwuQ3LeH4&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Grammy+Nominees+For+Best+New+Artist+Point+To+A+Sea+Change+In+Pop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Grammy nominations are ripe for attempts to predict the future of popular music—but this year, we need to examine just one category to see how much everything is changing, and already has.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Grammy Awards’ category for new artists has always been the\u003ca href=\"https://harrypotter.fandom.com/wiki/Hufflepuff\"> Hufflepuff\u003c/a> house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners\u003ca href=\"https://gizmodo.com/20-years-ago-today-milli-vanilli-lost-their-grammy-for-5694574\"> Milli Vanilli\u003c/a> did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that’s exactly what it suggests.\u003c/p>\n\u003cp>Three breakthrough pop stars, each of whom embodies creativity and influence in the streaming age—and who, together, garnered this year’s most Grammy nominations across the board—compete with three women exploding the boundaries of genres that might have previously held them back, alongside two groups with major grassroots followings and a powerful way of defying categorization. These musicians are fluent in the style-defying language of 21st-century sounds; their members look like America, and beyond its borders, the changing pop world; and they all released genuinely great music in 2019. Whoever wins in this category will deserve it— and will likely play a role in shaping popular music for a long time.\u003c/p>\n\u003cp>\u003cstrong>Black Pumas\u003c/strong>\u003c/p>\n\u003cp>This Austin-based duo-plus represents what bands are becoming in the new century: versatile, open-ended partnerships forged by adept experimenting with form. Singer Eric Burton learned his chops both auditioning for \u003cem>American Idol\u003c/em> and busking on L.A.’s Santa Monica Pier; producer-multi-instrumentalist Adrian Quesada is a Latinx music veteran (he’s \u003ca href=\"https://www.grammy.com/search/grupo%20fantasma\">won\u003c/a> a Grammy as a member of the funk orchestra Grupo Fantasma). Together, they’re reinventing Southwestern soul with a blend that honors the region’s funky historical fusions while incorporating a hip-hop vibe. The sum of their experience makes them a great live act, the key to success as a band in 2019.\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/ptWQ_-xmvXY'\n title='//www.youtube.com/embed/ptWQ_-xmvXY'\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>\u003cstrong>Billie Eilish\u003c/strong>\u003c/p>\n\u003cp>At 17 years old, Eilish is the youngest-ever multiple Grammy nominee across the top four categories: best new artist, record, album and song of the year. She could pull this off because, like the SoundCloud rappers who’ve inspired her, she writes her own material with her brother, Finneas—mostly eschewing teen pop’s starmaking machinery. (She was quietly signed to a major-label development deal at age fourteen, but she and Finneas recorded the bulk of the songs that have made her a star\u003ca href=\"https://www.prosoundnetwork.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom\"> at home\u003c/a>.) Homeschooled by Hollywood-savvy parents, enraptured by SoundCloud rappers like Tyler, The Creator but equally indebted to Avril Lavigne, vocally ultrafeminine but otherwise androgynous—Eilish embodies the erasure of binary thinking about music, emotion and the self: she is the living essence of Generation Z.\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/-PZsSWwc9xA'\n title='//www.youtube.com/embed/-PZsSWwc9xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lil Nas X\u003c/strong>\u003c/p>\n\u003cp>If new technologies generate the stars they deserve, the social media platform TikTok must be particularly blessed, because its breakthrough star is absolutely fabulous. Montero Lamar Hill, now 20, was just another kid trying to get Internet famous when he discovered a beat made by a Dutch kid and bought it\u003ca href=\"https://www.cnbc.com/2019/07/23/lil-nas-x-bought-the-beat-used-in-old-town-road-for-30-on-beatstars.html\"> for $30\u003c/a>. Around it, he built “Old Town Road,” the single biggest challenge to old music biz ways issued in recent memory. Country music will never be the same, but neither will pop or hip-hop. His irresistible hit is the\u003ca href=\"https://www.rollingstone.com/music/music-news/ray-charles-whatd-i-say-origin-842880/\"> “What’d I Say”\u003c/a> of our time, refusing to be contained—as does Lil Nas X himself, as much a comedian, conceptualist and burgeoning fashion icon as he is a musician. Like TikTok itself—a tool for capturing teens’ mobile imaginations—Lil Nas X takes us all into brand-new territory.\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/w2Ov5jzm3j8'\n title='//www.youtube.com/embed/w2Ov5jzm3j8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lizzo\u003c/strong>\u003c/p>\n\u003cp>With two albums already under her sparkly belt, Lizzo is the kind of slow-burning phenomenon whose presence may seem odd in the best new artist category, but she belongs here—until 2019, the world was not entirely ready for her. The Houston-born, Minneapolis-nurtured rapper, singer and all-around generator of good vibes, challenges all kinds of preconceived notions about women’s pleasure, power and beauty, proudly queering the pitch of pop without being strident or politically correct. And she’s a band nerd who’s single-handedly revived the flute as a cool high school accessory. A comic artist with a serious mission, Lizzo defines America’s pleasure principle right now—her bold excessiveness is to 2019 is what cock-rock was to the 1970s, minus all the macho power plays. Prince loved her, and through her success, his spirit lives on.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P00HMxdsVZI'\n title='//www.youtube.com/embed/P00HMxdsVZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>To comprehend the bond this 25-year-old singer-songwriter-rocker-dance queen has with her fans, just check out her Wikipedia page, which reads, “Maggie Rogers is known for being a\u003ca href=\"https://maggierogers.store/apparel/magg010017-maggie-rogers-witchy-feminist-t-shirt-black/\"> Witchy Feminist Rockstar\u003c/a> and a legend.” That kind of enthusiasm can’t be manufactured, and anyone who’s seen Rogers bound across a stage as thousands of young women shout her lyrics won’t doubt its veracity. As a teen, Rogers pursued a conventional singer-songwriter role, but time spent in Berlin led her to dance music; she explored that intersection as a student at NYU’s Clive Davis Institute of Recorded Music, where her teacher, NPR Music contributor Jason King, introduced her to Pharrell one day. The rest is a classic discovery story—except that like Billie Eilish, Rogers resisted being molded by the major label who signed her. An infectiously enthusiastic songwriter and performer, she expresses a spirit of resistance that runs through the best pop music now—the refusal to be too polished or predictable.\u003c/p>\n\u003cp>\u003cstrong>Rosalía\u003c/strong>\u003c/p>\n\u003cp>As EDM’s influence \u003ca href=\"778532395\">fades\u003c/a> and hip-hop settles into position as pop’s foundation, the universe of Latin rhythm and melody is revitalizing the Top 40. Rosalía is the Catalan auteur leading the way. Like many young artists, she’s not abandoning her roots, but reimagining them. Her music is rooted in the folkloric, theatrical lineage of \u003cem>flamenco\u003c/em>, which she studied seriously for a decade before fashioning her hybrid urban Latin sound. Her 2018 album, \u003cem>El Mal Querer—\u003c/em>inspired by a 14th-century novel of “dark love”—won the hearts of critics and influencers, and she went on to collaborate with Latin pop superstar J Balvin on the song “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\">Con Altura\u003c/a>,” which became a worldwide smash. Rosalía’s fluidity in combining experimental and mainstream elements distinguishes her, as does the fact that she sings in Spanish—she’s the first artist who performs solely in that language to be nominated as best new artist.\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/Rht7rBHuXW8'\n title='//www.youtube.com/embed/Rht7rBHuXW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003c/p>\n\u003cp>As much as 21st-century pop often floats forth from an unmoored Internet, it’s also generated within local communities whose reach grows through unprecedented platforms. NPR Music’s own\u003ca href=\"https://www.youtube.com/watch?v=QKzobTCIRDw\"> Tiny Desk\u003c/a> is one such platform, as New Orleans collective Tank and the Bangas discovered in the wake of winning our Tiny Desk Contest in 2017. By then, the group, led by slam poet and joy generator Tarriona “Tank” Ball on lead vocals, had come to embody what one writer called “\u003ca href=\"https://www.ft.com/content/9cba849c-057c-11e6-9b51-0fb5e65703ce\">New Orleans now\u003c/a>“: jazz-kissed but not old-timey, letting the good times roll in ways that acknowledge the complexities of life in an old city always seeking to transcend new problems. This is the kind of band that creates community wherever it goes—the best illustration of the new spin on jam bands that’s turned a sometimes-derided genre into the freshest ground out there.\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/0zU-Jm87kzY'\n title='//www.youtube.com/embed/0zU-Jm87kzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Yola\u003c/strong>\u003c/p>\n\u003cp>No new artist stands for the power of reinvention more than the woman born Yolanda Quartey in Bristol in 1984. Before becoming Americana’s beloved new sensation following a move to Nashville in 2018, Yola had another life as a pop songwriter in her native England, and a singer with dance-driven acts like Massive Attack. Her first love, however, was country music, a genre she patiently and fiercely made her own, first with the band Phantom Limb and then in solo music that frames her as an inheritor to both Dusty Springfield and Dolly Parton. Working with vintage-sound master Dan Auerbach of The Black Keys, Yola has effortlessly updated classic country soul on her debut album \u003cem>Walk Through Fire\u003c/em>; even more powerful are her live performances, which inevitably win legions of new fans. With country at a crossroads, Yola is a major force in illustrating what the genre can be at its most authentically American.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Director \u003ca href=\"https://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\">Marielle Heller\u003c/a> remembers tuning into \u003cem>Mister Rogers’ Neighborhood\u003c/em> as a kid, but it wasn’t until she was an adult watching the show with her 3-year-old son that she fully appreciated the host’s gentle, direct manner. Watching an episode in which Rogers finds that a pet fish has died, Heller was struck by the way he addressed the audience.\u003c/p>\n\u003cp>“He wasn’t afraid of any of the hardest parts of childhood or talking about the most uncomfortable things,” she says. It’s “a radical notion, but he tells kids the truth.”\u003c/p>\n\u003cp>Heller’s new film, \u003cem>A Beautiful Day in the Neighborhood,\u003c/em> was inspired by the true story of Rogers’ relationship with journalist Tom Junod, who was assigned to profile Rogers in 1998 for a special issue of \u003cem>Esquire \u003c/em>on \u003ca href=\"https://www.esquire.com/entertainment/tv/a27134/can-you-say-hero-esq1198/\">American Heroes\u003c/a>. Junod had acquired a reputation for saying the unsayable in his profiles and for his cynicism. The two men—one known for kindness; the other more of a cynic—formed an unlikely friendship.\u003c/p>\n\u003cp>Heller is adamant that her film, which stars \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a> and \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a>, is not a biopic; rather, it’s a study in how Rogers, who died in 2003, interacted with and impacted the people around him.\u003c/p>\n\u003cp>“He elicited real, fundamental, catalytic change out of people who he came into contact with,” she says. “He had this way of kind of shaking people to their core and breaking them down in some way—and changing them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-VLEPhfEN2M\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why Rogers’ widow, Joanne, told Heller she didn’t want him portrayed as a saint \u003c/strong>\u003c/p>\n\u003cp>She said, “It’s important you don’t think of him as a saint. And the reason it’s important you don’t think of him that way is then his message is unattainable. What he was aiming for is unattainable.” And something about that just clicked for me. So we put that verbatim into the movie, because it made it so clear.\u003c/p>\n\u003cp>The reason that they want us to know Fred was a person is because then we can all aim to be more like him. And that’s what he was hoping for, was that we would all see the ways in which we could choose kindness. We could all see the ways in which we could choose to be more empathetic, and that we could listen to each other more, and we could see that everybody was a child once, and see that everybody has value. And so it was never about exalting him above anybody else or making it that somehow he did things other people couldn’t do. The point was that we all could.\u003c/p>\n\u003cp>\u003cstrong>On helping Tom Hanks embody Fred Rogers \u003c/strong>\u003c/p>\n\u003cp>The positive thing going into this was obviously the way the public feels about Tom Hanks has a similar quality to how we feel about Mister Rogers. So there was a warmth that we were starting with, there was so much that was already done there, but the truth of the matter is, Tom is a very different person energetically than Mister Rogers. He’s very funny. He’s very charming. He’s actually got a loud booming voice and walks into a room and you know he’s there. He shakes everyone’s hand. He cracks jokes. He’s boisterous. He’s really vibrant, and it’s never awkward when you’re talking to Tom Hanks. I’ve never seen him have an awkward conversation with anybody.\u003c/p>\n\u003cp>And what we figured out in our research about Fred was that he really was comfortable sitting in silence and awkwardness, and he would ask questions to people and he would wait for an answer no matter how long it took, and he wouldn’t fill that silence in. And he had a stillness to him, too. So a lot of what I had to do, especially in the beginning, was to kind of reign Tom’s natural buoyancy back, and settle him into a kind of zen-like state where he was being hyper-present in every moment.\u003c/p>\n\u003cp>\u003cstrong>On finding the right pacing for the movie\u003c/strong>\u003c/p>\n\u003cp>Fred had a very specific cadence. I don’t think anybody could’ve watched his show and not noticed that he spoke at a different pace than the rest of the world. And we heard from a number of people that when you would be with Fred, it felt like time would slow down. He kind of controlled time, in a way.\u003c/p>\n\u003cp>Part of the casting of \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a> was I wanted to cast somebody who had a different pace. It was about these two men who were sort of foils to each other coming together and having these sort of emotional duels. So Matthew, he is somebody who moves very quickly. His mind is always racing, and he’s got a lot of energy pulsing through his body, so the idea was, in our rehearsals and also in the way that we shot these scenes, between these two men, it was about really kind of controlling time.\u003c/p>\n\u003cp>When there were pauses, they were carefully crafted. I had to kind of force them to pause even longer than they were comfortable pausing. But it was also about what was happening in those pauses. What are the emotional back-and-forths that are happening? What was just penetrated? What memory is being triggered? What are you thinking about in that moment, and when will you respond, and how carefully will you respond?\u003c/p>\n\u003cp>\u003cstrong>On watching the \u003c/strong>\u003cem>\u003cstrong>Mister Rogers\u003c/strong>\u003c/em>\u003cstrong> episode about death with her son \u003c/strong>\u003c/p>\n\u003cp>We were having a snow day, and so he was home from school. But it was a day that I kind of set aside that I was going to watch a lot of episodes of \u003cem>Mister Rogers\u003c/em>. So I asked Wylie if he wanted to watch some episodes with me. And I let him pick out based on the kind of thumbnails on the Internet. And he picked the fish one because he was very obsessed with underwater stuff, ocean stuff. But I knew just looking at the icon that the fish one, this is the episode about death. And I thought, “Are we going to go here? Okay.”\u003c/p>\n\u003cp>So in the episode, Mister Rogers goes to feed the fish and one of the fish is dead. And he tries to revive it and he puts it in some salt water and he sloshes it around and it kind of limply sloshes around and he says, “It looks like it’s moving, but it’s not actually moving.” And he buries the fish. And he tells the story about his dog, Mitzi, who died when he was a kid.\u003c/p>\n\u003cp>And I just watched my kid watch this episode, knowing that we hadn’t spoken really very much about death, and as Mister Rogers is telling the story about the dog dying Wylie he looks at me with this kind of skeptical look and goes, “Dogs don’t die!” I had this like Mister Rogers in my head and went, “Well, no, dogs do die.” And I told, I guess, what’s a little bit of a stretch of the truth, but I said, “You know, when they’re very old and their bodies are tired, you know, dogs do die and and cats die.” And we have two cats. And he looked at me and went, “Cats? Cats die?” And I said, “Yeah.” And he said, “But we have great cats!” …\u003c/p>\n\u003cp>And I held him and I was crying. And all I could figure out to say was, “I know this hurts. I know this is so painful. I don’t know what to say. But this, this really hurts.” … Then later that night, as I was putting him to bed, the dreaded question came, which was, “Well, what about people?” The way he said it was. “People don’t get dead, do they?” And then we had our kind of second round of weeping that happened that came out of this episode of\u003cem> Mister Rogers\u003c/em>.\u003c/p>\n\u003cp>I don’t think I handled it great, and I still feel sort of guilty for how this all came up. I felt like was it too young for us to kind of go there? But I also felt like all I had to guide me was Fred telling me, “We let the kids guide these conversations, listen and tell them the truth.” And so that’s what I tried to do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beautiful+Day%27+Director+On+Mister+Rogers%27+%27Radical+Notion%27%3A+Telling+Kids+The+Truth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director \u003ca href=\"https://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\">Marielle Heller\u003c/a> remembers tuning into \u003cem>Mister Rogers’ Neighborhood\u003c/em> as a kid, but it wasn’t until she was an adult watching the show with her 3-year-old son that she fully appreciated the host’s gentle, direct manner. Watching an episode in which Rogers finds that a pet fish has died, Heller was struck by the way he addressed the audience.\u003c/p>\n\u003cp>“He wasn’t afraid of any of the hardest parts of childhood or talking about the most uncomfortable things,” she says. It’s “a radical notion, but he tells kids the truth.”\u003c/p>\n\u003cp>Heller’s new film, \u003cem>A Beautiful Day in the Neighborhood,\u003c/em> was inspired by the true story of Rogers’ relationship with journalist Tom Junod, who was assigned to profile Rogers in 1998 for a special issue of \u003cem>Esquire \u003c/em>on \u003ca href=\"https://www.esquire.com/entertainment/tv/a27134/can-you-say-hero-esq1198/\">American Heroes\u003c/a>. Junod had acquired a reputation for saying the unsayable in his profiles and for his cynicism. The two men—one known for kindness; the other more of a cynic—formed an unlikely friendship.