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"content": "\u003cp>On a sweltering Saturday in Baltimore, 11,000 bronies have claimed downtown. These are the fans of the TV show \u003cem>My Little Pony: Friendship is Magic\u003c/em>, their name a mashup of “bro” and “pony” because many of the show’s earliest—and unanticipated—adherents were young men.\u003c/p>\n\u003cp>For nine years they’ve evangelized the show, and for nine years they’ve been targets of scorn. But they’ve come here for BronyCon—the biggest \u003cem>My Little Pony \u003c/em>convention in the world—heedless of what that world may think of them.\u003c/p>\n\u003cp>That’s what brought me here, too. I’ve dodged the brony label for years, but I can’t deny my love for the show. It’s helped me out in dark times, and I wasn’t about to pass up my last chance to join fans at BronyCon. Friendship may be magic, but the magic is fading; the show has entered its ninth and final season, and after several years of dwindling attendance, the convention’s organizers decided it was time for a last hurrah.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZcBNxuKZyN4\u003c/p>\n\u003cp>The promise of a final party drew record crowds much as it attracted me. “Honestly, I’m shocked that we got to this point. We were not expecting to have such a banner year,” says current convention chair Shir Goldberg. “We were expecting the fandom to be excited and maybe we would double our attendance from last year, clocking at the seven- or eight-thousand range, but we did not expect 11,000 people to show up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>People of all genders and ages—many colorfully costumed—parade down broad convention center halls. They gather for sprawling fan-illustrated card games, spontaneous singalongs to music from the show, and choreographed dance numbers. Everyone I spoke with waxed reflective, sharing stories of what first hooked them about\u003cem> My Little Pony\u003c/em>. Eliana Summers, BronyCon’s vice chair, says she first approached the show with skepticism, but it won her over with a moment of self-aware comedy. “It’s the same way you watch \u003cem>Toy Stor\u003c/em>y, and even as an adult it’s an incredibly enjoyable film because the humor works with children and adults. \u003cem>Pony \u003c/em>has always been that kind of clever, and that’s why we have about 10,000 people here to celebrate with us.”\u003c/p>\n\u003cfigure id=\"attachment_13864080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg\" alt=\"Many fans identify with the earnest, slightly neurotic Twilight Sparkle.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many fans identify with the earnest, slightly neurotic Twilight Sparkle. \u003ccite>(Discovery Family/Hasbro Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans say they see themselves reflected in the shows’ sensibility, or in a particular character. T.J. Carson, who runs fan websites under the moniker PirateDash, relates to Rainbow Dash—the high-flying athlete. “She’s kind of a sporty, brash person and I’m kind of sporty—and I try not to be so brash.” For the record, the character who always resonated with me was Twilight Sparkle, a bookish nerd who panics when she’s unable to finish a task to her satisfaction and who regularly reports on lessons she has learned about friendship.\u003c/p>\n\u003cp>It’s telling that I’m not alone in this. Daniel Chadborn, a psychologist on a team that has studied the phenomenon for nearly a decade, said fans list Twilight Sparkle as the show’s most likable character. In addition to her neurotic but endearing personality, Twilight Sparkle’s sincere focus on friendship might appeal to viewers who are socially marginalized—and also provide a model of pro-social behavior. \u003ca href=\"https://sites.google.com/view/bronystudyresearch\">According to Chadborn’s study\u003c/a>, bronies are more likely to donate to charity, less likely to accept gender stereotyping, and have five to 10 times higher LGBTQ representation than the average U.S. population. “Bronies tend to show that the No. 1 reason that they like the show is the story and characterizations,” he says. “Very early on there was the phrase ‘what would pony do’,” he added, meaning “how would this character react to this? How should I behave in that matter?”\u003c/p>\n\u003cfigure id=\"attachment_13864087\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg\" alt=\"A man shows off his 'My Little Pony' tattoo during BronyCon 2019. \" width=\"594\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983-160x110.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">A man shows off his ‘My Little Pony’ tattoo during BronyCon 2019. \u003ccite>(ANDREW CABALLERO-REYNOLDS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many people flocked to the fandom because it provides a creative outlet, not to mention a ready market for their artwork. Claire Revell says she has slipped away from \u003cem>My Little Pony \u003c/em>in recent years, but came all the way from England with new pony art for the last BronyCon. “I met a lot of people through it. I met my current boyfriend through it,” she says, “and it’s really quite changed my life, more than I realize.”\u003c/p>\n\u003cp>Revell isn’t the only person who met a life partner through pony fandom. Jayson Thiessen, chief director for many seasons of the show and for \u003cem>My Little Pony: The Movie\u003c/em>, says that’s part of its lasting impact: “People have come together and formed relationships and got married and had kids during the course of the show, because of the show … and we were wondering, how many kids owe their existence to this show? And it’s just kind of amazing.”\u003c/p>\n\u003cp>Children may be the most lasting consequence of the fandom, but show writer M.A. Larson is thinking about what else its legacy may be. “I wonder how the show’s going to live on, and will the new generations get the same lessons out of it,” he says. Many bronies I’ve talked to compare their plight to that of \u003cem>Star Trek \u003c/em>and \u003cem>Doctor Who\u003c/em> fans, who had to persist for years without new content. While Hasbro, the owner of \u003cem>My Little Pony\u003c/em>, will doubtless manufacture equine toys and spinoffs for years, they may never catch fire the way \u003cem>Friendship is Magic\u003c/em> did. So many fans are moving on, even though they’ve come back to the last BronyCon to see old friends and relive some of the old magic.\u003c/p>\n\u003cp>That old magic was heady stuff for me. My hours at BronyCon threw me back to an earlier self, when the show hit me like a bolt from the blue. I was studying at Brigham Young University, returned from a Mormon proselytizing mission cut short by a diagnosis of bipolar disorder. Shattered and lonely, I felt bereft of a life I thought I had figured out: no longer the ambitious student, the unshakable older brother, the model Latter-day Saint. Then came a show about candy-colored ponies learning to accept themselves and each other—one song and smile at a time. I hadn’t watched an episode in years, but BronyCon reminded me how much I needed \u003cem>My Little Pony \u003c/em>back then, and how it strikes a chord in me still. In fact, until I sat down to write this essay I didn’t realize how much of my current life I owe to the show—it even, indirectly, led to me meeting my own wife.\u003c/p>\n\u003cp>So while this year’s BronyCon was the biggest, it was never more bittersweet. As convention chair Shir Goldberg says: “Friendship\u003cem> is \u003c/em>magic, you know. It’s cliché, but the reason the fans stay in the fandom is the people. It’s not for the content or the merch, it’s for all of the people that created that stuff.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino is a producer for NPR and WBUR’s \u003c/em>Here & Now\u003cem>, an obsessive board gamer, and lover of all things magical.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Friends+We+Made+Along+The+Way%3A+After+9+Years%2C+BronyCon+Calls+It+Quits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People of all genders and ages—many colorfully costumed—parade down broad convention center halls. They gather for sprawling fan-illustrated card games, spontaneous singalongs to music from the show, and choreographed dance numbers. Everyone I spoke with waxed reflective, sharing stories of what first hooked them about\u003cem> My Little Pony\u003c/em>. Eliana Summers, BronyCon’s vice chair, says she first approached the show with skepticism, but it won her over with a moment of self-aware comedy. “It’s the same way you watch \u003cem>Toy Stor\u003c/em>y, and even as an adult it’s an incredibly enjoyable film because the humor works with children and adults. \u003cem>Pony \u003c/em>has always been that kind of clever, and that’s why we have about 10,000 people here to celebrate with us.”\u003c/p>\n\u003cfigure id=\"attachment_13864080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864080\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg\" alt=\"Many fans identify with the earnest, slightly neurotic Twilight Sparkle.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/twilightsparkle-69dc0c7d0f198086b944c9f991472823c9659c0e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many fans identify with the earnest, slightly neurotic Twilight Sparkle. \u003ccite>(Discovery Family/Hasbro Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans say they see themselves reflected in the shows’ sensibility, or in a particular character. T.J. Carson, who runs fan websites under the moniker PirateDash, relates to Rainbow Dash—the high-flying athlete. “She’s kind of a sporty, brash person and I’m kind of sporty—and I try not to be so brash.” For the record, the character who always resonated with me was Twilight Sparkle, a bookish nerd who panics when she’s unable to finish a task to her satisfaction and who regularly reports on lessons she has learned about friendship.