\u003c/p>\n\u003cp>Heller is adamant that her film, which stars \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a> and \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a>, is not a biopic; rather, it’s a study in how Rogers, who died in 2003, interacted with and impacted the people around him.\u003c/p>\n\u003cp>“He elicited real, fundamental, catalytic change out of people who he came into contact with,” she says. “He had this way of kind of shaking people to their core and breaking them down in some way—and changing them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-VLEPhfEN2M'\n title='//www.youtube.com/embed/-VLEPhfEN2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why Rogers’ widow, Joanne, told Heller she didn’t want him portrayed as a saint \u003c/strong>\u003c/p>\n\u003cp>She said, “It’s important you don’t think of him as a saint. And the reason it’s important you don’t think of him that way is then his message is unattainable. 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So there was a warmth that we were starting with, there was so much that was already done there, but the truth of the matter is, Tom is a very different person energetically than Mister Rogers. He’s very funny. He’s very charming. He’s actually got a loud booming voice and walks into a room and you know he’s there. He shakes everyone’s hand. He cracks jokes. He’s boisterous. He’s really vibrant, and it’s never awkward when you’re talking to Tom Hanks. I’ve never seen him have an awkward conversation with anybody.\u003c/p>\n\u003cp>And what we figured out in our research about Fred was that he really was comfortable sitting in silence and awkwardness, and he would ask questions to people and he would wait for an answer no matter how long it took, and he wouldn’t fill that silence in. And he had a stillness to him, too. So a lot of what I had to do, especially in the beginning, was to kind of reign Tom’s natural buoyancy back, and settle him into a kind of zen-like state where he was being hyper-present in every moment.\u003c/p>\n\u003cp>\u003cstrong>On finding the right pacing for the movie\u003c/strong>\u003c/p>\n\u003cp>Fred had a very specific cadence. I don’t think anybody could’ve watched his show and not noticed that he spoke at a different pace than the rest of the world. And we heard from a number of people that when you would be with Fred, it felt like time would slow down. He kind of controlled time, in a way.\u003c/p>\n\u003cp>Part of the casting of \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a> was I wanted to cast somebody who had a different pace. It was about these two men who were sort of foils to each other coming together and having these sort of emotional duels. So Matthew, he is somebody who moves very quickly. His mind is always racing, and he’s got a lot of energy pulsing through his body, so the idea was, in our rehearsals and also in the way that we shot these scenes, between these two men, it was about really kind of controlling time.\u003c/p>\n\u003cp>When there were pauses, they were carefully crafted. I had to kind of force them to pause even longer than they were comfortable pausing. But it was also about what was happening in those pauses. What are the emotional back-and-forths that are happening? What was just penetrated? What memory is being triggered? What are you thinking about in that moment, and when will you respond, and how carefully will you respond?\u003c/p>\n\u003cp>\u003cstrong>On watching the \u003c/strong>\u003cem>\u003cstrong>Mister Rogers\u003c/strong>\u003c/em>\u003cstrong> episode about death with her son \u003c/strong>\u003c/p>\n\u003cp>We were having a snow day, and so he was home from school. But it was a day that I kind of set aside that I was going to watch a lot of episodes of \u003cem>Mister Rogers\u003c/em>. So I asked Wylie if he wanted to watch some episodes with me. And I let him pick out based on the kind of thumbnails on the Internet. And he picked the fish one because he was very obsessed with underwater stuff, ocean stuff. But I knew just looking at the icon that the fish one, this is the episode about death. And I thought, “Are we going to go here? Okay.”\u003c/p>\n\u003cp>So in the episode, Mister Rogers goes to feed the fish and one of the fish is dead. And he tries to revive it and he puts it in some salt water and he sloshes it around and it kind of limply sloshes around and he says, “It looks like it’s moving, but it’s not actually moving.” And he buries the fish. And he tells the story about his dog, Mitzi, who died when he was a kid.\u003c/p>\n\u003cp>And I just watched my kid watch this episode, knowing that we hadn’t spoken really very much about death, and as Mister Rogers is telling the story about the dog dying Wylie he looks at me with this kind of skeptical look and goes, “Dogs don’t die!” I had this like Mister Rogers in my head and went, “Well, no, dogs do die.” And I told, I guess, what’s a little bit of a stretch of the truth, but I said, “You know, when they’re very old and their bodies are tired, you know, dogs do die and and cats die.” And we have two cats. And he looked at me and went, “Cats? Cats die?” And I said, “Yeah.” And he said, “But we have great cats!” …\u003c/p>\n\u003cp>And I held him and I was crying. And all I could figure out to say was, “I know this hurts. I know this is so painful. I don’t know what to say. But this, this really hurts.” … Then later that night, as I was putting him to bed, the dreaded question came, which was, “Well, what about people?” The way he said it was. “People don’t get dead, do they?” And then we had our kind of second round of weeping that happened that came out of this episode of\u003cem> Mister Rogers\u003c/em>.\u003c/p>\n\u003cp>I don’t think I handled it great, and I still feel sort of guilty for how this all came up. I felt like was it too young for us to kind of go there? But I also felt like all I had to guide me was Fred telling me, “We let the kids guide these conversations, listen and tell them the truth.” And so that’s what I tried to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beautiful+Day%27+Director+On+Mister+Rogers%27+%27Radical+Notion%27%3A+Telling+Kids+The+Truth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For comedian and actor Jenny Slate, the path to finding her own voice went through crushing failure (professional) and heartbreak (divorce).\u003c/p>\n\u003cp>She began her career in stand-up, was drafted to \u003cem>Saturday Night Live\u003c/em>—and was fired. The path that followed was uncharted.\u003c/p>\n\u003cp>She starred in \u003ca href=\"https://www.npr.org/2014/06/08/319463693/obvious-child-tells-an-abortion-story-with-rom-com-heart\">an indie comedy about abortion\u003c/a> (\u003cem>Obvious Child\u003c/em>), voiced a viral stop-motion animated character who is a gender non-conforming sea artifact (\u003cem>Marcel the Shell with Shoes On\u003c/em>), and went onto a fair bit of voice acting (\u003cem>Zootopia\u003c/em>, \u003cem>The Secret Life of Pets\u003c/em>, \u003cem>Big Mouth\u003c/em>). And she wrote. This fall, Slate has released her first TV comedy special for Netflix (\u003cem>Stage Fright\u003c/em>) and a book of essays (\u003cem>Little Weirds\u003c/em>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p02P8HRtPFc\u003c/p>\n\u003cp>Jenny Slate grew up around books, studied literature at Columbia University and her father is a poet. (“I read a lot of books before I decided to write one,” she says.) \u003cem>Little Weirds \u003c/em>is not a memoir or biography, but more like a series of observational stories, essays, and ruminations on the struggles of adulthood. In one of them, she compares herself to a croissant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I actually have always been an avid reader, but I guess I just felt like: Well, I’m an actress and I’m a comedian, so … I’m not a writer, or something,” Slate says. “I think I limited myself a bit.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.npr.org/series/753757133/shes-funny\">She’s Funny\u003c/a>, the \u003cem>All Things Considered\u003c/em> series on women who have broken the rules in comedy, Slate and I sat down together on stage at Lisner Auditorium in Washington D.C.\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Gilda Radner, her first role model in comedy\u003c/strong>\u003c/p>\n\u003cp>[I] couldn’t pay attention in school. I think that I felt for a while like I wasn’t smart because I couldn’t listen traditionally and people were mad at me for it. And my dad brought in these tapes of \u003ca href=\"https://www.npr.org/2018/09/20/647886381/love-gilda-a-comedy-legend-in-her-own-words\">Gilda Radner\u003c/a>, and it was sort of like, “No no no, you’re just—you’re like this.” Which is, first of all, a great honor. … It was a huge honor, and then it was just like: How can I get there?” …\u003c/p>\n\u003cp>There’s a sketch that Gilda does where—I think it’s called “The Judy Miller Show”—she’s a little Girl Scout, she’s a Brownie, and she’s jumping up and down on her bed in her room, and just playing. She’s playing. That’s what this whole sketch is. And she freaks out—this woman, alone, they gave her the whole stage—she just freaks out for, like, seven minutes. And she’s exhausted, and she’s out of breath, and it’s like a silly, silly, sloppy ballet. And I remember seeing that thinking like, “Oh, I don’t want to be a ballerina. I want to be a funny thing like this.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ezWNh64s38o&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>On the atmosphere at \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I didn’t like that there was a culture of fear and intimidation. Whether or not you’re going to be directly sexist and give all the parts to the men or whatever, or whether there’s going to be what I actually think is a much more confusing culture of misogyny that encourages fear and shame. That’s what was going on there. That’s a culture that is encouraged by the people that run the show. … I think that feeling dressed-down, feeling shamed, feeling like you shouldn’t have tried: those are all pressures that are encouraged in a misogynist environment, where there’s not an openness, there’s not a sense that power can present in a way that represents plurality—that there are many, many different ways to access power, and different people can hold it.\u003c/p>\n\u003cp>\u003cstrong>On being fired from \u003c/strong>\u003cstrong>\u003cem>SNL\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>First, I just felt really, really embarrassed and terrible. … Hardly anyone gets kicked out of a cult, because I guess they want you to stay. Like, they’re never like, “You’re bad—leave.” They’re like, “You’re bad, get in the bad closet. You have to make the salad dressing for everybody for three weeks!” But suddenly I just couldn’t imagine anything worse than getting fired. And then I just thought: I have to keep going. And no one can ever take away the dream.\u003c/p>\n\u003cp>And nothing will ever dim the lights of that experience, which was like: getting the job, leaving 30 Rock, calling my parents and saying “I am going to be on \u003cem>Saturday Night Live\u003c/em>“? That is what it is. It’s such a beautiful achievement. And it’s real and I did it. But it’s also the same as thinking you really met your soulmate, and going on the fourth date, and being like, “Did they just say ‘\u003cem>li-bary\u003c/em>‘”? … Get over it, it’s not a match. …\u003c/p>\n\u003cp>But what had also happened at the time, and what always happens, is that: Until I eventually croak, I will not die. I truly will not lie down. And you can be kicked out of a place; I definitely believe that. But I also believe the opportunity to find self-love and creative fulfillment is not a hallway with one door guarded by a super-old man. Actually, it’s spherical, and you just have to hold it between your legs. Just look down, find your opportunity.\u003c/p>\n\u003cp>\u003cstrong>On “Marcel the Shell with Shoes On”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VF9-sEbqDvU&feature=emb_logo\u003c/p>\n\u003cp>First of all, it allowed me to be sweet and melancholy at once—and to understand one of the things that is essential in my belief as a performer, which is that sorrow is not the same as pessimism, and that you can feel sadness and still be an optimist and not be worried that that’s being wrung out. … And also, doing Marcel, for me, was like, “No, I can still be really strong at comedy, but I don’t really want to compromise on sweetness.” Like, I just don’t think it’s for wimps. I actually think it’s for the strong.\u003c/p>\n\u003cp>\u003cstrong>On if she’s found her voice in comedy\u003c/strong>\u003c/p>\n\u003cp>Yes, I do feel like that. I do. … I really feel that something that started with “Marcel the Shell,” which was drawing close sweetness, and understanding that smallness doesn’t necessarily mean that you suffer from essential diminishment. Starting to gather things that can be held at once was really important. But then writing this book—first, I meant to write something else, and then I started to write things to soothe myself, and I started to like to read my reading to myself. And I just—you know, especially on the internet, there’s so much snark and posturing and posturing at joy and fabricated joy or people taking pictures of themselves in mid-laugh and stuff and really putting that there like, “I’m just happiness in action, there’s nothing else going on for me! I promise! No stress!” I was reacting to that a little bit, to just feeling like I want to tell the truth. And the truth about me is not that I’m really volatile and I’m unstable, but that I’m really vibrant, and the color of my sorrow is just as bright as the stripes of my delight.\u003c/p>\n\u003cfigure id=\"attachment_13870048\" class=\"wp-caption alignright\" style=\"max-width: 304px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg\" alt=\"'Little Weirds' by Jenny Slate.\" width=\"304\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85-160x237.jpg 160w\" sizes=\"auto, (max-width: 304px) 100vw, 304px\">\u003cfigcaption class=\"wp-caption-text\">‘Little Weirds’ by Jenny Slate. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I started to really find words that I loved, and now they won’t go away. And I also noticed that in writing, I really enjoyed the odd pairing that occurs when you are trying to employ alliteration. And that my writing—at least to me without being juvenile—had all the tricks of a limerick, without being, like, “stupid little so-and-so fell into a shoe” or whatever … I guess there is [poetry in my writing]. I didn’t do it on purpose, but I think there is.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Christina Cala, Bilal Qureshi, Joanna Pawlowska and Emily Kopp produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sorrow+Is+Not+The+Same+As+Pessimism%27%3A+Comedian+Jenny+Slate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For comedian and actor Jenny Slate, the path to finding her own voice went through crushing failure (professional) and heartbreak (divorce).\u003c/p>\n\u003cp>She began her career in stand-up, was drafted to \u003cem>Saturday Night Live\u003c/em>—and was fired. The path that followed was uncharted.\u003c/p>\n\u003cp>She starred in \u003ca href=\"https://www.npr.org/2014/06/08/319463693/obvious-child-tells-an-abortion-story-with-rom-com-heart\">an indie comedy about abortion\u003c/a> (\u003cem>Obvious Child\u003c/em>), voiced a viral stop-motion animated character who is a gender non-conforming sea artifact (\u003cem>Marcel the Shell with Shoes On\u003c/em>), and went onto a fair bit of voice acting (\u003cem>Zootopia\u003c/em>, \u003cem>The Secret Life of Pets\u003c/em>, \u003cem>Big Mouth\u003c/em>). And she wrote. This fall, Slate has released her first TV comedy special for Netflix (\u003cem>Stage Fright\u003c/em>) and a book of essays (\u003cem>Little Weirds\u003c/em>).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p02P8HRtPFc'\n title='//www.youtube.com/embed/p02P8HRtPFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenny Slate grew up around books, studied literature at Columbia University and her father is a poet. (“I read a lot of books before I decided to write one,” she says.) \u003cem>Little Weirds \u003c/em>is not a memoir or biography, but more like a series of observational stories, essays, and ruminations on the struggles of adulthood. In one of them, she compares herself to a croissant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I actually have always been an avid reader, but I guess I just felt like: Well, I’m an actress and I’m a comedian, so … I’m not a writer, or something,” Slate says. “I think I limited myself a bit.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.npr.org/series/753757133/shes-funny\">She’s Funny\u003c/a>, the \u003cem>All Things Considered\u003c/em> series on women who have broken the rules in comedy, Slate and I sat down together on stage at Lisner Auditorium in Washington D.C.\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Gilda Radner, her first role model in comedy\u003c/strong>\u003c/p>\n\u003cp>[I] couldn’t pay attention in school. I think that I felt for a while like I wasn’t smart because I couldn’t listen traditionally and people were mad at me for it. And my dad brought in these tapes of \u003ca href=\"https://www.npr.org/2018/09/20/647886381/love-gilda-a-comedy-legend-in-her-own-words\">Gilda Radner\u003c/a>, and it was sort of like, “No no no, you’re just—you’re like this.” Which is, first of all, a great honor. … It was a huge honor, and then it was just like: How can I get there?” …\u003c/p>\n\u003cp>There’s a sketch that Gilda does where—I think it’s called “The Judy Miller Show”—she’s a little Girl Scout, she’s a Brownie, and she’s jumping up and down on her bed in her room, and just playing. She’s playing. That’s what this whole sketch is. And she freaks out—this woman, alone, they gave her the whole stage—she just freaks out for, like, seven minutes. And she’s exhausted, and she’s out of breath, and it’s like a silly, silly, sloppy ballet. And I remember seeing that thinking like, “Oh, I don’t want to be a ballerina. I want to be a funny thing like this.”\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/ezWNh64s38o'\n title='//www.youtube.com/embed/ezWNh64s38o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the atmosphere at \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I didn’t like that there was a culture of fear and intimidation. Whether or not you’re going to be directly sexist and give all the parts to the men or whatever, or whether there’s going to be what I actually think is a much more confusing culture of misogyny that encourages fear and shame. That’s what was going on there. That’s a culture that is encouraged by the people that run the show. … I think that feeling dressed-down, feeling shamed, feeling like you shouldn’t have tried: those are all pressures that are encouraged in a misogynist environment, where there’s not an openness, there’s not a sense that power can present in a way that represents plurality—that there are many, many different ways to access power, and different people can hold it.\u003c/p>\n\u003cp>\u003cstrong>On being fired from \u003c/strong>\u003cstrong>\u003cem>SNL\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>First, I just felt really, really embarrassed and terrible. … Hardly anyone gets kicked out of a cult, because I guess they want you to stay. Like, they’re never like, “You’re bad—leave.” They’re like, “You’re bad, get in the bad closet. You have to make the salad dressing for everybody for three weeks!” But suddenly I just couldn’t imagine anything worse than getting fired. And then I just thought: I have to keep going. And no one can ever take away the dream.