\u003c/p>\n\u003cp>It’s telling that I’m not alone in this. Daniel Chadborn, a psychologist on a team that has studied the phenomenon for nearly a decade, said fans list Twilight Sparkle as the show’s most likable character. In addition to her neurotic but endearing personality, Twilight Sparkle’s sincere focus on friendship might appeal to viewers who are socially marginalized—and also provide a model of pro-social behavior. \u003ca href=\"https://sites.google.com/view/bronystudyresearch\">According to Chadborn’s study\u003c/a>, bronies are more likely to donate to charity, less likely to accept gender stereotyping, and have five to 10 times higher LGBTQ representation than the average U.S. population. “Bronies tend to show that the No. 1 reason that they like the show is the story and characterizations,” he says. “Very early on there was the phrase ‘what would pony do’,” he added, meaning “how would this character react to this? How should I behave in that matter?”\u003c/p>\n\u003cfigure id=\"attachment_13864087\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg\" alt=\"A man shows off his 'My Little Pony' tattoo during BronyCon 2019. \" width=\"594\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1158945983-160x110.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">A man shows off his ‘My Little Pony’ tattoo during BronyCon 2019. \u003ccite>(ANDREW CABALLERO-REYNOLDS/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many people flocked to the fandom because it provides a creative outlet, not to mention a ready market for their artwork. Claire Revell says she has slipped away from \u003cem>My Little Pony \u003c/em>in recent years, but came all the way from England with new pony art for the last BronyCon. “I met a lot of people through it. I met my current boyfriend through it,” she says, “and it’s really quite changed my life, more than I realize.”\u003c/p>\n\u003cp>Revell isn’t the only person who met a life partner through pony fandom. Jayson Thiessen, chief director for many seasons of the show and for \u003cem>My Little Pony: The Movie\u003c/em>, says that’s part of its lasting impact: “People have come together and formed relationships and got married and had kids during the course of the show, because of the show … and we were wondering, how many kids owe their existence to this show? And it’s just kind of amazing.”\u003c/p>\n\u003cp>Children may be the most lasting consequence of the fandom, but show writer M.A. Larson is thinking about what else its legacy may be. “I wonder how the show’s going to live on, and will the new generations get the same lessons out of it,” he says. Many bronies I’ve talked to compare their plight to that of \u003cem>Star Trek \u003c/em>and \u003cem>Doctor Who\u003c/em> fans, who had to persist for years without new content. While Hasbro, the owner of \u003cem>My Little Pony\u003c/em>, will doubtless manufacture equine toys and spinoffs for years, they may never catch fire the way \u003cem>Friendship is Magic\u003c/em> did. So many fans are moving on, even though they’ve come back to the last BronyCon to see old friends and relive some of the old magic.\u003c/p>\n\u003cp>That old magic was heady stuff for me. My hours at BronyCon threw me back to an earlier self, when the show hit me like a bolt from the blue. I was studying at Brigham Young University, returned from a Mormon proselytizing mission cut short by a diagnosis of bipolar disorder. Shattered and lonely, I felt bereft of a life I thought I had figured out: no longer the ambitious student, the unshakable older brother, the model Latter-day Saint. Then came a show about candy-colored ponies learning to accept themselves and each other—one song and smile at a time. I hadn’t watched an episode in years, but BronyCon reminded me how much I needed \u003cem>My Little Pony \u003c/em>back then, and how it strikes a chord in me still. In fact, until I sat down to write this essay I didn’t realize how much of my current life I owe to the show—it even, indirectly, led to me meeting my own wife.\u003c/p>\n\u003cp>So while this year’s BronyCon was the biggest, it was never more bittersweet. As convention chair Shir Goldberg says: “Friendship\u003cem> is \u003c/em>magic, you know. It’s cliché, but the reason the fans stay in the fandom is the people. It’s not for the content or the merch, it’s for all of the people that created that stuff.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>James Perkins Mastromarino is a producer for NPR and WBUR’s \u003c/em>Here & Now\u003cem>, an obsessive board gamer, and lover of all things magical.\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Friends+We+Made+Along+The+Way%3A+After+9+Years%2C+BronyCon+Calls+It+Quits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Season 3 of 'Legion' Ends With Less Telepathy, More Empathy",
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"content": "\u003cp>\u003cem>\u003cstrong>Warning: This piece discusses events in the series finale of \u003c/strong>\u003c/em>\u003cstrong>Legion\u003c/strong>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When it began, three seasons ago, \u003cem>Legion \u003c/em>was a show about a man who possessed the power of telepathy.\u003c/p>\n\u003cp>By the time it ended last night, \u003cem>Legion \u003c/em>had become a show about the power of empathy.\u003c/p>\n\u003cp>The three-season journey that took not-quite-a-superhero David Haller (Dan Stevens) from reading others’ thoughts to feeling others’ emotions was one that proved wildly discursive, often frustrating, frequently funny and never less than deeply, deeply weird.\u003c/p>\n\u003cp>Even when the narrative stumbled (or, more precisely, languished), \u003cem>Legion \u003c/em>wasn’t the kind of show you could easily tear your eyes away from. Creator Noah Hawley roped off a quiet corner of the Marvel Universe and proceeded to fill the screen with visuals so striking, so surreal and so \u003cem>determinedly \u003c/em>odd that it often took a moment to drink in just what the show was attempting to convey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some critics, especially in the early going, dinged the show’s tendency to indulge in eye-popping spectacle as just that—indulgent. And back in that first season, when David’s storyline seemed set to follow a familiar “hero learns his true nature and masters his powers” arc, those bits of visual flair did call attention to themselves.\u003c/p>\n\u003cp>But gradually, it became clear what Hawley and his team were up to: nudging the standard superhero narrative, which usually operates on an implicit, metaphorical level, over into the show’s explicit, physical reality.\u003c/p>\n\u003cp>Film and television are lousy with psychic characters who demonstrate their powers by scrunching up their faces and holding their arms out rigidly before them. And certainly, \u003cem>Legion\u003c/em>‘s Stevens did his fair share of mutant-miming. But the show took things further, using sound design, makeup, lighting, set design and cinematography to show us—to make us feel—how the world would seem to someone with the power to alter reality itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6zblbNYyv0A\u003c/p>\n\u003cp>Thus, David’s psychological trauma got transmuted into a literal monster living inside him. Delusions were rendered as black, virulent goo-creatures that took up residence in the brain and spread from person to person. In lieu of standard hero-vs.-villain slugfests, conflict took place on the Astral Plane, in the form of trippy musical numbers, dance-offs and/or rap battles.\u003c/p>\n\u003cp>But even when \u003cem>Legion\u003c/em>‘s visual design went to the furthest extremes, producing some of the most unsettling images TV’s produced in recent memory (The Devil With the Yellow Eyes, roomfuls of people standing stock-still in the near dark, chattering their teeth, and this season’s grinning, unstoppable, perpetually-encroaching Time-Eaters) they were all in service of something. It just took a while for the show to understand, or at least to reveal to viewers, what it was really about. It finally did so at the end of its second season, by turning the show’s ostensible hero into its villain, albeit one who vehemently insisted that the damage he was doing was for the greater good.\u003c/p>\n\u003cp>That’s when we learned that while David’s psychic parasite, Amahl Farouk, (Navid Negahban) may be capital-e Evil monster, it was David’s desperate zeal to prove himself a good person that drove him to actions that were \u003cem>truly \u003c/em>monstrous. In the final season, which saw the addition of Lauren Tsai as the time-traveling mutant Switch, that zeal turned to megalomania as he casually disregarded the pain of others in his quest to press a temporal reset button.\u003c/p>\n\u003cp>In the end, that button got pressed, and the world was saved—not by David’s mutant powers, but by the very human thing those powers gained him unique access to: empathy.\u003c/p>\n\u003cp>The last half-hour served up plenty of the kind of thrills other superhero shows dole out all the time, with a sword-wielding Kerry (Amber Midthunder, the show’s not-so-secret weapon) and Syd (Rachel Keller) making a last stand against those creepy Time Eaters. But the climax of David’s storyline was weirder, warmer and—in keeping with the show’s tradition—more abstract, and more satisfying.\u003c/p>\n\u003cp>On the Astral Plane, it was all hugs and tears and hard-won forgiveness as David’s father Charles (Harry Lloyd) apologized for abandoning him. Meanwhile, an older, wiser Farouk showed his younger, evil self all the damage they’d done to David over the years. And it was that act of empathy—of Farouk truly \u003cem>feeling \u003c/em>David’s life as a whole—that defeated the villain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Selfless compassion revealed as the greatest mutant ability? It’s not where I would have bet the series would end up—but then, ever since that one dude showed up with the basket on his head and started speaking through those androgynous androids that looked like Sonny Bono in leotards, I’ve been content to let this show take me wherever it wanted to go.\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=%27Legion%27+Ends+Its+Three-Season-Long+Strange+Trip&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Warning: This piece discusses events in the series finale of \u003c/strong>\u003c/em>\u003cstrong>Legion\u003c/strong>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When it began, three seasons ago, \u003cem>Legion \u003c/em>was a show about a man who possessed the power of telepathy.