\u003c/p>\n\u003cp>And nothing will ever dim the lights of that experience, which was like: getting the job, leaving 30 Rock, calling my parents and saying “I am going to be on \u003cem>Saturday Night Live\u003c/em>“? That is what it is. It’s such a beautiful achievement. And it’s real and I did it. But it’s also the same as thinking you really met your soulmate, and going on the fourth date, and being like, “Did they just say ‘\u003cem>li-bary\u003c/em>‘”? … Get over it, it’s not a match. …\u003c/p>\n\u003cp>But what had also happened at the time, and what always happens, is that: Until I eventually croak, I will not die. I truly will not lie down. And you can be kicked out of a place; I definitely believe that. But I also believe the opportunity to find self-love and creative fulfillment is not a hallway with one door guarded by a super-old man. Actually, it’s spherical, and you just have to hold it between your legs. Just look down, find your opportunity.\u003c/p>\n\u003cp>\u003cstrong>On “Marcel the Shell with Shoes On”\u003c/strong>\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/VF9-sEbqDvU'\n title='//www.youtube.com/embed/VF9-sEbqDvU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>First of all, it allowed me to be sweet and melancholy at once—and to understand one of the things that is essential in my belief as a performer, which is that sorrow is not the same as pessimism, and that you can feel sadness and still be an optimist and not be worried that that’s being wrung out. … And also, doing Marcel, for me, was like, “No, I can still be really strong at comedy, but I don’t really want to compromise on sweetness.” Like, I just don’t think it’s for wimps. I actually think it’s for the strong.\u003c/p>\n\u003cp>\u003cstrong>On if she’s found her voice in comedy\u003c/strong>\u003c/p>\n\u003cp>Yes, I do feel like that. I do. … I really feel that something that started with “Marcel the Shell,” which was drawing close sweetness, and understanding that smallness doesn’t necessarily mean that you suffer from essential diminishment. Starting to gather things that can be held at once was really important. But then writing this book—first, I meant to write something else, and then I started to write things to soothe myself, and I started to like to read my reading to myself. And I just—you know, especially on the internet, there’s so much snark and posturing and posturing at joy and fabricated joy or people taking pictures of themselves in mid-laugh and stuff and really putting that there like, “I’m just happiness in action, there’s nothing else going on for me! I promise! No stress!” I was reacting to that a little bit, to just feeling like I want to tell the truth. And the truth about me is not that I’m really volatile and I’m unstable, but that I’m really vibrant, and the color of my sorrow is just as bright as the stripes of my delight.\u003c/p>\n\u003cfigure id=\"attachment_13870048\" class=\"wp-caption alignright\" style=\"max-width: 304px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg\" alt=\"'Little Weirds' by Jenny Slate.\" width=\"304\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85-160x237.jpg 160w\" sizes=\"auto, (max-width: 304px) 100vw, 304px\">\u003cfigcaption class=\"wp-caption-text\">‘Little Weirds’ by Jenny Slate. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I started to really find words that I loved, and now they won’t go away. And I also noticed that in writing, I really enjoyed the odd pairing that occurs when you are trying to employ alliteration. And that my writing—at least to me without being juvenile—had all the tricks of a limerick, without being, like, “stupid little so-and-so fell into a shoe” or whatever … I guess there is [poetry in my writing]. I didn’t do it on purpose, but I think there is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In a career—and personal life—loaded with enough drama to fuel an opera, \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye West\u003c/a> is finally presenting one. Or at least that’s what he tweeted Sunday, announcing a performance of \u003cem>Nebuchadnezzar\u003c/em>, “A Kanye West Opera” at the Hollywood Bowl on Nov. 24.\u003c/p>\n\u003cp>Little is known about the opera’s content other than its title, referring to the real life Biblical character who ruled over the Babylonian empire from c. 605 BC – c. 562 BC. West’s tweet gave a few more clues. The invitation artwork, etched with a golden image of the Babylonian king, states: “Music with Sunday Service, Peter Collins & Infinities Song.” (For what it’s worth, the Hollywood Bowl confirmed the event to \u003cem>NPR\u003c/em>.)\u003c/p>\n\u003cp>https://twitter.com/kanyewest/status/1196204600090513408?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1196204600090513408&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fdeceptivecadence%2F2019%2F11%2F18%2F780479625%2Fkanye-west-announces-an-opera-which-isnt-as-crazy-as-it-sounds\u003c/p>\n\u003cp>Classical music buffs will note that Nebuchadnezzar has received the operatic treatment before, most notably in \u003ca href=\"https://www.npr.org/programs/attheopera/archives/010324.ato.html\">\u003cem>Nabucco\u003c/em>\u003c/a> (an Italian version of the king’s name), an emotionally charged early work by \u003ca href=\"https://www.npr.org/artists/16927552/giuseppe-verdi\">Giuseppe Verdi\u003c/a> from 1841. In Verdi’s portrayal, Nabucco is a complex man whose exile of Jews from their homeland, combined with political foibles, triggers a complete nervous breakdown.\u003c/p>\n\u003cp>A flawed leader with visions of grandeur who becomes mentally unstable is a plot line that West \u003cem>might\u003c/em> relate to. Last year on \u003ca href=\"https://www.youtube.com/watch?v=kJUc7Rz7QiU\">\u003cem>Jimmy Kimmel Live\u003c/em>\u003c/a>, West spoke openly about being bi-polar saying, “I don’t know anyone, you know, that f–ked up as much as I have that’s still as successful.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Regardless of the content of \u003cem>Nebuchadnezzar\u003c/em>, and before opera purists start wringing their hands, West can call his creation an opera if he chooses. The 400-year-old art form has proven itself terrifically adaptable and resilient. From cast-of-hundreds standards like Verdi’s \u003ca href=\"https://www.npr.org/2011/06/03/136888669/love-triangles-and-pyramids-verdis-aida\">\u003cem>Aida\u003c/em>\u003c/a> (which in some productions has included elephants) to single character, avant-garde monodramas such as \u003ca href=\"https://www.npr.org/artists/90295693/morton-feldman\">Morton Feldman\u003c/a>‘s \u003ca href=\"https://www.youtube.com/watch?v=0exs9F-888s\">\u003cem>Neither\u003c/em>\u003c/a>, opera comes in all shapes and sizes. As it should.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kanye+West+Announces+An+Opera+%28Which+Isn%27t+As+Crazy+As+It+Sounds%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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The idea was to create better parts for women—and to help female authors get their stories sold.\u003c/p>\n\u003cp>Witherspoon’s company spearheaded the adaptation of \u003ca href=\"https://www.npr.org/2014/09/30/352688538/gone-girl-a-missing-wife-and-a-cloud-of-suspicion\">\u003cem>Gone Girl\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2014/12/05/367996411/a-wild-trek-made-a-bit-too-neatly\">\u003cem>Wild \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2019/06/06/730275468/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy\">\u003cem>Big Little Lies\u003c/em>\u003c/a>\u003cem>, \u003c/em>among other titles. Looking back, Witherspoon describes her shift into producing as “betting on myself.”\u003c/p>\n\u003cp>“I know what to do,” she says. “I know every producer in Hollywood. I know how to get a movie from book to script to screen, and I know how to market it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now Witherspoon’s current company, Hello Sunshine, is bringing a new project to screen. She’s an executive producer and co-star of the Apple TV+ series, \u003ca href=\"https://www.npr.org/2019/10/31/774850935/tv-review-the-morning-show-from-apple-tv\">\u003cem>The Morning Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>which centers on a morning news show that’s shaken up when its male anchor is fired after being accused of sexual misconduct.\u003c/p>\n\u003cp>Witherspoon acknowledges certain parallels between the misconduct portrayed in the series and the allegations against real-life TV hosts \u003ca href=\"https://www.npr.org/2019/10/09/768527936/matt-lauer-accused-of-rape-in-new-book-former-nbc-star-denies-false-stories\">Matt Lauer\u003c/a>, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/19/524736631/bill-oreilly-is-out-at-fox-news\">Bill O’Reilly\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">Charlie Rose.\u003c/a>\u003c/p>\n\u003cp>“We thought it would have been remiss if we didn’t address [those issues] in our show,” she says. “Sometimes the world is so crazy, TV shows and movies are a great way to try and understand where we’re at.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eA7D4_qU9jo\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">\u003cstrong>#MeToo\u003c/strong>\u003c/a>\u003cstrong> movement, and being shocked to learn of the extent of sexual misconduct in Hollywood\u003c/strong>\u003c/p>\n\u003cp>I didn’t have any idea what other people’s experiences were. I’d only had my own experiences, and I definitely dealt with harassment. And I had dealt with that privately and in my own way with my family when I was young, when I was really young and starting in the business. I didn’t have any understanding of the widespread abuse that women were experiencing—and not just women, many, many people were experiencing.\u003c/p>\n\u003cp>It really took that moment in time for all of us to start talking. Because you have to remember, as an actress for hire, usually I was the only woman on a set for, I would say, the majority of my 30-year career. I’ve been the only woman in a cast or one of a handful of women in a crew or a cast. So when all of that started happening, women started to gather and really start talking to each other and sharing stories. And I have to say, I was blown away. I did not know the kind of experiences that people were having. And I was in shock. I think a lot of us were in shock. …\u003c/p>\n\u003cp>I’m enormously grateful to the women who spoke up about their experiences and really opened our hearts and our minds and our eyes to what was happening with such regularity, and the journalists who worked so hard to break these stories, despite whatever corporate interference they were having. I’m just enormously grateful to \u003ca href=\"https://www.npr.org/2019/10/15/770249717/ronan-farrow-catch-and-kill-tactics-protected-both-weinstein-and-trump\">Ronan \u003c/a>[Farrow] and \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">Jodi \u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">[Kantor]\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">and Megan\u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\"> [Twohey]\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>On figuring out how and when she wants to share her own experiences with sexual harassment and assault\u003c/strong>\u003c/p>\n\u003cp>I haven’t ever really spoken about it. I’ve been asked about it a lot, which really brings up a lot of questions for me about how do you decide when you want to talk about it, how you want to talk about it? … This is just me, my personal experience. How can I use that not to garner sympathy but to actually promote change and highlight industry standards that are not good enough?\u003c/p>\n\u003cp>It was very powerful to me to share my story with a like-minded group of women with the Time’s Up movement. We talked about ways that we could really encourage change. How could we raise money for women in other industries so that they would have legal help?\u003c/p>\n\u003cp>I had specific experiences and I dealt with them with a therapist. It’s been ongoing, honestly. The whole thing brought up a lot of feelings for me, and it was a really emotional experience that I don’t feel resolved about, and I think I will probably talk about it, but right now I don’t have all the right words.\u003c/p>\n\u003cp>\u003cstrong>On why her mid-30s were a turning point in her career \u003c/strong>\u003c/p>\n\u003cp>People always say, “After you won the Oscar, did your whole career change?” There wasn’t suddenly this huge influx of scripts. … There’s not a secret safe they’re keeping the great scripts and they unlock you when you win awards! I was lucky to do a couple of great movies in my 30s, but not a lot. …\u003c/p>\n\u003cp>\u003cem>Wild \u003c/em>was a big deal for me, because first of all, I love \u003ca href=\"https://www.npr.org/2013/09/08/219754257/the-wild-story-of-cheryl-strayed-and-her-long-lost-half-sister\">Cheryl Strayed\u003c/a>‘s writing, her memoir’s beautiful, but it’s also woman vs. nature, which I had never really seen on film. And so many women are so deeply connected to nature, yet it’s not something we’ve explored. We’ve seen every iteration of a man vs. a bear, vs. the Wild West, on hiking adventures, but I haven’t seen a lot of a woman alone on film as well, and what is that singular journey for a woman to find herself alone in the wilderness?\u003c/p>\n\u003cp>\u003cstrong>On singing for her role as \u003c/strong>\u003ca href=\"https://freshairarchive.org/segments/jumping-through-ring-fire\">\u003cstrong>June Carter Cash\u003c/strong>\u003c/a>\u003cstrong> in \u003c/strong>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5015873\">\u003cstrong>\u003cem>Walk the Line \u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>When I was a little girl, I wanted to be a country music singer. So I trained for probably 5, 6 years with vocal coaches. I grew up in Nashville, Tenn., so I grew up with a lot of country music singers and their kids and was just immersed … I wanted to be just like \u003ca href=\"https://www.npr.org/2018/12/09/673738768/dream-it-on-through-dolly-parton-on-her-new-album-inspiring-young-people-and-mor\">Dolly Parton\u003c/a> when I was little. I wanted to write and I wanted to sing my own songs, and I took piano lessons and I took singing lessons.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cmpkP-P5sbM\u003c/p>\n\u003cp>When I was about 13, I went and I started studying Broadway at camps in upstate New York and they would have all these experts come in. … They had an acting expert, a dance expert and a singing expert, and the singing coach said, “You really should not put a lot of energy into your singing career.” So I got intimidated and they said, “But your acting is great and you should really pursue that.” So that’s when I kind of tacked left, when I was 13, and started working on acting and concentrating.\u003c/p>\n\u003cp>So when this opportunity came up to play June Carter, I was terrified and I’d been told I wasn’t any good. So I worked for five months with coach Roger Love and with the producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122526723\">T-Bone Burnett\u003c/a> to cut the tracks before we ever walked on set. We recorded all the music so that we could blend live tracks and recorded tracks together. But then we had to actually go and shoot the movie and I had to sing in front of audiences of hundreds of people with \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\">Joaquin Phoenix \u003c/a>onstage with a band, and it was terrifying—terrifying, but thrilling.\u003c/p>\n\u003cp>\u003cstrong>On loving acting \u003c/strong>\u003c/p>\n\u003cp>It’s my number one passion. … I talk a lot about producing … but every day I’m on set feels like such an enormous privilege to be a storyteller in this world. And I started as a little girl, as a storyteller, and I will be a storyteller ’till the day I die. I just love it. It’s my favorite thing to do at dinner parties, too, so invite me over, Terry … I just love spinning a story. It’s really what I was born to do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27From+Book+To+Script+To+Screen%2C%27+Reese+Witherspoon+Is+Making+Roles+For+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Reese Witherspoon became famous in her 20s after starring in films like \u003cem>Election \u003c/em>and \u003cem>Legally Blonde\u003c/em>, but by the time she entered her 30s, the film landscape had shifted. DVD sales had shrunk and smaller, female-centered movies were in short supply. It was nearly impossible to find good leading roles for women.\u003c/p>\n\u003cp>Witherspoon began asking different movie studios what projects they were developing for women. “With the exclusion of one studio, everybody said ‘Nothing. Nothing with a female lead,’ ” she says.\u003c/p>\n\u003cp>So Witherspoon decided to start a production company and began adapting books with complex female characters into films and TV shows. The idea was to create better parts for women—and to help female authors get their stories sold.\u003c/p>\n\u003cp>Witherspoon’s company spearheaded the adaptation of \u003ca href=\"https://www.npr.org/2014/09/30/352688538/gone-girl-a-missing-wife-and-a-cloud-of-suspicion\">\u003cem>Gone Girl\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2014/12/05/367996411/a-wild-trek-made-a-bit-too-neatly\">\u003cem>Wild \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2019/06/06/730275468/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy\">\u003cem>Big Little Lies\u003c/em>\u003c/a>\u003cem>, \u003c/em>among other titles. Looking back, Witherspoon describes her shift into producing as “betting on myself.”\u003c/p>\n\u003cp>“I know what to do,” she says. “I know every producer in Hollywood. I know how to get a movie from book to script to screen, and I know how to market it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now Witherspoon’s current company, Hello Sunshine, is bringing a new project to screen. She’s an executive producer and co-star of the Apple TV+ series, \u003ca href=\"https://www.npr.org/2019/10/31/774850935/tv-review-the-morning-show-from-apple-tv\">\u003cem>The Morning Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>which centers on a morning news show that’s shaken up when its male anchor is fired after being accused of sexual misconduct.\u003c/p>\n\u003cp>Witherspoon acknowledges certain parallels between the misconduct portrayed in the series and the allegations against real-life TV hosts \u003ca href=\"https://www.npr.org/2019/10/09/768527936/matt-lauer-accused-of-rape-in-new-book-former-nbc-star-denies-false-stories\">Matt Lauer\u003c/a>, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/19/524736631/bill-oreilly-is-out-at-fox-news\">Bill O’Reilly\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">Charlie Rose.\u003c/a>\u003c/p>\n\u003cp>“We thought it would have been remiss if we didn’t address [those issues] in our show,” she says. “Sometimes the world is so crazy, TV shows and movies are a great way to try and understand where we’re at.”\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/eA7D4_qU9jo'\n title='//www.youtube.com/embed/eA7D4_qU9jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">\u003cstrong>#MeToo\u003c/strong>\u003c/a>\u003cstrong> movement, and being shocked to learn of the extent of sexual misconduct in Hollywood\u003c/strong>\u003c/p>\n\u003cp>I didn’t have any idea what other people’s experiences were. I’d only had my own experiences, and I definitely dealt with harassment. And I had dealt with that privately and in my own way with my family when I was young, when I was really young and starting in the business. I didn’t have any understanding of the widespread abuse that women were experiencing—and not just women, many, many people were experiencing.