\u003c/p>\n\u003cp>By the time it ended last night, \u003cem>Legion \u003c/em>had become a show about the power of empathy.\u003c/p>\n\u003cp>The three-season journey that took not-quite-a-superhero David Haller (Dan Stevens) from reading others’ thoughts to feeling others’ emotions was one that proved wildly discursive, often frustrating, frequently funny and never less than deeply, deeply weird.\u003c/p>\n\u003cp>Even when the narrative stumbled (or, more precisely, languished), \u003cem>Legion \u003c/em>wasn’t the kind of show you could easily tear your eyes away from. Creator Noah Hawley roped off a quiet corner of the Marvel Universe and proceeded to fill the screen with visuals so striking, so surreal and so \u003cem>determinedly \u003c/em>odd that it often took a moment to drink in just what the show was attempting to convey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some critics, especially in the early going, dinged the show’s tendency to indulge in eye-popping spectacle as just that—indulgent. And back in that first season, when David’s storyline seemed set to follow a familiar “hero learns his true nature and masters his powers” arc, those bits of visual flair did call attention to themselves.\u003c/p>\n\u003cp>But gradually, it became clear what Hawley and his team were up to: nudging the standard superhero narrative, which usually operates on an implicit, metaphorical level, over into the show’s explicit, physical reality.\u003c/p>\n\u003cp>Film and television are lousy with psychic characters who demonstrate their powers by scrunching up their faces and holding their arms out rigidly before them. And certainly, \u003cem>Legion\u003c/em>‘s Stevens did his fair share of mutant-miming. But the show took things further, using sound design, makeup, lighting, set design and cinematography to show us—to make us feel—how the world would seem to someone with the power to alter reality itself.\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/6zblbNYyv0A'\n title='//www.youtube.com/embed/6zblbNYyv0A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thus, David’s psychological trauma got transmuted into a literal monster living inside him. Delusions were rendered as black, virulent goo-creatures that took up residence in the brain and spread from person to person. In lieu of standard hero-vs.-villain slugfests, conflict took place on the Astral Plane, in the form of trippy musical numbers, dance-offs and/or rap battles.\u003c/p>\n\u003cp>But even when \u003cem>Legion\u003c/em>‘s visual design went to the furthest extremes, producing some of the most unsettling images TV’s produced in recent memory (The Devil With the Yellow Eyes, roomfuls of people standing stock-still in the near dark, chattering their teeth, and this season’s grinning, unstoppable, perpetually-encroaching Time-Eaters) they were all in service of something. It just took a while for the show to understand, or at least to reveal to viewers, what it was really about. It finally did so at the end of its second season, by turning the show’s ostensible hero into its villain, albeit one who vehemently insisted that the damage he was doing was for the greater good.\u003c/p>\n\u003cp>That’s when we learned that while David’s psychic parasite, Amahl Farouk, (Navid Negahban) may be capital-e Evil monster, it was David’s desperate zeal to prove himself a good person that drove him to actions that were \u003cem>truly \u003c/em>monstrous. In the final season, which saw the addition of Lauren Tsai as the time-traveling mutant Switch, that zeal turned to megalomania as he casually disregarded the pain of others in his quest to press a temporal reset button.\u003c/p>\n\u003cp>In the end, that button got pressed, and the world was saved—not by David’s mutant powers, but by the very human thing those powers gained him unique access to: empathy.\u003c/p>\n\u003cp>The last half-hour served up plenty of the kind of thrills other superhero shows dole out all the time, with a sword-wielding Kerry (Amber Midthunder, the show’s not-so-secret weapon) and Syd (Rachel Keller) making a last stand against those creepy Time Eaters. But the climax of David’s storyline was weirder, warmer and—in keeping with the show’s tradition—more abstract, and more satisfying.\u003c/p>\n\u003cp>On the Astral Plane, it was all hugs and tears and hard-won forgiveness as David’s father Charles (Harry Lloyd) apologized for abandoning him. Meanwhile, an older, wiser Farouk showed his younger, evil self all the damage they’d done to David over the years. And it was that act of empathy—of Farouk truly \u003cem>feeling \u003c/em>David’s life as a whole—that defeated the villain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Selfless compassion revealed as the greatest mutant ability? It’s not where I would have bet the series would end up—but then, ever since that one dude showed up with the basket on his head and started speaking through those androgynous androids that looked like Sonny Bono in leotards, I’ve been content to let this show take me wherever it wanted to go.\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=%27Legion%27+Ends+Its+Three-Season-Long+Strange+Trip&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Early in the movie \u003cem>Black Panther\u003c/em>, a black visitor played by Michael B. Jordan confronts a white curator over African artifacts in a fictional British museum.\u003c/p>\n\u003cp>“How do you think your ancestors got these?” the visitor asks. “You think they paid a fair price? Or did they take it—like they took everything else?”\u003c/p>\n\u003cp>The visitor turns out to be the villain of the movie. But a similar (if less ultimately violent) discussion is happening in museums around the world over the volume of African art in their collections. Officials in Germany and \u003ca href=\"https://www.theartnewspaper.com/news/dutch-museums-take-initiative-to-repatriate-colonial-era-artefacts\">The Netherlands\u003c/a> have \u003ca href=\"https://www.cnn.com/2019/05/17/africa/germany-to-return-namibia-art-scli-intl/index.html\">announced plans to return\u003c/a> art and artifacts taken from Africa during the colonial period. And more museum staff are meeting on the topic across Europe.\u003c/p>\n\u003cp>In 2006, France’s Quai Branly museum lent a set of wooden statues and carved furniture to the country of Benin. Originally seized from the region by a French military expedition in 1892, they were housed in a Beninese museum called the Fondation Zinsou.\u003c/p>\n\u003cp>Marie-Cécile Zinsou, founder of the museum, says people lined up for 3 to 4 hours, and that visitors to the exhibition left lots of messages of gratitude in the visitors’ book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But they also wondered: “Why do these objects have to go back in France, exactly?” Zinsou says. “People were really saying, ‘Do you think we could have them back for real, soon?'”\u003c/p>\n\u003cp>According to the most commonly cited figures from a 2007 UNESCO forum, 90% to 95% of sub-Saharan cultural artifacts are housed outside Africa. Many, like the works from Benin, were taken during the colonial period and ended up in museums across Europe and North America.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/09/26/649600217/where-human-zoos-once-stood-a-belgian-museum-now-faces-its-colonial-past\">At the Africa Museum in Belgium\u003c/a>, director Guido Gryseels says 85 percent of the museum’s collection comes from the Congo—the site of Belgium’s former colony in Central Africa.\u003c/p>\n\u003cp>“Some were brought by missionaries,” Gryseels says. “Others were brought by civil servants … also, some were resulting from military expeditions and sometimes even from plundering.”\u003c/p>\n\u003cp>For decades, Congolese leaders have asked for these objects to be returned. Most of their requests, and those by African countries to other museums, have been refused—with some exceptions, particularly for human remains.\u003c/p>\n\u003cp>But recent events in Europe have raised the possibility of repatriations at a much larger scale. In addition to the plans announced in Germany, last year French President Emmanuel Macron commissioned \u003ca href=\"http://restitutionreport2018.com/sarr_savoy_en.pdf\">a study of how much African art French museums are holding\u003c/a> and to make recommendations about what to do with it.\u003c/p>\n\u003cp>Senegalese economist Felwine Sarr is one of the study’s authors. “The problem is you can’t lend people an object that fundamentally belongs to them,” he says.\u003c/p>\n\u003cp>The study recommended the return of a wide range of objects taken during the colonial period by force—or where there’s simply no documentation of consent. The report got mixed reviews in France, where Sarr estimates there are at least 90,000 African items in museums.\u003c/p>\n\u003cp>The vast majority are in just one, the state-owned Quai Branly in Paris. Its director, Stéphane Martin, said in an \u003ca href=\"https://www.europe1.fr/emissions/C-est-arrive-demain/patrick-cohen-avec-michel-wieviorka-stephane-martin-jean-louis-fournier-et-jose-garcia-3807632\">interview with radio station Europe 1\u003c/a> that restitution shouldn’t be a dirty word,but that the report was too drastic: “Museums should not be the hostages of the unhappy history of colonialism,” he said.\u003c/p>\n\u003cp>The wrangling over where art comes from and where it belongs isn’t new. The most famous example is \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=113889188\">Greece’s longstanding dispute\u003c/a> with the British Museum over what the British call the Elgin marbles: sculptures from the Parthenon that have been at the London museum for almost 200 years.\u003c/p>\n\u003cfigure id=\"attachment_13863918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg\" alt=\"A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018. \u003ccite>(Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alexander Herman of the Institute of Art and Law in the U.K. says that in 2002, a group of directors from major international museums issued a general declaration on the topic of restitution. He characterized it as “claiming we shouldn’t just be kowtowing to these claimant countries and giving everything back, and things need to be shared with a world audience, and we’re the best places where this can happen.”