\u003c/p>\n\u003cp>It really took that moment in time for all of us to start talking. Because you have to remember, as an actress for hire, usually I was the only woman on a set for, I would say, the majority of my 30-year career. I’ve been the only woman in a cast or one of a handful of women in a crew or a cast. So when all of that started happening, women started to gather and really start talking to each other and sharing stories. And I have to say, I was blown away. I did not know the kind of experiences that people were having. And I was in shock. I think a lot of us were in shock. …\u003c/p>\n\u003cp>I’m enormously grateful to the women who spoke up about their experiences and really opened our hearts and our minds and our eyes to what was happening with such regularity, and the journalists who worked so hard to break these stories, despite whatever corporate interference they were having. I’m just enormously grateful to \u003ca href=\"https://www.npr.org/2019/10/15/770249717/ronan-farrow-catch-and-kill-tactics-protected-both-weinstein-and-trump\">Ronan \u003c/a>[Farrow] and \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">Jodi \u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">[Kantor]\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">and Megan\u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\"> [Twohey]\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>On figuring out how and when she wants to share her own experiences with sexual harassment and assault\u003c/strong>\u003c/p>\n\u003cp>I haven’t ever really spoken about it. I’ve been asked about it a lot, which really brings up a lot of questions for me about how do you decide when you want to talk about it, how you want to talk about it? … This is just me, my personal experience. How can I use that not to garner sympathy but to actually promote change and highlight industry standards that are not good enough?\u003c/p>\n\u003cp>It was very powerful to me to share my story with a like-minded group of women with the Time’s Up movement. We talked about ways that we could really encourage change. How could we raise money for women in other industries so that they would have legal help?\u003c/p>\n\u003cp>I had specific experiences and I dealt with them with a therapist. It’s been ongoing, honestly. The whole thing brought up a lot of feelings for me, and it was a really emotional experience that I don’t feel resolved about, and I think I will probably talk about it, but right now I don’t have all the right words.\u003c/p>\n\u003cp>\u003cstrong>On why her mid-30s were a turning point in her career \u003c/strong>\u003c/p>\n\u003cp>People always say, “After you won the Oscar, did your whole career change?” There wasn’t suddenly this huge influx of scripts. … There’s not a secret safe they’re keeping the great scripts and they unlock you when you win awards! I was lucky to do a couple of great movies in my 30s, but not a lot. …\u003c/p>\n\u003cp>\u003cem>Wild \u003c/em>was a big deal for me, because first of all, I love \u003ca href=\"https://www.npr.org/2013/09/08/219754257/the-wild-story-of-cheryl-strayed-and-her-long-lost-half-sister\">Cheryl Strayed\u003c/a>‘s writing, her memoir’s beautiful, but it’s also woman vs. nature, which I had never really seen on film. And so many women are so deeply connected to nature, yet it’s not something we’ve explored. We’ve seen every iteration of a man vs. a bear, vs. the Wild West, on hiking adventures, but I haven’t seen a lot of a woman alone on film as well, and what is that singular journey for a woman to find herself alone in the wilderness?\u003c/p>\n\u003cp>\u003cstrong>On singing for her role as \u003c/strong>\u003ca href=\"https://freshairarchive.org/segments/jumping-through-ring-fire\">\u003cstrong>June Carter Cash\u003c/strong>\u003c/a>\u003cstrong> in \u003c/strong>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5015873\">\u003cstrong>\u003cem>Walk the Line \u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>When I was a little girl, I wanted to be a country music singer. So I trained for probably 5, 6 years with vocal coaches. I grew up in Nashville, Tenn., so I grew up with a lot of country music singers and their kids and was just immersed … I wanted to be just like \u003ca href=\"https://www.npr.org/2018/12/09/673738768/dream-it-on-through-dolly-parton-on-her-new-album-inspiring-young-people-and-mor\">Dolly Parton\u003c/a> when I was little. I wanted to write and I wanted to sing my own songs, and I took piano lessons and I took singing lessons.\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/cmpkP-P5sbM'\n title='//www.youtube.com/embed/cmpkP-P5sbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I was about 13, I went and I started studying Broadway at camps in upstate New York and they would have all these experts come in. … They had an acting expert, a dance expert and a singing expert, and the singing coach said, “You really should not put a lot of energy into your singing career.” So I got intimidated and they said, “But your acting is great and you should really pursue that.” So that’s when I kind of tacked left, when I was 13, and started working on acting and concentrating.\u003c/p>\n\u003cp>So when this opportunity came up to play June Carter, I was terrified and I’d been told I wasn’t any good. So I worked for five months with coach Roger Love and with the producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122526723\">T-Bone Burnett\u003c/a> to cut the tracks before we ever walked on set. We recorded all the music so that we could blend live tracks and recorded tracks together. But then we had to actually go and shoot the movie and I had to sing in front of audiences of hundreds of people with \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\">Joaquin Phoenix \u003c/a>onstage with a band, and it was terrifying—terrifying, but thrilling.\u003c/p>\n\u003cp>\u003cstrong>On loving acting \u003c/strong>\u003c/p>\n\u003cp>It’s my number one passion. … I talk a lot about producing … but every day I’m on set feels like such an enormous privilege to be a storyteller in this world. And I started as a little girl, as a storyteller, and I will be a storyteller ’till the day I die. I just love it. It’s my favorite thing to do at dinner parties, too, so invite me over, Terry … I just love spinning a story. It’s really what I was born to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27From+Book+To+Script+To+Screen%2C%27+Reese+Witherspoon+Is+Making+Roles+For+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Cozy Snowbound Sweater-Wearing Guide to 2019 Holiday Movies",
"headTitle": "The Cozy Snowbound Sweater-Wearing Guide to 2019 Holiday Movies | KQED",
"content": "\u003cp>[\u003cstrong>UPDATE:\u003c/strong> As of Monday 11/11, we have added three films from OWN and two from Freeform.]\u003c/p>\n\u003cp>It’s holiday TV movie season, and it’s not just a Hallmark party. There’s also Lifetime, UPTV, and—increasingly—Netflix, as well as OWN and Freeform.\u003c/p>\n\u003cp>We know that for devotees of this genre, it can be hard to keep up. Therefore, we have prepared a helpful guide to all the new movies we’re aware of that are on tap for the season, complete with notations for which tropes they offer. Everything in bold is what I would consider an element of holiday programming; that should help you find what you need. Are you a person who likes to see a “suit man” learn the new meaning of Christmas? We can help! Do you prefer to see someone save her hometown? You’ll find just the right movie for you, right here. And remember: These are just the \u003cem>new \u003c/em>ones. There are so many!\u003c/p>\n\u003cp>I’ve also noted where beloved celebrities and nostalgic figures are present—I admit this is a blurry line between these categories, but it’s meant to be “famous for [specific character/project]” versus “famous generally.”\u003c/p>\n\u003cp>Note that these are based on what the networks and services have revealed thus far. Some of these might have hidden elves or moppets or musical numbers that just haven’t revealed themselves yet. You have to keep \u003cem>some \u003c/em>surprises for Santa, right?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ho-ho-ho.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Picture a Perfect Christmas \u003c/strong>\u003c/em>(Hallmark, 11/9, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HrNPPe7hkas\u003c/p>\n\u003cp>She’s an “extreme sports photographer” who goes to her own little town to take care of Grandma and meets a neighbor whose nephew is visiting him. She learns that \u003cstrong>this little town is OK\u003c/strong>. Also \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Radio Christmas\u003c/strong>\u003c/em> (Lifetime, 11/9, 8 pmET)\u003c/p>\n\u003cp>Keshia Knight Pulliam plays a DJ who is forced to relocate from her Philadelphia broadcasting digs to the small town of—you guessed it—Bethlehem, and it turns out \u003cstrong>this little town is OK\u003c/strong>. Also, \u003cstrong>everybody cares too much about Christmas\u003c/strong>, in that there is apparently a “year-round Christmas station.” (You can kind of forgive them because it’s Bethlehem, I suppose.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rock N’ Roll Christmas \u003c/strong>\u003c/em>(UPTV, 11/10, 7pmET)\u003c/p>\n\u003cp>Estranged mother and daughter singers \u003cstrong>rush to get ready\u003c/strong> in time to write a Christmas single together. Will they succeed? I would say it’s fa-la-la-la-likely. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Mistletoe Secret \u003c/strong>\u003c/em>(Hallmark, 11/10, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N8oliBufPuY\u003c/p>\n\u003cp>Remember Kellie Pickler from \u003cem>American Idol\u003c/em>? This is what she does now! She plays a woman whose hometown is losing tourists until a \u003cstrong>grumpy journalist\u003c/strong> agrees to write an article about it, and she has the chance to \u003cstrong>help her hometown\u003c/strong>! Nostalgic figure \u003cstrong>Patrick Duffy\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Sweet Christmas Romance \u003c/strong>\u003c/em>(Lifetime, 11/10, 8 pmET)\u003c/p>\n\u003cp>A food stylist returns to her hometown, where she has the opportunity to participate in a baking contest to win ownership of an \u003cstrong>adorable small business\u003c/strong>, her favorite bakery. Of course, there’s a guy who will be her \u003cstrong>professional competitor\u003c/strong>. Will they fall in love? MIGHT THEY?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Miracle \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/14, 9 pmET)\u003c/p>\n\u003cp>A journalist tries to create a Christmas miracle. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas a La Mode\u003c/strong>\u003c/em> (Lifetime, 11/15, 8 pmET)\u003c/p>\n\u003cp>How to save the \u003cstrong>adorable small business\u003c/strong>, a family dairy farm? With a \u003cstrong>high-stakes competition\u003c/strong> involving ice cream.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>One Fine Christmas \u003c/strong>\u003c/em>(OWN, 11/15 9 pmET)\u003c/p>\n\u003cp>An impressive ensemble cast including Rick Fox and his daughter Sasha, Vanessa Williams (the \u003cem>Melrose Place \u003c/em>one, not the “Save The Best For Last”/\u003cem>Ugly Betty\u003c/em> one) and Marla Gibbs shows up for this multi-thread story about people living on Christmas Street (where probably \u003cstrong>everybody cares too much about Christmas\u003c/strong>) who have to navigate various hurdles to create \u003cstrong>a perfect Christmas\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Under the Stars\u003c/strong>\u003c/em> (Hallmark 11/16, 9 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=knF-OXlZHVc\u003c/p>\n\u003cp>He’s a \u003cstrong>suit man\u003c/strong> who loses his job and goes to work on a Christmas tree lot despite his \u003cstrong>missing Christmas spirit\u003c/strong>. You get no points for figuring out what happens when he meets Julie, “an astronomy teacher who’s always looked to the stars for hope.” \u003cstrong>Beloved celebrity\u003c/strong> Clarke Peters!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Louisiana\u003c/strong>\u003c/em> (Lifetime, 11/16, 8 pmET)\u003c/p>\n\u003cp>Well she’s a former Miss Christmas in her town, a title that exists because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and she goes back home and runs into the former Mister Christmas, and they might perhaps fall in love and presumably wear matching wreath crowns. \u003cstrong>Beloved celebrities \u003c/strong>Barry Bostwick, Moira Kelly and Dee Wallace.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Cupcakes \u003c/strong>\u003c/em>(UPTV, 11/17, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKtKoj-6Uao\u003c/p>\n\u003cp>How to save the family bakery, a truly \u003cstrong>adorable small business\u003c/strong>? Win a \u003cstrong>high-stakes competition\u003c/strong> on television!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Write Before Christmas \u003c/strong>\u003c/em>(Hallmark, 11/17, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UfNtogYfUmA\u003c/p>\n\u003cp>A woman sends thank-you notes at Christmas. The most important thing to know about this one is that \u003cstrong>nostalgic figure \u003c/strong>Grant Show, former \u003cem>Melrose Place \u003c/em>hottie, is now playing Hot Gray Hair types, and it’s possible that he looks better than ever. Here, most of his scenes seem to be with a cute dog. Also \u003cstrong>beloved celebrity \u003c/strong>Lolita Davidovich. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Random Acts of Christmas \u003c/strong>\u003c/em>(Lifetime, 11/17, 8 pmET)\u003c/p>\n\u003cp>An investigative journalist (not sure if she’s \u003cstrong>grumpy\u003c/strong>) tries to figure out why there are “random acts of Christmas” taking place. A man “ignites her Christmas spirit.” But he “may not be the man he claims to be.” So he could be a bank robber or an elf; we just don’t know. \u003cstrong>Nostalgic figures\u003c/strong> Patrick Duffy and Jaclyn Smith (Duffy’s pulling a twofer!).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Godwink Christmas: Meant For Love \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/17, 9 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=evL3bYs1xFg\u003c/p>\n\u003cp>About a couple brought together by the \u003cstrong>actual supernatural force\u003c/strong> that is “Godwinks,” which are literally winks from God in the theology of the books that inspired this movie as well as a previous one just called \u003cem>A Godwink Christmas\u003c/em>. \u003cstrong>Beloved celebrity \u003c/strong>Kathie Lee Gifford.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Knight Before Christmas\u003c/strong>\u003c/em> (Netflix, 11/21)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-JtwROpSVWc\u003c/p>\n\u003cp>If you were a medieval knight and you were magically transported to Christmas in contemporary Ohio, wouldn’t \u003cem>you \u003c/em>hope to run into Vanessa Hudgens? Sure you would. So would this guy, and it happens to him thanks to the \u003cstrong>actual supernatural force \u003c/strong>of time travel. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Magical Christmas Shoes \u003c/strong>\u003c/em>(Lifetime, 11/22, 8 pmET)\u003c/p>\n\u003cp>This is not the same movie as \u003cem>The Christmas Shoes\u003c/em>, based on the book \u003cem>The Christmas Shoes \u003c/em>which was based on the song “The Christmas Shoes.” No, this is \u003cem>The Magical Christmas Shoes\u003c/em>, and it’s something else entirely, but it appears to involve \u003cstrong>actual supernatural forces\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carole’s Christmas\u003c/strong>\u003c/em> (OWN, 11/22 9pm ET)\u003c/p>\n\u003cp>The great and good Jackée Harry stars opposite Kimberly Elise in this story about a woman played by Elise who encounters \u003cstrong>actual supernatural forces\u003c/strong> that allow her to rediscover the true spirit of Christmas after she wishes to explore a different life. Harry appears to be her spiritual advisor in some manner, which makes Carole very lucky indeed.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Twinkle All the Way \u003c/strong>\u003c/em>(Lifetime, 11/23, 8 pmET)\u003c/p>\n\u003cp>So there’s a woman in \u003cstrong>event planning\u003c/strong> who has to plan a Christmas wedding, which is pretty hard. But fortunately for her, she meets a guy who runs a [checks notes] “Christmas decoration and house-lighting company,” where \u003cstrong>everybody cares too much about Christmas.\u003c/strong> They undoubtedly have to \u003cstrong>rush to get ready \u003c/strong>for her wedding and also do the work for his client, who is played by \u003cstrong>beloved celebrity \u003c/strong>Lesley Ann Warren.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Hearts \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/23, 9 pmET)\u003c/p>\n\u003cp>Two people have to care for a friend’s daughter at the same time she has to do holiday \u003cstrong>event planning\u003c/strong> for a Christmas party, which seems like a lot of pressure.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Graceland: Home For the Holidays \u003c/strong>\u003c/em>(Hallmark, 11/23, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7zdV4Wucn6s\u003c/p>\n\u003cp>Remember Adrian Grenier from \u003cem>Entourage\u003c/em>? This is what he does now! He plays a \u003cstrong>suit man\u003c/strong> who prioritizes his job until the nanny he hired, who’s home in Memphis for the holidays, convinces him to stop and smell the peanut butter and bacon sandwiches at the famous \u003cstrong>location, location, location\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Priscilla Presley!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Turkey Drop \u003c/strong>\u003c/em>(Freeform, 11/23, 9 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7O2vvd9Ze1s\u003c/p>\n\u003cp>I had never heard the phrase “turkey dropped”—meaning “broken up with over the holidays, especially Thanksgiving”—and it seems truly terrible. But here we are, following a woman who fears that she’s about to be dumped thusly and starts trying to avoid it. (There aren’t many \u003cstrong>Thanksgiving \u003c/strong>movies, but here is one for you fans of feasting.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Recipe For Romance \u003c/strong>\u003c/em>(UPTV, 11/24, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NZeHPPJmiIo\u003c/p>\n\u003cp>How to save the \u003cstrong>adorable small business \u003c/strong>that is your family-run inn? Win a \u003cstrong>high-stakes competition \u003c/strong>for which you’ll have to \u003cstrong>rush to get ready\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cherished Memories: A Gift to Remember 2 \u003c/strong>\u003c/em>(Hallmark, 11/24, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cf1X4-GFBZE\u003c/p>\n\u003cp>Look, I could explain this movie to you, or I could tell you that the first sentence of the description is “A year after Darcy ran over Aiden, his amnesia is gone but not their love.” (Darcy is also trying to save the rec center, meaning this is also an example of \u003cstrong>saving her hometown\u003c/strong>).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas 9 to 5 \u003c/strong>\u003c/em>(Lifetime, 11/24, 8 pmET)\u003c/p>\n\u003cp>Tiya Sircar (who plays Vicky/”Real Eleanor” on \u003cem>The Good Place\u003c/em>) plays a \u003cstrong>grump journalist\u003c/strong> (she might be more of a hopeful journalist, but it’s not clear) who’s assigned to find the \u003cstrong>true meaning of Christmas\u003c/strong>, so she becomes a sales clerk.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Duet\u003c/strong>\u003c/em> (Hallmark, 11/25, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LbwrJ8puiRI\u003c/p>\n\u003cp>Averie and Jesse used to be a singing duo until they broke up, but now he, her \u003cstrong>old flame\u003c/strong>, comes to her lodge (a/k/a her \u003cstrong>adorable small business\u003c/strong>) over the holidays, and naturally they may just figure out how to get back together. They are played, we should note, by Chaley Rose and Rome Flynn, black leading actors on a channel that basically never used to have black leading actors but has some this year; Lifetime has significantly more and has for quite a while. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Check Inn to Christmas\u003c/strong>\u003c/em> (Hallmark, 11/26, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U52nc97kGnc\u003c/p>\n\u003cp>Her family and his family own rival cozy inns (what could be a more \u003cstrong>adorable small business\u003c/strong>?) and might just fall in love even though they are \u003cstrong>professional competitors\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Richard Karn! \u003cstrong>Horrible pun title\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Very Vintage Christmas\u003c/strong>\u003c/em> (Lifetime, 11/27, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M5iCkgzggbw\u003c/p>\n\u003cp>Tia Mowry-Hardrict is in this one about a woman who owns the ultimate \u003cstrong>adorable small business\u003c/strong>: an antique shop. She comes into possession of a box of someone’s old stuff (which cannot really be that uncommon, given that it’s an antique shop) and decides to return it. A man helps her, obviously.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Club \u003c/strong>\u003c/em>(Hallmark, 11/27, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rya4jG0vDUg\u003c/p>\n\u003cp>A man and a woman meet when they “help an elderly woman find her lost Christmas savings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Rush \u003c/strong>\u003c/em>(Netflix, 11/28)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c2U6diYTnxA\u003c/p>\n\u003cp>Romany Malco plays a dad who loses his job and has to struggle to make \u003cstrong>the perfect Christmas\u003c/strong> for his kids. \u003cstrong>Beloved celebrity\u003c/strong> Darlene Love is in it—will she sing “Christmas (Baby Please Come Home)”?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Wish \u003c/strong>\u003c/em>(Lifetime, 11/28, 8 pmET)\u003c/p>\n\u003cp>It’s not clear whether this movie about a woman who makes a wish for love really gets the wish via \u003cstrong>actual supernatural forces \u003c/strong>or whether she only \u003cem>thinks \u003c/em>she’s getting the wish when actually she’s not getting the wish but just falling in love the regular way, but I’m throwing it in here anyway.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at the Plaza \u003c/strong>\u003c/em>(Hallmark, 11/28, 8 pmET)\u003c/p>\n\u003cp>Jessica and Nick, who are perhaps named after countless characters from other TV romantic movies, are assigned to collaborate on a project at the Plaza Hotel, a very classy \u003cstrong>location, location, location\u003c/strong>. Features two \u003cstrong>beloved celebrities\u003c/strong>: Julia Duffy and Bruce Davison!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Staging Christmas \u003c/strong>\u003c/em>(Lifetime, 11/29, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Ar9rTDB9LQ\u003c/p>\n\u003cp>Soleil Moon Frye, known to children of the ’80s as Punky Brewster, is in this one as a woman who stages houses that people are selling. She gets a special assignment from a guy who doesn’t feel prepared to decorate his own house for Christmas but thinks his daughter would enjoy it. And then she teaches everybody the\u003cstrong> true meaning of Christmas\u003c/strong>, probably. (He is not a suit man; he is a sweater man, which is a very different man.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Evergreen: Tidings of Joy \u003c/strong>\u003c/em>(Hallmark, 11/29, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7YYVC_QkZ28&list=PLOeOtEopjKLoHBhE7KDG0gYQafVeRXqlr\u003c/p>\n\u003cp>The third film in a Hallmark franchise of sorts, this one is about Evergreen’s search for a time capsule and the \u003cstrong>grump journalist\u003c/strong> who comes to town and meets a woman just in time to be charmed by it all and \u003cstrong>help her hometown\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baking Christmas \u003c/strong>\u003c/em>(OWN, 11/29, 9 pmET)\u003c/p>\n\u003cp>The matriarch of a town bakery (the ultimate \u003cstrong>adorable small business\u003c/strong>) decides to retire, leaving her kids to participate in a \u003cstrong>high-stakes competition \u003c/strong>to determine who will take over.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Merry Liddle Christmas \u003c/strong>\u003c/em>(Lifetime, 11/30, 8 pmET)\u003c/p>\n\u003cp>Kelly Rowland stars as a woman who’s obsessed with\u003cstrong> the perfect Christmas\u003c/strong>, only to find that her family is all over the place and driving her crazy. Will she learn that the \u003cstrong>true meaning of Christmas\u003c/strong> is not about Instagram? I bet she will.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Rome \u003c/strong>\u003c/em>(Hallmark, 11/30, 8 pmET)\u003c/p>\n\u003cp>Lacey Chabert, one of our Christmas Movie Queens, plays a woman who shows around an American \u003cstrong>suit man\u003c/strong> who wants to buy a company in Rome, but suffers from \u003cstrong>missing Christmas spirit\u003c/strong> even in this tremendous \u003cstrong>location, location, location\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sense, Sensibility & Snowmen \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/30, 9 pmET)\u003c/p>\n\u003cp>“Christmas enthusiast” \u003cstrong>event planners \u003c/strong>get a client who’s a \u003cstrong>suit man \u003c/strong>and a “not-so-jolly toy company CEO.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Chalet \u003c/strong>\u003c/em>(UPTV, 12/1, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JAdNMdwF_CU\u003c/p>\n\u003cp>The Christmas chalet is double-booked (almost like being \u003cstrong>snowed in\u003c/strong>!), and the other person staying with a divorced mom and her daughter is a “\u003cstrong>grumpy writer\u003c/strong> who hates Christmas.” (Writer, journalist, you know.) Well, I bet he doesn’t hate Christmas for long. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>You Light Up My Christmas\u003c/strong>\u003c/em> (Lifetime, 12/1, 8 pmET)\u003c/p>\n\u003cp>Kim Fields plays a woman whose hometown was “built around her family’s pioneer Christmas Light Factory.” (Perhaps \u003cstrong>everybody cares too much about Christmas\u003c/strong>?) She needs to \u003cstrong>help her hometown \u003c/strong>and her \u003cstrong>adorable small business\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Town\u003c/strong>\u003c/em> (Hallmark, 12/1, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RBhwO2Yt8xI\u003c/p>\n\u003cp>A career woman discovers that \u003cstrong>this little town is OK\u003c/strong> when she winds up in said little town, where there is Some Dude. Stars Candance Cameron Bure, billed as “Christmas favorite Candace Cameron Bure.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Ghosting: The Spirit of Christmas\u003c/strong>\u003c/em> (Freeform, 12/7 9 pmET)\u003c/p>\n\u003cp>It was probably inevitable that people would begin experimenting with what it would be like if “ghosting” happened because you were actually dead. That’s the premise of this Freeform movie about \u003cstrong>actual supernatural forces\u003c/strong>, in which a woman goes on a great date and then dies, making it difficult for her to return texts and so forth.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Prince: The Royal Baby \u003c/strong>\u003c/em>(Netflix, 12/5)\u003c/p>\n\u003cp>The \u003cstrong>royal family\u003c/strong> franchise that is following the literal “first comes love, then comes marriage, then comes Tiny in the baby carriage” rhyme reaches its third chapter. Is there anything left after this? The Royal Home Equity Loan?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Storybook Christmas\u003c/strong>\u003c/em> (Lifetime, 12/6, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rdl4eyqlaOk\u003c/p>\n\u003cp>An \u003cstrong>event planner\u003c/strong> hires a nanny for her niece at Christmas and THE NANNY IS A MAN. We are through the looking glass of traditional gender roles.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mistletoe and Menorahs\u003c/strong>\u003c/em> (Lifetime, 12/7, 6 pmET)\u003c/p>\n\u003cp>She has to learn about \u003cstrong>Hanukkah\u003c/strong>! He has to learn about Christmas! They’d better get busy!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Unleashed\u003c/strong>\u003c/em> (Lifetime, 12/7, 8 pmET)\u003c/p>\n\u003cp>An \u003cstrong>old flame\u003c/strong> has to help find Vanessa Lachey’s dog. Well, not Vanessa Lachey. A woman played by Vanessa Lachey. You know what I’m saying.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Love Story \u003c/strong>\u003c/em>(Hallmark [Hall Of Fame], 12/7, 8 pmET)\u003c/p>\n\u003cp>Kristin Chenoweth plays a youth choir director who meets the widowed father (Scott Wolf) of just the beautiful \u003cstrong>moppet \u003c/strong>singer she’s been looking for. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Homecoming For the Holidays \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 12/7, 9 pmET)\u003c/p>\n\u003cp>Actual Broadway performer (and winner of the reality show \u003cem>Grease: You’re The One That I Want!\u003c/em>) Laura Osnes stars as a country singer who helps a guy build a house for a friend. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Paris\u003c/strong>\u003c/em> (UPTV, 12/8, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GSlXzW-sXFs\u003c/p>\n\u003cp>A rich French guy comes to Montana, whisks a local woman off to Paris for Christmas, and has a secret. \u003cstrong>Location, location, location!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Dollywood \u003c/strong>\u003c/em>(Hallmark, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two people fall in love while\u003cstrong> event planning\u003c/strong>, specifically for the Christmas show at Dollywood. \u003cstrong>There’s probably music \u003c/strong>at this particular \u003cstrong>location, location, location\u003c/strong>. Features \u003cstrong>beloved celebrity \u003c/strong>Dolly Parton!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Grounded For Christmas\u003c/strong>\u003c/em> (Lifetime, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two pilots who don’t get along find their flight \u003cstrong>snowed in \u003c/strong>so they’re stuck in Cleveland. They wind up at her parents’ house, but because her ex is around, he agrees to a scheme where her family can \u003cstrong>meet her fake boyfriend\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Stars \u003c/strong>\u003c/em>(Lifetime, 12/13, 8 pmET)\u003c/p>\n\u003cp>J.T. Hodges and Erica Durance star as aspiring singers working together and maybe falling in love and there’s a \u003cstrong>high-stakes competition \u003c/strong>and \u003cstrong>there’s probably music \u003c/strong>and is this \u003cem>A Star Is Born: Christmas Edition\u003c/em> or what?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Matchmaker Christmas\u003c/strong>\u003c/em> (Lifetime, 12/14, 6 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dnvrP1_9zak\u003c/p>\n\u003cp>The \u003cstrong>old flame\u003c/strong> who shows up around Christmas in this one is named Jaxson. Yyyyikes. I say don’t do it, girl.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Winter Song \u003c/strong>\u003c/em>(Lifetime, 12/14, 8 pmET)\u003c/p>\n\u003cp>Ashanti is in this one, as a woman who meets a former jazz singer named Fred, played by Stan Shaw, who’s now homeless. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Date\u003c/strong>\u003c/em> (Hallmark, 12/14, 8 pmET)\u003c/p>\n\u003cp>Brooke brings an actor home to have her family \u003cstrong>meet her fake boyfriend\u003c/strong> over the holidays, something many many romcom characters have tried. And then she learns he’s Jewish and celebrates \u003cstrong>Hanukkah\u003c/strong>. \u003cstrong>Beloved celebrity \u003c/strong>Bruce Boxleitner!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Snowbound for Christmas \u003c/strong>\u003c/em>(UPTV, 12/15, 7 pmET)\u003c/p>\n\u003cp>This is actually based on a novella that I have read, by the terrific romance writer Shannon Stacey! (It was called \u003cem>Snowbound with the CEO.\u003c/em>) A boss brings his marketing executive to a pitch that will take place at a resort, and they are \u003cstrong>snowed in\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rediscovering Christmas \u003c/strong>\u003c/em>(Lifetime, 12/15, 8 pmET)\u003c/p>\n\u003cp>Mia the big-city window dresser has to come back to \u003cstrong>help her hometown\u003c/strong> to help with the annual Snowflake festival!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Cheerful Christmas\u003c/strong>\u003c/em> (Hallmark, 12/15, 8 pmET)\u003c/p>\n\u003cp>A woman is hired as the “Christmas coach” to restore the \u003cstrong>missing Christmas spirit \u003c/strong>of someone who is somehow both a member of a \u003cstrong>royal family\u003c/strong> and a \u003cstrong>suit man\u003c/strong> at a company.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Temp \u003c/strong>\u003c/em>(Lifetime, 12/20, 8 pmET)\u003c/p>\n\u003cp>There is a “Christmas temp agency” in this movie because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and it has an HR manager for whom the titular Christmas Temp has “feelings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Love Letter \u003c/strong>\u003c/em>(Lifetime, 12/21, 6 pmET)\u003c/p>\n\u003cp>A relationship advice columnist goes back home to figure out who wrote her an anonymous love letter. Information is limited, but based on the promotional photo, I can add \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Hotel \u003c/strong>\u003c/em>(Lifetime, 12/21, 8 pmET)\u003c/p>\n\u003cp>Garland Grove (where this takes place) is all about Christmas 12 months a year, making it the ultimate \u003cstrong>everybody cares too much about Christmas \u003c/strong>situation. Erin (Tatyana Ali) is in charge of developing a new hotel and \u003cstrong>help her hometown\u003c/strong>, so she makes it a Christmas Hotel to please the locals. Her \u003cstrong>old flame \u003c/strong>helps her find her \u003cstrong>missing Christmas spirit\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>It’s Beginning to Look a Lot Like Christmas\u003c/strong>\u003c/em> (Hallmark, 12/21, 8 pmET)\u003c/p>\n\u003cp>No description except a photo of a man in a sweater looking hopefully upward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Wedding Runaway\u003c/strong>\u003c/em> (UPTV, 12/22, 7 pmET)\u003c/p>\n\u003cp>A soon-to-be bride is \u003cstrong>snowed in\u003c/strong> with her Grandma and an \u003cstrong>old flame\u003c/strong>. In the promotional photo, one guy is wearing glasses and a suit and the other guy is scruffy with a flannel shirt, so I’m pretty sure the flannel shirt guy will win, even on UPTV.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Double Holiday\u003c/strong>\u003c/em> (Hallmark, 12/22, 8 pmET)\u003c/p>\n\u003cp>Rebecca, who celebrates \u003cstrong>Hanukkah\u003c/strong>, is thrown together with Chris, who celebrates Christmas, to carry out some \u003cstrong>event planning\u003c/strong> around the office holiday party. Naturally they fall in love, even though they’re \u003cstrong>professional competitors\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Date By Christmas Eve \u003c/strong>\u003c/em>(Lifetime, 12/22, 8 pmET)\u003c/p>\n\u003cp>A woman gets magical powers from the \u003cstrong>actual supernatural forces \u003c/strong>within a dating app and accidentally adds her kindly neighbor to the naughty list, and do not get me started.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baby in a Manger \u003c/strong>\u003c/em>(UPTV, 12/24, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UqM_QMFOHkg\u003c/p>\n\u003cp>Someone has abandoned a baby in a nativity scene (a little on the nose), so a social worker and a police officer work to find the baby’s mother. I can’t even figure out what they want you to root for!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>New Year, New Me \u003c/strong>\u003c/em>(Hallmark, 12/28, 8 pmET)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No description except a photo of part of a tree.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Cozy+Snowbound+Sweater-Wearing+Guide+To+2019+Holiday+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Yes, it's here again: the season when cable and streaming networks offer a deluge of holiday stories—61 in all!—full of happy couples, moppets and people learning the true meaning of Christmas.",
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"description": "Yes, it's here again: the season when cable and streaming networks offer a deluge of holiday stories—61 in all!—full of happy couples, moppets and people learning the true meaning of Christmas.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[\u003cstrong>UPDATE:\u003c/strong> As of Monday 11/11, we have added three films from OWN and two from Freeform.]\u003c/p>\n\u003cp>It’s holiday TV movie season, and it’s not just a Hallmark party. There’s also Lifetime, UPTV, and—increasingly—Netflix, as well as OWN and Freeform.\u003c/p>\n\u003cp>We know that for devotees of this genre, it can be hard to keep up. Therefore, we have prepared a helpful guide to all the new movies we’re aware of that are on tap for the season, complete with notations for which tropes they offer. Everything in bold is what I would consider an element of holiday programming; that should help you find what you need. Are you a person who likes to see a “suit man” learn the new meaning of Christmas? We can help! Do you prefer to see someone save her hometown? You’ll find just the right movie for you, right here. And remember: These are just the \u003cem>new \u003c/em>ones. There are so many!\u003c/p>\n\u003cp>I’ve also noted where beloved celebrities and nostalgic figures are present—I admit this is a blurry line between these categories, but it’s meant to be “famous for [specific character/project]” versus “famous generally.”\u003c/p>\n\u003cp>Note that these are based on what the networks and services have revealed thus far. Some of these might have hidden elves or moppets or musical numbers that just haven’t revealed themselves yet. You have to keep \u003cem>some \u003c/em>surprises for Santa, right?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ho-ho-ho.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Picture a Perfect Christmas \u003c/strong>\u003c/em>(Hallmark, 11/9, 8 pmET)\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/HrNPPe7hkas'\n title='//www.youtube.com/embed/HrNPPe7hkas'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She’s an “extreme sports photographer” who goes to her own little town to take care of Grandma and meets a neighbor whose nephew is visiting him. She learns that \u003cstrong>this little town is OK\u003c/strong>. Also \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Radio Christmas\u003c/strong>\u003c/em> (Lifetime, 11/9, 8 pmET)\u003c/p>\n\u003cp>Keshia Knight Pulliam plays a DJ who is forced to relocate from her Philadelphia broadcasting digs to the small town of—you guessed it—Bethlehem, and it turns out \u003cstrong>this little town is OK\u003c/strong>. Also, \u003cstrong>everybody cares too much about Christmas\u003c/strong>, in that there is apparently a “year-round Christmas station.” (You can kind of forgive them because it’s Bethlehem, I suppose.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rock N’ Roll Christmas \u003c/strong>\u003c/em>(UPTV, 11/10, 7pmET)\u003c/p>\n\u003cp>Estranged mother and daughter singers \u003cstrong>rush to get ready\u003c/strong> in time to write a Christmas single together. Will they succeed? I would say it’s fa-la-la-la-likely. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Mistletoe Secret \u003c/strong>\u003c/em>(Hallmark, 11/10, 8 pmET)\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/N8oliBufPuY'\n title='//www.youtube.com/embed/N8oliBufPuY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember Kellie Pickler from \u003cem>American Idol\u003c/em>? This is what she does now! She plays a woman whose hometown is losing tourists until a \u003cstrong>grumpy journalist\u003c/strong> agrees to write an article about it, and she has the chance to \u003cstrong>help her hometown\u003c/strong>! Nostalgic figure \u003cstrong>Patrick Duffy\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Sweet Christmas Romance \u003c/strong>\u003c/em>(Lifetime, 11/10, 8 pmET)\u003c/p>\n\u003cp>A food stylist returns to her hometown, where she has the opportunity to participate in a baking contest to win ownership of an \u003cstrong>adorable small business\u003c/strong>, her favorite bakery. Of course, there’s a guy who will be her \u003cstrong>professional competitor\u003c/strong>. Will they fall in love? MIGHT THEY?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Miracle \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/14, 9 pmET)\u003c/p>\n\u003cp>A journalist tries to create a Christmas miracle. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas a La Mode\u003c/strong>\u003c/em> (Lifetime, 11/15, 8 pmET)\u003c/p>\n\u003cp>How to save the \u003cstrong>adorable small business\u003c/strong>, a family dairy farm? With a \u003cstrong>high-stakes competition\u003c/strong> involving ice cream.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>One Fine Christmas \u003c/strong>\u003c/em>(OWN, 11/15 9 pmET)\u003c/p>\n\u003cp>An impressive ensemble cast including Rick Fox and his daughter Sasha, Vanessa Williams (the \u003cem>Melrose Place \u003c/em>one, not the “Save The Best For Last”/\u003cem>Ugly Betty\u003c/em> one) and Marla Gibbs shows up for this multi-thread story about people living on Christmas Street (where probably \u003cstrong>everybody cares too much about Christmas\u003c/strong>) who have to navigate various hurdles to create \u003cstrong>a perfect Christmas\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Under the Stars\u003c/strong>\u003c/em> (Hallmark 11/16, 9 pmET)\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/knF-OXlZHVc'\n title='//www.youtube.com/embed/knF-OXlZHVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s a \u003cstrong>suit man\u003c/strong> who loses his job and goes to work on a Christmas tree lot despite his \u003cstrong>missing Christmas spirit\u003c/strong>. You get no points for figuring out what happens when he meets Julie, “an astronomy teacher who’s always looked to the stars for hope.” \u003cstrong>Beloved celebrity\u003c/strong> Clarke Peters!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Louisiana\u003c/strong>\u003c/em> (Lifetime, 11/16, 8 pmET)\u003c/p>\n\u003cp>Well she’s a former Miss Christmas in her town, a title that exists because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and she goes back home and runs into the former Mister Christmas, and they might perhaps fall in love and presumably wear matching wreath crowns. \u003cstrong>Beloved celebrities \u003c/strong>Barry Bostwick, Moira Kelly and Dee Wallace.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Cupcakes \u003c/strong>\u003c/em>(UPTV, 11/17, 7 pmET)\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/cKtKoj-6Uao'\n title='//www.youtube.com/embed/cKtKoj-6Uao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How to save the family bakery, a truly \u003cstrong>adorable small business\u003c/strong>? Win a \u003cstrong>high-stakes competition\u003c/strong> on television!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Write Before Christmas \u003c/strong>\u003c/em>(Hallmark, 11/17, 8 pmET)\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/UfNtogYfUmA'\n title='//www.youtube.com/embed/UfNtogYfUmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A woman sends thank-you notes at Christmas. The most important thing to know about this one is that \u003cstrong>nostalgic figure \u003c/strong>Grant Show, former \u003cem>Melrose Place \u003c/em>hottie, is now playing Hot Gray Hair types, and it’s possible that he looks better than ever. Here, most of his scenes seem to be with a cute dog. Also \u003cstrong>beloved celebrity \u003c/strong>Lolita Davidovich. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Random Acts of Christmas \u003c/strong>\u003c/em>(Lifetime, 11/17, 8 pmET)\u003c/p>\n\u003cp>An investigative journalist (not sure if she’s \u003cstrong>grumpy\u003c/strong>) tries to figure out why there are “random acts of Christmas” taking place. A man “ignites her Christmas spirit.” But he “may not be the man he claims to be.” So he could be a bank robber or an elf; we just don’t know. \u003cstrong>Nostalgic figures\u003c/strong> Patrick Duffy and Jaclyn Smith (Duffy’s pulling a twofer!).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Godwink Christmas: Meant For Love \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/17, 9 pmET)\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/evL3bYs1xFg'\n title='//www.youtube.com/embed/evL3bYs1xFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>About a couple brought together by the \u003cstrong>actual supernatural force\u003c/strong> that is “Godwinks,” which are literally winks from God in the theology of the books that inspired this movie as well as a previous one just called \u003cem>A Godwink Christmas\u003c/em>. \u003cstrong>Beloved celebrity \u003c/strong>Kathie Lee Gifford.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Knight Before Christmas\u003c/strong>\u003c/em> (Netflix, 11/21)\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/-JtwROpSVWc'\n title='//www.youtube.com/embed/-JtwROpSVWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you were a medieval knight and you were magically transported to Christmas in contemporary Ohio, wouldn’t \u003cem>you \u003c/em>hope to run into Vanessa Hudgens? Sure you would. So would this guy, and it happens to him thanks to the \u003cstrong>actual supernatural force \u003c/strong>of time travel. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Magical Christmas Shoes \u003c/strong>\u003c/em>(Lifetime, 11/22, 8 pmET)\u003c/p>\n\u003cp>This is not the same movie as \u003cem>The Christmas Shoes\u003c/em>, based on the book \u003cem>The Christmas Shoes \u003c/em>which was based on the song “The Christmas Shoes.” No, this is \u003cem>The Magical Christmas Shoes\u003c/em>, and it’s something else entirely, but it appears to involve \u003cstrong>actual supernatural forces\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carole’s Christmas\u003c/strong>\u003c/em> (OWN, 11/22 9pm ET)\u003c/p>\n\u003cp>The great and good Jackée Harry stars opposite Kimberly Elise in this story about a woman played by Elise who encounters \u003cstrong>actual supernatural forces\u003c/strong> that allow her to rediscover the true spirit of Christmas after she wishes to explore a different life. Harry appears to be her spiritual advisor in some manner, which makes Carole very lucky indeed.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Twinkle All the Way \u003c/strong>\u003c/em>(Lifetime, 11/23, 8 pmET)\u003c/p>\n\u003cp>So there’s a woman in \u003cstrong>event planning\u003c/strong> who has to plan a Christmas wedding, which is pretty hard. But fortunately for her, she meets a guy who runs a [checks notes] “Christmas decoration and house-lighting company,” where \u003cstrong>everybody cares too much about Christmas.\u003c/strong> They undoubtedly have to \u003cstrong>rush to get ready \u003c/strong>for her wedding and also do the work for his client, who is played by \u003cstrong>beloved celebrity \u003c/strong>Lesley Ann Warren.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Hearts \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/23, 9 pmET)\u003c/p>\n\u003cp>Two people have to care for a friend’s daughter at the same time she has to do holiday \u003cstrong>event planning\u003c/strong> for a Christmas party, which seems like a lot of pressure.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Graceland: Home For the Holidays \u003c/strong>\u003c/em>(Hallmark, 11/23, 8 pmET)\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/7zdV4Wucn6s'\n title='//www.youtube.com/embed/7zdV4Wucn6s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember Adrian Grenier from \u003cem>Entourage\u003c/em>? This is what he does now! He plays a \u003cstrong>suit man\u003c/strong> who prioritizes his job until the nanny he hired, who’s home in Memphis for the holidays, convinces him to stop and smell the peanut butter and bacon sandwiches at the famous \u003cstrong>location, location, location\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Priscilla Presley!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Turkey Drop \u003c/strong>\u003c/em>(Freeform, 11/23, 9 pmET)\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/7O2vvd9Ze1s'\n title='//www.youtube.com/embed/7O2vvd9Ze1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I had never heard the phrase “turkey dropped”—meaning “broken up with over the holidays, especially Thanksgiving”—and it seems truly terrible. But here we are, following a woman who fears that she’s about to be dumped thusly and starts trying to avoid it. (There aren’t many \u003cstrong>Thanksgiving \u003c/strong>movies, but here is one for you fans of feasting.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Recipe For Romance \u003c/strong>\u003c/em>(UPTV, 11/24, 7 pmET)\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/NZeHPPJmiIo'\n title='//www.youtube.com/embed/NZeHPPJmiIo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How to save the \u003cstrong>adorable small business \u003c/strong>that is your family-run inn? Win a \u003cstrong>high-stakes competition \u003c/strong>for which you’ll have to \u003cstrong>rush to get ready\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cherished Memories: A Gift to Remember 2 \u003c/strong>\u003c/em>(Hallmark, 11/24, 8 pmET)\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/cf1X4-GFBZE'\n title='//www.youtube.com/embed/cf1X4-GFBZE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, I could explain this movie to you, or I could tell you that the first sentence of the description is “A year after Darcy ran over Aiden, his amnesia is gone but not their love.” (Darcy is also trying to save the rec center, meaning this is also an example of \u003cstrong>saving her hometown\u003c/strong>).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas 9 to 5 \u003c/strong>\u003c/em>(Lifetime, 11/24, 8 pmET)\u003c/p>\n\u003cp>Tiya Sircar (who plays Vicky/”Real Eleanor” on \u003cem>The Good Place\u003c/em>) plays a \u003cstrong>grump journalist\u003c/strong> (she might be more of a hopeful journalist, but it’s not clear) who’s assigned to find the \u003cstrong>true meaning of Christmas\u003c/strong>, so she becomes a sales clerk.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Duet\u003c/strong>\u003c/em> (Hallmark, 11/25, 8 pmET)\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/LbwrJ8puiRI'\n title='//www.youtube.com/embed/LbwrJ8puiRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Averie and Jesse used to be a singing duo until they broke up, but now he, her \u003cstrong>old flame\u003c/strong>, comes to her lodge (a/k/a her \u003cstrong>adorable small business\u003c/strong>) over the holidays, and naturally they may just figure out how to get back together. They are played, we should note, by Chaley Rose and Rome Flynn, black leading actors on a channel that basically never used to have black leading actors but has some this year; Lifetime has significantly more and has for quite a while. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Check Inn to Christmas\u003c/strong>\u003c/em> (Hallmark, 11/26, 8 pmET)\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/U52nc97kGnc'\n title='//www.youtube.com/embed/U52nc97kGnc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her family and his family own rival cozy inns (what could be a more \u003cstrong>adorable small business\u003c/strong>?) and might just fall in love even though they are \u003cstrong>professional competitors\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Richard Karn! \u003cstrong>Horrible pun title\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Very Vintage Christmas\u003c/strong>\u003c/em> (Lifetime, 11/27, 8 pmET)\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/M5iCkgzggbw'\n title='//www.youtube.com/embed/M5iCkgzggbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tia Mowry-Hardrict is in this one about a woman who owns the ultimate \u003cstrong>adorable small business\u003c/strong>: an antique shop. She comes into possession of a box of someone’s old stuff (which cannot really be that uncommon, given that it’s an antique shop) and decides to return it. A man helps her, obviously.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Club \u003c/strong>\u003c/em>(Hallmark, 11/27, 8 pmET)\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/Rya4jG0vDUg'\n title='//www.youtube.com/embed/Rya4jG0vDUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A man and a woman meet when they “help an elderly woman find her lost Christmas savings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Rush \u003c/strong>\u003c/em>(Netflix, 11/28)\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/c2U6diYTnxA'\n title='//www.youtube.com/embed/c2U6diYTnxA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Romany Malco plays a dad who loses his job and has to struggle to make \u003cstrong>the perfect Christmas\u003c/strong> for his kids. \u003cstrong>Beloved celebrity\u003c/strong> Darlene Love is in it—will she sing “Christmas (Baby Please Come Home)”?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Wish \u003c/strong>\u003c/em>(Lifetime, 11/28, 8 pmET)\u003c/p>\n\u003cp>It’s not clear whether this movie about a woman who makes a wish for love really gets the wish via \u003cstrong>actual supernatural forces \u003c/strong>or whether she only \u003cem>thinks \u003c/em>she’s getting the wish when actually she’s not getting the wish but just falling in love the regular way, but I’m throwing it in here anyway.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at the Plaza \u003c/strong>\u003c/em>(Hallmark, 11/28, 8 pmET)\u003c/p>\n\u003cp>Jessica and Nick, who are perhaps named after countless characters from other TV romantic movies, are assigned to collaborate on a project at the Plaza Hotel, a very classy \u003cstrong>location, location, location\u003c/strong>. Features two \u003cstrong>beloved celebrities\u003c/strong>: Julia Duffy and Bruce Davison!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Staging Christmas \u003c/strong>\u003c/em>(Lifetime, 11/29, 8 pmET)\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/2Ar9rTDB9LQ'\n title='//www.youtube.com/embed/2Ar9rTDB9LQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Soleil Moon Frye, known to children of the ’80s as Punky Brewster, is in this one as a woman who stages houses that people are selling. She gets a special assignment from a guy who doesn’t feel prepared to decorate his own house for Christmas but thinks his daughter would enjoy it. And then she teaches everybody the\u003cstrong> true meaning of Christmas\u003c/strong>, probably. (He is not a suit man; he is a sweater man, which is a very different man.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Evergreen: Tidings of Joy \u003c/strong>\u003c/em>(Hallmark, 11/29, 8 pmET)\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/7YYVC_QkZ28'\n title='//www.youtube.com/embed/7YYVC_QkZ28'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The third film in a Hallmark franchise of sorts, this one is about Evergreen’s search for a time capsule and the \u003cstrong>grump journalist\u003c/strong> who comes to town and meets a woman just in time to be charmed by it all and \u003cstrong>help her hometown\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baking Christmas \u003c/strong>\u003c/em>(OWN, 11/29, 9 pmET)\u003c/p>\n\u003cp>The matriarch of a town bakery (the ultimate \u003cstrong>adorable small business\u003c/strong>) decides to retire, leaving her kids to participate in a \u003cstrong>high-stakes competition \u003c/strong>to determine who will take over.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Merry Liddle Christmas \u003c/strong>\u003c/em>(Lifetime, 11/30, 8 pmET)\u003c/p>\n\u003cp>Kelly Rowland stars as a woman who’s obsessed with\u003cstrong> the perfect Christmas\u003c/strong>, only to find that her family is all over the place and driving her crazy. Will she learn that the \u003cstrong>true meaning of Christmas\u003c/strong> is not about Instagram? I bet she will.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Rome \u003c/strong>\u003c/em>(Hallmark, 11/30, 8 pmET)\u003c/p>\n\u003cp>Lacey Chabert, one of our Christmas Movie Queens, plays a woman who shows around an American \u003cstrong>suit man\u003c/strong> who wants to buy a company in Rome, but suffers from \u003cstrong>missing Christmas spirit\u003c/strong> even in this tremendous \u003cstrong>location, location, location\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sense, Sensibility & Snowmen \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/30, 9 pmET)\u003c/p>\n\u003cp>“Christmas enthusiast” \u003cstrong>event planners \u003c/strong>get a client who’s a \u003cstrong>suit man \u003c/strong>and a “not-so-jolly toy company CEO.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Chalet \u003c/strong>\u003c/em>(UPTV, 12/1, 7 pmET)\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/JAdNMdwF_CU'\n title='//www.youtube.com/embed/JAdNMdwF_CU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Christmas chalet is double-booked (almost like being \u003cstrong>snowed in\u003c/strong>!), and the other person staying with a divorced mom and her daughter is a “\u003cstrong>grumpy writer\u003c/strong> who hates Christmas.” (Writer, journalist, you know.) Well, I bet he doesn’t hate Christmas for long. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>You Light Up My Christmas\u003c/strong>\u003c/em> (Lifetime, 12/1, 8 pmET)\u003c/p>\n\u003cp>Kim Fields plays a woman whose hometown was “built around her family’s pioneer Christmas Light Factory.” (Perhaps \u003cstrong>everybody cares too much about Christmas\u003c/strong>?) She needs to \u003cstrong>help her hometown \u003c/strong>and her \u003cstrong>adorable small business\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Town\u003c/strong>\u003c/em> (Hallmark, 12/1, 8 pmET)\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/RBhwO2Yt8xI'\n title='//www.youtube.com/embed/RBhwO2Yt8xI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A career woman discovers that \u003cstrong>this little town is OK\u003c/strong> when she winds up in said little town, where there is Some Dude. Stars Candance Cameron Bure, billed as “Christmas favorite Candace Cameron Bure.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Ghosting: The Spirit of Christmas\u003c/strong>\u003c/em> (Freeform, 12/7 9 pmET)\u003c/p>\n\u003cp>It was probably inevitable that people would begin experimenting with what it would be like if “ghosting” happened because you were actually dead. That’s the premise of this Freeform movie about \u003cstrong>actual supernatural forces\u003c/strong>, in which a woman goes on a great date and then dies, making it difficult for her to return texts and so forth.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Prince: The Royal Baby \u003c/strong>\u003c/em>(Netflix, 12/5)\u003c/p>\n\u003cp>The \u003cstrong>royal family\u003c/strong> franchise that is following the literal “first comes love, then comes marriage, then comes Tiny in the baby carriage” rhyme reaches its third chapter. Is there anything left after this? The Royal Home Equity Loan?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Storybook Christmas\u003c/strong>\u003c/em> (Lifetime, 12/6, 8 pmET)\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/rdl4eyqlaOk'\n title='//www.youtube.com/embed/rdl4eyqlaOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An \u003cstrong>event planner\u003c/strong> hires a nanny for her niece at Christmas and THE NANNY IS A MAN. We are through the looking glass of traditional gender roles.