\u003c/p>\n\u003cp>That sentiment still lingers, he says—the Elgin marbles are still in the British Museum—but he does think that other fronts may be more open. For his part, Guido Gryseels of the Africa Museum in Belgium acknowledges that attitudes are changing.\u003c/p>\n\u003cp>“We are fully aware that it’s not normal that such a large part of the African cultural heritage is in Europe or in Western museums,” he says.\u003c/p>\n\u003cp>Gryssels says he’s in discussion with his counterpart in the Congo to return works.\u003c/p>\n\u003cp>In France, some press coverage has suggested returns could leave vacant shelves in French museums. Cécile Fromont, a French historian of Central African art, says that’s not going to happen. One way of thinking about it, she says, is that more African art can go on display.\u003c/p>\n\u003cp>“We are talking about hundreds of thousands of objects,” Fromont says. “As somebody who wants to champion the display and study of the expressive art of the African continent, if we can get more objects on view—in more settings, in more museums, in more places around the world—that sounds like a great solution.”\u003c/p>\n\u003cp>For now, those wooden objects from Benin are back at the Quai Branly. With a loan from the French Development Agency, \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__www.france24.com_en_20190716-2Dbenin-2Dreadies-2Dreturn-2Dtreasures-2Dtaken-2Dfrance&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=xbeNc8dbx9Jc1UjCGoBhfLkLI91Xa3ESLCRxFVZJ_LQ&m=X3H645VzoGkTIW4nXMbaJBnjwOC2_iDxXCMTB-kSbUs&s=uLE4rJkQZs67i84TnpsYTN1mQQ8RSiBrcwB7jW4hO1Y&e=\">Benin is constructing a new museum\u003c/a> to receive them, set to open in 2021.\u003c/p>\n\u003cp>In July, the French Minister of Culture Franck Riester said the government was prepared to send them on loan to Benin even sooner. But it will take an act of the French Parliament to release them from the Quai Branly’s collection definitively—and another law to allow for wider, permanent returns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Cole edited this story for broadcast.\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\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Across+Europe%2C+Museums+Rethink+What+To+Do+With+Their+African+Art+Collections&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Attitudes toward returning cultural artifacts, often looted during colonization, are changing. In countries like France, Germany and Belgium, the talk has turned to restitution and repatriation.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in the movie \u003cem>Black Panther\u003c/em>, a black visitor played by Michael B. Jordan confronts a white curator over African artifacts in a fictional British museum.\u003c/p>\n\u003cp>“How do you think your ancestors got these?” the visitor asks. “You think they paid a fair price? Or did they take it—like they took everything else?”\u003c/p>\n\u003cp>The visitor turns out to be the villain of the movie. But a similar (if less ultimately violent) discussion is happening in museums around the world over the volume of African art in their collections. Officials in Germany and \u003ca href=\"https://www.theartnewspaper.com/news/dutch-museums-take-initiative-to-repatriate-colonial-era-artefacts\">The Netherlands\u003c/a> have \u003ca href=\"https://www.cnn.com/2019/05/17/africa/germany-to-return-namibia-art-scli-intl/index.html\">announced plans to return\u003c/a> art and artifacts taken from Africa during the colonial period. And more museum staff are meeting on the topic across Europe.\u003c/p>\n\u003cp>In 2006, France’s Quai Branly museum lent a set of wooden statues and carved furniture to the country of Benin. Originally seized from the region by a French military expedition in 1892, they were housed in a Beninese museum called the Fondation Zinsou.\u003c/p>\n\u003cp>Marie-Cécile Zinsou, founder of the museum, says people lined up for 3 to 4 hours, and that visitors to the exhibition left lots of messages of gratitude in the visitors’ book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But they also wondered: “Why do these objects have to go back in France, exactly?” Zinsou says. “People were really saying, ‘Do you think we could have them back for real, soon?'”\u003c/p>\n\u003cp>According to the most commonly cited figures from a 2007 UNESCO forum, 90% to 95% of sub-Saharan cultural artifacts are housed outside Africa. Many, like the works from Benin, were taken during the colonial period and ended up in museums across Europe and North America.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/09/26/649600217/where-human-zoos-once-stood-a-belgian-museum-now-faces-its-colonial-past\">At the Africa Museum in Belgium\u003c/a>, director Guido Gryseels says 85 percent of the museum’s collection comes from the Congo—the site of Belgium’s former colony in Central Africa.