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mistletoe and Menorahs\u003c/strong>\u003c/em> (Lifetime, 12/7, 6 pmET)\u003c/p>\n\u003cp>She has to learn about \u003cstrong>Hanukkah\u003c/strong>! He has to learn about Christmas! They’d better get busy!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Unleashed\u003c/strong>\u003c/em> (Lifetime, 12/7, 8 pmET)\u003c/p>\n\u003cp>An \u003cstrong>old flame\u003c/strong> has to help find Vanessa Lachey’s dog. Well, not Vanessa Lachey. A woman played by Vanessa Lachey. You know what I’m saying.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Love Story \u003c/strong>\u003c/em>(Hallmark [Hall Of Fame], 12/7, 8 pmET)\u003c/p>\n\u003cp>Kristin Chenoweth plays a youth choir director who meets the widowed father (Scott Wolf) of just the beautiful \u003cstrong>moppet \u003c/strong>singer she’s been looking for. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Homecoming For the Holidays \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 12/7, 9 pmET)\u003c/p>\n\u003cp>Actual Broadway performer (and winner of the reality show \u003cem>Grease: You’re The One That I Want!\u003c/em>) Laura Osnes stars as a country singer who helps a guy build a house for a friend. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Paris\u003c/strong>\u003c/em> (UPTV, 12/8, 7 pmET)\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/GSlXzW-sXFs'\n title='//www.youtube.com/embed/GSlXzW-sXFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A rich French guy comes to Montana, whisks a local woman off to Paris for Christmas, and has a secret. \u003cstrong>Location, location, location!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Dollywood \u003c/strong>\u003c/em>(Hallmark, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two people fall in love while\u003cstrong> event planning\u003c/strong>, specifically for the Christmas show at Dollywood. \u003cstrong>There’s probably music \u003c/strong>at this particular \u003cstrong>location, location, location\u003c/strong>. Features \u003cstrong>beloved celebrity \u003c/strong>Dolly Parton!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Grounded For Christmas\u003c/strong>\u003c/em> (Lifetime, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two pilots who don’t get along find their flight \u003cstrong>snowed in \u003c/strong>so they’re stuck in Cleveland. They wind up at her parents’ house, but because her ex is around, he agrees to a scheme where her family can \u003cstrong>meet her fake boyfriend\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Stars \u003c/strong>\u003c/em>(Lifetime, 12/13, 8 pmET)\u003c/p>\n\u003cp>J.T. Hodges and Erica Durance star as aspiring singers working together and maybe falling in love and there’s a \u003cstrong>high-stakes competition \u003c/strong>and \u003cstrong>there’s probably music \u003c/strong>and is this \u003cem>A Star Is Born: Christmas Edition\u003c/em> or what?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Matchmaker Christmas\u003c/strong>\u003c/em> (Lifetime, 12/14, 6 pmET)\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/dnvrP1_9zak'\n title='//www.youtube.com/embed/dnvrP1_9zak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cstrong>old flame\u003c/strong> who shows up around Christmas in this one is named Jaxson. Yyyyikes. I say don’t do it, girl.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Winter Song \u003c/strong>\u003c/em>(Lifetime, 12/14, 8 pmET)\u003c/p>\n\u003cp>Ashanti is in this one, as a woman who meets a former jazz singer named Fred, played by Stan Shaw, who’s now homeless. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Date\u003c/strong>\u003c/em> (Hallmark, 12/14, 8 pmET)\u003c/p>\n\u003cp>Brooke brings an actor home to have her family \u003cstrong>meet her fake boyfriend\u003c/strong> over the holidays, something many many romcom characters have tried. And then she learns he’s Jewish and celebrates \u003cstrong>Hanukkah\u003c/strong>. \u003cstrong>Beloved celebrity \u003c/strong>Bruce Boxleitner!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Snowbound for Christmas \u003c/strong>\u003c/em>(UPTV, 12/15, 7 pmET)\u003c/p>\n\u003cp>This is actually based on a novella that I have read, by the terrific romance writer Shannon Stacey! (It was called \u003cem>Snowbound with the CEO.\u003c/em>) A boss brings his marketing executive to a pitch that will take place at a resort, and they are \u003cstrong>snowed in\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rediscovering Christmas \u003c/strong>\u003c/em>(Lifetime, 12/15, 8 pmET)\u003c/p>\n\u003cp>Mia the big-city window dresser has to come back to \u003cstrong>help her hometown\u003c/strong> to help with the annual Snowflake festival!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Cheerful Christmas\u003c/strong>\u003c/em> (Hallmark, 12/15, 8 pmET)\u003c/p>\n\u003cp>A woman is hired as the “Christmas coach” to restore the \u003cstrong>missing Christmas spirit \u003c/strong>of someone who is somehow both a member of a \u003cstrong>royal family\u003c/strong> and a \u003cstrong>suit man\u003c/strong> at a company.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Temp \u003c/strong>\u003c/em>(Lifetime, 12/20, 8 pmET)\u003c/p>\n\u003cp>There is a “Christmas temp agency” in this movie because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and it has an HR manager for whom the titular Christmas Temp has “feelings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Love Letter \u003c/strong>\u003c/em>(Lifetime, 12/21, 6 pmET)\u003c/p>\n\u003cp>A relationship advice columnist goes back home to figure out who wrote her an anonymous love letter. Information is limited, but based on the promotional photo, I can add \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Hotel \u003c/strong>\u003c/em>(Lifetime, 12/21, 8 pmET)\u003c/p>\n\u003cp>Garland Grove (where this takes place) is all about Christmas 12 months a year, making it the ultimate \u003cstrong>everybody cares too much about Christmas \u003c/strong>situation. Erin (Tatyana Ali) is in charge of developing a new hotel and \u003cstrong>help her hometown\u003c/strong>, so she makes it a Christmas Hotel to please the locals. Her \u003cstrong>old flame \u003c/strong>helps her find her \u003cstrong>missing Christmas spirit\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>It’s Beginning to Look a Lot Like Christmas\u003c/strong>\u003c/em> (Hallmark, 12/21, 8 pmET)\u003c/p>\n\u003cp>No description except a photo of a man in a sweater looking hopefully upward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Wedding Runaway\u003c/strong>\u003c/em> (UPTV, 12/22, 7 pmET)\u003c/p>\n\u003cp>A soon-to-be bride is \u003cstrong>snowed in\u003c/strong> with her Grandma and an \u003cstrong>old flame\u003c/strong>. In the promotional photo, one guy is wearing glasses and a suit and the other guy is scruffy with a flannel shirt, so I’m pretty sure the flannel shirt guy will win, even on UPTV.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Double Holiday\u003c/strong>\u003c/em> (Hallmark, 12/22, 8 pmET)\u003c/p>\n\u003cp>Rebecca, who celebrates \u003cstrong>Hanukkah\u003c/strong>, is thrown together with Chris, who celebrates Christmas, to carry out some \u003cstrong>event planning\u003c/strong> around the office holiday party. Naturally they fall in love, even though they’re \u003cstrong>professional competitors\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Date By Christmas Eve \u003c/strong>\u003c/em>(Lifetime, 12/22, 8 pmET)\u003c/p>\n\u003cp>A woman gets magical powers from the \u003cstrong>actual supernatural forces \u003c/strong>within a dating app and accidentally adds her kindly neighbor to the naughty list, and do not get me started.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baby in a Manger \u003c/strong>\u003c/em>(UPTV, 12/24, 7 pmET)\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/UqM_QMFOHkg'\n title='//www.youtube.com/embed/UqM_QMFOHkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Someone has abandoned a baby in a nativity scene (a little on the nose), so a social worker and a police officer work to find the baby’s mother. I can’t even figure out what they want you to root for!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>New Year, New Me \u003c/strong>\u003c/em>(Hallmark, 12/28, 8 pmET)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "After Comic Garry Shandling's Death, Judd Apatow Found Zen in His Diaries",
"headTitle": "After Comic Garry Shandling’s Death, Judd Apatow Found Zen in His Diaries | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/books/authors/137955750/judd-apatow\">Judd Apatow\u003c/a> was a teenager when he first “met” comic \u003ca href=\"https://www.npr.org/tags/471775543/garry-shandling\">Garry Shandling\u003c/a> in a phone interview for his high school radio show. Years later, their paths intersected again when Shandling, who was hosting the Grammy Awards, hired Apatow to write jokes for him.\u003c/p>\n\u003cfigure id=\"attachment_13869732\" class=\"wp-caption alignright\" style=\"max-width: 176px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_.jpg\" alt=\"'It's Garry Shandling's Book' is edited by Judd Apatow.\" width=\"176\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_.jpg 176w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_-160x198.jpg 160w\" sizes=\"(max-width: 176px) 100vw, 176px\">\u003cfigcaption class=\"wp-caption-text\">‘It’s Garry Shandling’s Book’ is edited by Judd Apatow. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shandling had been Johnny Carson’s guest host on \u003cem>The Tonight Show \u003c/em>before creating and starring in the groundbreaking comedy series\u003cem> It’s Garry Shandling’s Show\u003c/em> and \u003cem>The Larry Sanders Show. \u003c/em>He became Apatow’s mentor and close friend.\u003c/p>\n\u003cp>“He completely changed my life,” Apatow says of Shandling. “He hired me to write for his show. He did a cameo on the pilot of \u003cem>The Ben Stiller Show\u003c/em>, which I thought was part of why we got picked up. He asked me to direct. … It was always mysterious to me why he was so kind to me.”\u003c/p>\n\u003cp>Apatow went on to produce \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12879331\">\u003cem>Superbad \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2012/04/08/150189071/lena-dunhams-girls-still-sex-still-the-city-different-show\">\u003cem>Girls\u003c/em>\u003c/a>, and to direct \u003cem>The 40-Year-Old Virgin\u003c/em> and \u003ca href=\"#v\">\u003cem>Trainwreck\u003c/em>\u003c/a>\u003cem>, \u003c/em>but he always stayed in touch with his mentor. After Shandling’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/03/24/471773637/actor-and-comedian-garry-shandling-dies-at-66\">sudden death\u003c/a> in 2016, Apatow helped sort through his belongings—including boxes of diaries dating back to 1978.\u003c/p>\n\u003cp>Shandling practiced Zen meditation for decades, and many pages of his journals are reminders to himself to stay calm, remain unattached to worldly things and let go of his ego.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I felt like there was so much wisdom in examining Garry’s life,” Apatow says. “Garry was a wounded person. He was a neurotic man. He was a guy constantly attempting to evolve and heal. I felt like there’s so many lessons that people can get from learning about how he lived his life.”\u003c/p>\n\u003cp>Shandling is the subject of Apatow’s new book, \u003cem>It’s Garry Shandling’s Book,\u003c/em> which is a companion to the HBO documentary Apatow made last year, \u003cem>The Zen Diaries of Garry Shandling.\u003c/em>\u003c/p>\n\u003cp>“I saw in the journals that he wrote, ‘Learn to grow old gracefully. Learn to become a mentor gracefully,'” Apatow says. “Now I’m more tuned into the responsibility of doing that. I’m lucky enough to be in a place where I can help people who deserve to be heard from or who deserve breaks. … I definitely try to keep that Garry tradition alive.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=paerP97n4aA\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Shandling’s place in comedy\u003c/strong>\u003c/p>\n\u003cp>Garry always cut his own path. It always felt like Garry was outside of the system in some way. So when he did \u003cem>It’s Garry Shandling’s Show\u003c/em>, there really hadn’t been a show like that, that was so experimental and weird and which made fun of the whole concept of sitcoms. \u003cem>…\u003c/em>\u003c/p>\n\u003cp>And then he did \u003cem>The Larry Sanders Show,\u003c/em> which was a satire of talk shows. It was a behind-the-scenes look at an anxious, neurotic talk-show host, somewhat like Garry. And in it, he tried to explore the way show business and ego prevents people from connecting and loving each other. That was his premise. And in a way, he was trying to use the show to explore his own psyche. And I always thought he was mocking the part of himself that he didn’t like, mocking the person that wanted to be rich and famous and someone who could hold this high position for a long time.\u003c/p>\n\u003cp>He was a unique, original thinker, and in a way, he was almost like an alternative rock band. And he did all this when TV didn’t have much of this. There’s a lot of television like that these days, but back in the ’80s and early ’90s, there wasn’t programming like this.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling’s journals changed his understanding of Shandling \u003c/strong>\u003c/p>\n\u003cp>I was surprised that 30 years of journals mainly contained Garry trying to talk to his positive voice. So they weren’t journals from the point of view of someone who was just trying to spew all their toxic stuff. A lot of us write in journals like that. We just want to get the bad voice out of our head, and that’s not what Garry’s journals were like. They were a voice talking to the panicked, anxious voice. So most of the journals were reminders to try to get out of ego, to try to be more kind and loving, to let go. It’s 30 years of reminders about the type of person that he wants to be. There were some pages where he was complaining about something, but very few, considering that he did it for 30 years.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling’s 13-year-old brother died when Shandling was 10, and his parents didn’t talk to him about the death or let him go to the funeral \u003c/strong>\u003c/p>\n\u003cp>It’s hard to know for sure, but it certainly scarred him in a way that affected him throughout his life. I felt that his search for presence was based on the fact that at a moment in his life when he needed to be told the truth, he wasn’t told the truth. It’s hard to know how accurate all the details are, but what it sounds like was that he was sent away when his brother died, and he was sent to his grandparents, and that they didn’t tell him for a little while, but he basically understood what was happening.\u003c/p>\n\u003cp>And then after his brother died, the family dealt with it by not talking about it, which, I think, for that time period—this is 1960—is something a lot of people did in post-World War II America. They said, “Alright, we’re going to move forward, and how we survive this is: We are going to stuff it down deep and not talk about it.” And so throughout Garry’s life, he was all for being honest and open and vulnerable and present and real—and I think that’s because at the key moment of his childhood, people were not real with him.\u003c/p>\n\u003cp>\u003cstrong>On how Apatow almost turned down a job as a showrunner for \u003c/strong>\u003cem>\u003cstrong>The Larry Sanders Show \u003c/strong>\u003c/em>\u003cstrong>because he didn’t want to ruin his relationship with Shandling \u003c/strong>\u003c/p>\n\u003cp>I always liken it to trying to paint with Picasso—that if you are painting a painting with him, he probably at some point would turn to you and go, “You’re doing it all wrong! What’s with the red?” You would always disappoint him, because the show is so in his mind and it’s so based on his feelings and experience that when you work on something so personal, how could you ever know what he would do, what’s in his heart, how he would behave? …\u003c/p>\n\u003cp>It was painful at times. If you pitched Garry a joke and he hated it, you would feel it. It would hurt you, the whole look of disappointment in Garry’s eyes. … There were very few people that Garry felt like could write the show. So when he said, “Hey, can you do me a favor and co-showrun this last season?” I was terrified, because I loved my relationship with Garry and I didn’t want something to go terribly wrong with it. I said to him, “Garry, I’ll do it. You have to know how hard this is.” I was just honest with him in a way that probably no one ever had been. And I was honest about why he was difficult to work with.\u003c/p>\n\u003cp>\u003cstrong>On Shandling’s perfectionism and growing interest in Zen Buddhism \u003c/strong>\u003c/p>\n\u003cp>He just could not just be chill and make it easy on himself. He wanted everything to be amazing. And in his head, the stakes were incredibly high and that is pure ego, and that’s why he was always trying to remind himself not to have a big ego. It was a battle that continued, and then at some point near the end of his life, he really did let go and spent a lot more time mentoring people. He basically was satisfied with his work, and people would say, “When’s your next show?” And he would say, “Weren’t these two enough?” And he did let go.\u003c/p>\n\u003cp>\u003cstrong>On how professional success didn’t make Shandling happy \u003c/strong>\u003c/p>\n\u003cp>He wrote a lot for \u003cem>The Larry Sanders Show\u003c/em> about how success doesn’t make you happy, and I think for most people that reached certain heights of success or whose dreams come true, they really learn something that a lot of people don’t learn: [which] is that most of what happens when you get to that place is you realize that it doesn’t work, and in some ways, it’s very depressing. …\u003c/p>\n\u003cp>I’ve looked at myself and all of my friends and we’ve all been in on a very long journey in our attempts to be creative, in our attempts to be successful and to get heard and make things. I’ve seen all the different ways that people have handled the ups and downs of their careers, and it is a struggle, because you put so much of your self-esteem in having people like you because you’re doing a good job.\u003c/p>\n\u003cp>I think that Garry felt a lot happier in some moments after he stopped trying to do the work. He was very loving and giving, and if you wrote a script or had a cut of a movie, he was always there, 100 percent of the time, to come and give you notes and be so helpful. And I think that was a happier part of show business for him than being up at midnight rewriting a script for his show.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling wrote about death in his diaries \u003c/strong>\u003c/p>\n\u003cp>He was about to have the surgery that he knew was potentially life-threatening, and in the journals he would say things like, “Death is not a change. Embrace death. It is freedom. Be open, be ready, be joyful to die.” That’s what it said on all the different pages. It was him trying, in a very Buddhist way, to be comfortable during his exit and to not fight it and to not resist and not see it as something different.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and\u003c/em> \u003cem>Patrick Jarenwattananon\u003c/em> \u003cem>adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Comic+Garry+Shandling%27s+Death%2C+Judd+Apatow+Found+Zen+In+His+Diaries+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "\"He completely changed my life,\" Apatow says of his mentor. 'It's Garry Shandling's Book,' which Apatow edited, explores the insecurities and personal trauma that Shandling turned into comedy. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/books/authors/137955750/judd-apatow\">Judd Apatow\u003c/a> was a teenager when he first “met” comic \u003ca href=\"https://www.npr.org/tags/471775543/garry-shandling\">Garry Shandling\u003c/a> in a phone interview for his high school radio show. Years later, their paths intersected again when Shandling, who was hosting the Grammy Awards, hired Apatow to write jokes for him.\u003c/p>\n\u003cfigure id=\"attachment_13869732\" class=\"wp-caption alignright\" style=\"max-width: 176px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_.jpg\" alt=\"'It's Garry Shandling's Book' is edited by Judd Apatow.\" width=\"176\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_.jpg 176w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_-160x198.jpg 160w\" sizes=\"(max-width: 176px) 100vw, 176px\">\u003cfigcaption class=\"wp-caption-text\">‘It’s Garry Shandling’s Book’ is edited by Judd Apatow. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shandling had been Johnny Carson’s guest host on \u003cem>The Tonight Show \u003c/em>before creating and starring in the groundbreaking comedy series\u003cem> It’s Garry Shandling’s Show\u003c/em> and \u003cem>The Larry Sanders Show. \u003c/em>He became Apatow’s mentor and close friend.\u003c/p>\n\u003cp>“He completely changed my life,” Apatow says of Shandling. “He hired me to write for his show. He did a cameo on the pilot of \u003cem>The Ben Stiller Show\u003c/em>, which I thought was part of why we got picked up. He asked me to direct. … It was always mysterious to me why he was so kind to me.”\u003c/p>\n\u003cp>Apatow went on to produce \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12879331\">\u003cem>Superbad \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2012/04/08/150189071/lena-dunhams-girls-still-sex-still-the-city-different-show\">\u003cem>Girls\u003c/em>\u003c/a>, and to direct \u003cem>The 40-Year-Old Virgin\u003c/em> and \u003ca href=\"#v\">\u003cem>Trainwreck\u003c/em>\u003c/a>\u003cem>, \u003c/em>but he always stayed in touch with his mentor. After Shandling’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/03/24/471773637/actor-and-comedian-garry-shandling-dies-at-66\">sudden death\u003c/a> in 2016, Apatow helped sort through his belongings—including boxes of diaries dating back to 1978.\u003c/p>\n\u003cp>Shandling practiced Zen meditation for decades, and many pages of his journals are reminders to himself to stay calm, remain unattached to worldly things and let go of his ego.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I felt like there was so much wisdom in examining Garry’s life,” Apatow says. “Garry was a wounded person. He was a neurotic man. He was a guy constantly attempting to evolve and heal. I felt like there’s so many lessons that people can get from learning about how he lived his life.”\u003c/p>\n\u003cp>Shandling is the subject of Apatow’s new book, \u003cem>It’s Garry Shandling’s Book,\u003c/em> which is a companion to the HBO documentary Apatow made last year, \u003cem>The Zen Diaries of Garry Shandling.\u003c/em>\u003c/p>\n\u003cp>“I saw in the journals that he wrote, ‘Learn to grow old gracefully. Learn to become a mentor gracefully,'” Apatow says. “Now I’m more tuned into the responsibility of doing that. I’m lucky enough to be in a place where I can help people who deserve to be heard from or who deserve breaks. … I definitely try to keep that Garry tradition alive.”\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/paerP97n4aA'\n title='//www.youtube.com/embed/paerP97n4aA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Shandling’s place in comedy\u003c/strong>\u003c/p>\n\u003cp>Garry always cut his own path. It always felt like Garry was outside of the system in some way. So when he did \u003cem>It’s Garry Shandling’s Show\u003c/em>, there really hadn’t been a show like that, that was so experimental and weird and which made fun of the whole concept of sitcoms. \u003cem>…\u003c/em>\u003c/p>\n\u003cp>And then he did \u003cem>The Larry Sanders Show,\u003c/em> which was a satire of talk shows. It was a behind-the-scenes look at an anxious, neurotic talk-show host, somewhat like Garry. And in it, he tried to explore the way show business and ego prevents people from connecting and loving each other. That was his premise. And in a way, he was trying to use the show to explore his own psyche. And I always thought he was mocking the part of himself that he didn’t like, mocking the person that wanted to be rich and famous and someone who could hold this high position for a long time.\u003c/p>\n\u003cp>He was a unique, original thinker, and in a way, he was almost like an alternative rock band. And he did all this when TV didn’t have much of this. There’s a lot of television like that these days, but back in the ’80s and early ’90s, there wasn’t programming like this.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling’s journals changed his understanding of Shandling \u003c/strong>\u003c/p>\n\u003cp>I was surprised that 30 years of journals mainly contained Garry trying to talk to his positive voice. So they weren’t journals from the point of view of someone who was just trying to spew all their toxic stuff. A lot of us write in journals like that. We just want to get the bad voice out of our head, and that’s not what Garry’s journals were like. They were a voice talking to the panicked, anxious voice. So most of the journals were reminders to try to get out of ego, to try to be more kind and loving, to let go. It’s 30 years of reminders about the type of person that he wants to be. There were some pages where he was complaining about something, but very few, considering that he did it for 30 years.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling’s 13-year-old brother died when Shandling was 10, and his parents didn’t talk to him about the death or let him go to the funeral \u003c/strong>\u003c/p>\n\u003cp>It’s hard to know for sure, but it certainly scarred him in a way that affected him throughout his life. I felt that his search for presence was based on the fact that at a moment in his life when he needed to be told the truth, he wasn’t told the truth. It’s hard to know how accurate all the details are, but what it sounds like was that he was sent away when his brother died, and he was sent to his grandparents, and that they didn’t tell him for a little while, but he basically understood what was happening.\u003c/p>\n\u003cp>And then after his brother died, the family dealt with it by not talking about it, which, I think, for that time period—this is 1960—is something a lot of people did in post-World War II America. They said, “Alright, we’re going to move forward, and how we survive this is: We are going to stuff it down deep and not talk about it.” And so throughout Garry’s life, he was all for being honest and open and vulnerable and present and real—and I think that’s because at the key moment of his childhood, people were not real with him.\u003c/p>\n\u003cp>\u003cstrong>On how Apatow almost turned down a job as a showrunner for \u003c/strong>\u003cem>\u003cstrong>The Larry Sanders Show \u003c/strong>\u003c/em>\u003cstrong>because he didn’t want to ruin his relationship with Shandling \u003c/strong>\u003c/p>\n\u003cp>I always liken it to trying to paint with Picasso—that if you are painting a painting with him, he probably at some point would turn to you and go, “You’re doing it all wrong! What’s with the red?” You would always disappoint him, because the show is so in his mind and it’s so based on his feelings and experience that when you work on something so personal, how could you ever know what he would do, what’s in his heart, how he would behave? …\u003c/p>\n\u003cp>It was painful at times. If you pitched Garry a joke and he hated it, you would feel it. It would hurt you, the whole look of disappointment in Garry’s eyes. … There were very few people that Garry felt like could write the show. So when he said, “Hey, can you do me a favor and co-showrun this last season?” I was terrified, because I loved my relationship with Garry and I didn’t want something to go terribly wrong with it. I said to him, “Garry, I’ll do it. You have to know how hard this is.” I was just honest with him in a way that probably no one ever had been. And I was honest about why he was difficult to work with.\u003c/p>\n\u003cp>\u003cstrong>On Shandling’s perfectionism and growing interest in Zen Buddhism \u003c/strong>\u003c/p>\n\u003cp>He just could not just be chill and make it easy on himself. He wanted everything to be amazing. And in his head, the stakes were incredibly high and that is pure ego, and that’s why he was always trying to remind himself not to have a big ego. It was a battle that continued, and then at some point near the end of his life, he really did let go and spent a lot more time mentoring people. He basically was satisfied with his work, and people would say, “When’s your next show?” And he would say, “Weren’t these two enough?” And he did let go.\u003c/p>\n\u003cp>\u003cstrong>On how professional success didn’t make Shandling happy \u003c/strong>\u003c/p>\n\u003cp>He wrote a lot for \u003cem>The Larry Sanders Show\u003c/em> about how success doesn’t make you happy, and I think for most people that reached certain heights of success or whose dreams come true, they really learn something that a lot of people don’t learn: [which] is that most of what happens when you get to that place is you realize that it doesn’t work, and in some ways, it’s very depressing. …\u003c/p>\n\u003cp>I’ve looked at myself and all of my friends and we’ve all been in on a very long journey in our attempts to be creative, in our attempts to be successful and to get heard and make things. I’ve seen all the different ways that people have handled the ups and downs of their careers, and it is a struggle, because you put so much of your self-esteem in having people like you because you’re doing a good job.\u003c/p>\n\u003cp>I think that Garry felt a lot happier in some moments after he stopped trying to do the work. He was very loving and giving, and if you wrote a script or had a cut of a movie, he was always there, 100 percent of the time, to come and give you notes and be so helpful. And I think that was a happier part of show business for him than being up at midnight rewriting a script for his show.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling wrote about death in his diaries \u003c/strong>\u003c/p>\n\u003cp>He was about to have the surgery that he knew was potentially life-threatening, and in the journals he would say things like, “Death is not a change. Embrace death. It is freedom. Be open, be ready, be joyful to die.” That’s what it said on all the different pages. It was him trying, in a very Buddhist way, to be comfortable during his exit and to not fight it and to not resist and not see it as something different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and\u003c/em> \u003cem>Patrick Jarenwattananon\u003c/em> \u003cem>adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Comic+Garry+Shandling%27s+Death%2C+Judd+Apatow+Found+Zen+In+His+Diaries+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the genre-defying British artist FKA twigs was 26, she came out with her debut album. Originally a dancer, twigs paired her experimental, highly-produced sound with artistic choreography and sweeping visuals. At 31, she’s back with her follow-up, \u003cem>Magdalene\u003c/em>.\u003c/p>\n\u003cp>Twigs started working on the album about four years ago, and she brought all that accumulated experience to the table. From the good — starting a \u003ca href=\"https://wwd.com/eye/lifestyle/fka-twigs-pajama-sets-mysticism-11057655/\">clothing line\u003c/a> and starring in an \u003ca href=\"https://www.adweek.com/brand-marketing/spike-jonze-and-fka-twigs-made-a-jaw-dropping-short-film-for-apples-homepod/\">Apple commercial\u003c/a> — to the not so good — a health scare and a high profile relationship that ended in a breakup.\u003c/p>\n\u003cp>“The truth is I’m so grateful to have gone through such intense pain and confusion, emotionally and physically. It’s been beautiful,” she says. “During that time, I’ve really deciphered who I am and what I want.”\u003c/p>\n\u003cp>FKA twigs spoke with NPR’s Audie Cornish about producing her new album, \u003cem>Magdalene\u003c/em>, the influence of her classical training and the embracing double-standards that people set for women. Listen to the story in the audio player above, and read on for a transcript of their conversation.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Audie Cornish: Do you mind me asking about your process?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>FKA twigs:\u003c/strong> I always feel sort of strange talking about my process, because truly each time is completely different. [For “Cellophane”] I went on the mic and pretty much sang the whole thing in one take, and the vocal that’s there is the vocal I did in that hour. It wasn’t altered or anything, that’s just how it was.\u003c/p>\n\u003cp>I think on this album, although it’s taken a long time, I’d say nothing really felt unpleasurably labored to me, even if there were a lot of intricate details that I had to go back to — to refine and perfect. As maybe some songwriters and producers would agree, [sometimes] you’re just trying to so hard that you’re fixing it and breaking it, and fixing it and breaking it until you’re not sure where you are with the music. But luckily on this album, that didn’t really happen.\u003c/p>\n\u003cp>\u003cstrong>Your visual style has always been very dramatic. You’ve always had an incredible sense of style that’s reflective of punk and other influences. I was reading that, growing up, you were obsessed with ballet and operas.\u003c/strong>\u003c/p>\n\u003cp>I started studying classical ballet when I was 7 or 8-years-old, and I think that really turned me on to classical music. Then when I was about 11 or 12, I met a wonderful singing teacher called Dorothy. I would sing in Latin with her. I studied with her until I was 14 or 15.\u003c/p>\n\u003cp>\u003cstrong>I wondered how it informed your songwriting, because your songs, especially on this album, are very vulnerable. I could easily feel the influence of someone who has listened to a lot of fallen heroines; Opera made sense when I heard it. \u003c/strong>\u003c/p>\n\u003cp>It’s interesting that you say fallen heroines, because for me it’s the strongest I’ve ever sounded.\u003c/p>\n\u003cp>\u003cstrong>Really?\u003c/strong>\u003c/p>\n\u003cp>To me, when I listen to the record I really feel it all sort of came together and like “It’s going to be okay.” But that’s the interesting thing about music; I guess it’s not mine anymore. That’s the beautiful thing, it just depends what place the listener is in and what they want to take.\u003c/p>\n\u003cp>\u003cstrong>I think I also want to focus more specifically on physical pain, because you are a dancer and have been a dancer. Your performance and visuals are very physical. I know that when I went through a physical ailment, it really made me reckon with myself and my body. Given that this record is called \u003c/strong>\u003cem>\u003cstrong>Magdalene\u003c/strong>\u003c/em>\u003cstrong>, I guess I wanted to explore \u003c/strong>\u003cem>\u003cstrong>that\u003c/strong>\u003c/em>\u003cstrong> even more than the heartbreak side. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>So the opening of the title song is the idea: “A woman’s prerogative / A woman’s time to embrace / She must put herself first.” I feel like that’s a lesson you learn when you go through something physical in particular. \u003c/strong>\u003c/p>\n\u003cp>I think, for me, it relates to the unpaid and unacknowledged emotional labor that women put into the world on a daily basis. Certainly ever since I was young, I was taught to nurture, and taught to be aware of myself socially, and aware of my emotions and [to] mother.\u003c/p>\n\u003cp>Connecting with Mary Magdalene over the past couple of years, spiritually, I started to explore the concept of the virgin-whore, which is the idea that, as a woman, you can be pure, and you can be innocent, and you can be like a fresh flower — but at the same time, you can be dangerous, and seductive, and all-knowing and healing. It’s been incredibly exciting for me to know that that’s okay and it exists and I am as much sacred as I am sensual.\u003c/p>\n\u003cp>\u003cstrong>And that there’s nothing wrong with either.\u003c/strong>\u003c/p>\n\u003cp>Yeah, that’s the whole point: You don’t have to choose. But I am both, and that is stunning.\u003c/p>\n\u003cp>\u003cstrong>I was reading in a statement that you said “Throughout my life I’ve practiced my way to being the best I could be. It didn’t work this time. I had to tear down every process I’d ever relied on. Go deeper. Rebuild. Start again.” Where are you now, in that process?\u003c/strong>\u003c/p>\n\u003cp>Right now, I’m completely back into practice mode, which is my safe place. I do acknowledge that sometimes that isn’t enough and there’s a realm beyond practice which you can’t control, and that’s what I learned in making \u003cem>Magdalene\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Hiba Ahmed and Christina Cala produced and edited the audio of this interview. Cyrena Touros adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the genre-defying British artist FKA twigs was 26, she came out with her debut album. Originally a dancer, twigs paired her experimental, highly-produced sound with artistic choreography and sweeping visuals. At 31, she’s back with her follow-up, \u003cem>Magdalene\u003c/em>.\u003c/p>\n\u003cp>Twigs started working on the album about four years ago, and she brought all that accumulated experience to the table. From the good — starting a \u003ca href=\"https://wwd.com/eye/lifestyle/fka-twigs-pajama-sets-mysticism-11057655/\">clothing line\u003c/a> and starring in an \u003ca href=\"https://www.adweek.com/brand-marketing/spike-jonze-and-fka-twigs-made-a-jaw-dropping-short-film-for-apples-homepod/\">Apple commercial\u003c/a> — to the not so good — a health scare and a high profile relationship that ended in a breakup.\u003c/p>\n\u003cp>“The truth is I’m so grateful to have gone through such intense pain and confusion, emotionally and physically. It’s been beautiful,” she says. “During that time, I’ve really deciphered who I am and what I want.”\u003c/p>\n\u003cp>FKA twigs spoke with NPR’s Audie Cornish about producing her new album, \u003cem>Magdalene\u003c/em>, the influence of her classical training and the embracing double-standards that people set for women. 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As maybe some songwriters and producers would agree, [sometimes] you’re just trying to so hard that you’re fixing it and breaking it, and fixing it and breaking it until you’re not sure where you are with the music. But luckily on this album, that didn’t really happen.\u003c/p>\n\u003cp>\u003cstrong>Your visual style has always been very dramatic. You’ve always had an incredible sense of style that’s reflective of punk and other influences. I was reading that, growing up, you were obsessed with ballet and operas.\u003c/strong>\u003c/p>\n\u003cp>I started studying classical ballet when I was 7 or 8-years-old, and I think that really turned me on to classical music. Then when I was about 11 or 12, I met a wonderful singing teacher called Dorothy. I would sing in Latin with her. I studied with her until I was 14 or 15.\u003c/p>\n\u003cp>\u003cstrong>I wondered how it informed your songwriting, because your songs, especially on this album, are very vulnerable. 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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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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