\u003c/p>\n\u003cp>“Some were brought by missionaries,” Gryseels says. “Others were brought by civil servants … also, some were resulting from military expeditions and sometimes even from plundering.”\u003c/p>\n\u003cp>For decades, Congolese leaders have asked for these objects to be returned. Most of their requests, and those by African countries to other museums, have been refused—with some exceptions, particularly for human remains.\u003c/p>\n\u003cp>But recent events in Europe have raised the possibility of repatriations at a much larger scale. In addition to the plans announced in Germany, last year French President Emmanuel Macron commissioned \u003ca href=\"http://restitutionreport2018.com/sarr_savoy_en.pdf\">a study of how much African art French museums are holding\u003c/a> and to make recommendations about what to do with it.\u003c/p>\n\u003cp>Senegalese economist Felwine Sarr is one of the study’s authors. “The problem is you can’t lend people an object that fundamentally belongs to them,” he says.\u003c/p>\n\u003cp>The study recommended the return of a wide range of objects taken during the colonial period by force—or where there’s simply no documentation of consent. The report got mixed reviews in France, where Sarr estimates there are at least 90,000 African items in museums.\u003c/p>\n\u003cp>The vast majority are in just one, the state-owned Quai Branly in Paris. Its director, Stéphane Martin, said in an \u003ca href=\"https://www.europe1.fr/emissions/C-est-arrive-demain/patrick-cohen-avec-michel-wieviorka-stephane-martin-jean-louis-fournier-et-jose-garcia-3807632\">interview with radio station Europe 1\u003c/a> that restitution shouldn’t be a dirty word,but that the report was too drastic: “Museums should not be the hostages of the unhappy history of colonialism,” he said.\u003c/p>\n\u003cp>The wrangling over where art comes from and where it belongs isn’t new. The most famous example is \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=113889188\">Greece’s longstanding dispute\u003c/a> with the British Museum over what the British call the Elgin marbles: sculptures from the Parthenon that have been at the London museum for almost 200 years.\u003c/p>\n\u003cfigure id=\"attachment_13863918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg\" alt=\"A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/elgin_slide-1fd63a026ac1222bb35f4bb78ff77f2f8f5122a9-s1500-c85.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tourist makes his way through classical sculptures from the Parthenon, also known as the Elgin marbles, at the British Museum in 2018. \u003ccite>(Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alexander Herman of the Institute of Art and Law in the U.K. says that in 2002, a group of directors from major international museums issued a general declaration on the topic of restitution. He characterized it as “claiming we shouldn’t just be kowtowing to these claimant countries and giving everything back, and things need to be shared with a world audience, and we’re the best places where this can happen.”\u003c/p>\n\u003cp>That sentiment still lingers, he says—the Elgin marbles are still in the British Museum—but he does think that other fronts may be more open. For his part, Guido Gryseels of the Africa Museum in Belgium acknowledges that attitudes are changing.\u003c/p>\n\u003cp>“We are fully aware that it’s not normal that such a large part of the African cultural heritage is in Europe or in Western museums,” he says.\u003c/p>\n\u003cp>Gryssels says he’s in discussion with his counterpart in the Congo to return works.\u003c/p>\n\u003cp>In France, some press coverage has suggested returns could leave vacant shelves in French museums. Cécile Fromont, a French historian of Central African art, says that’s not going to happen. One way of thinking about it, she says, is that more African art can go on display.\u003c/p>\n\u003cp>“We are talking about hundreds of thousands of objects,” Fromont says. “As somebody who wants to champion the display and study of the expressive art of the African continent, if we can get more objects on view—in more settings, in more museums, in more places around the world—that sounds like a great solution.”\u003c/p>\n\u003cp>For now, those wooden objects from Benin are back at the Quai Branly. With a loan from the French Development Agency, \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__www.france24.com_en_20190716-2Dbenin-2Dreadies-2Dreturn-2Dtreasures-2Dtaken-2Dfrance&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=xbeNc8dbx9Jc1UjCGoBhfLkLI91Xa3ESLCRxFVZJ_LQ&m=X3H645VzoGkTIW4nXMbaJBnjwOC2_iDxXCMTB-kSbUs&s=uLE4rJkQZs67i84TnpsYTN1mQQ8RSiBrcwB7jW4hO1Y&e=\">Benin is constructing a new museum\u003c/a> to receive them, set to open in 2021.\u003c/p>\n\u003cp>In July, the French Minister of Culture Franck Riester said the government was prepared to send them on loan to Benin even sooner. But it will take an act of the French Parliament to release them from the Quai Branly’s collection definitively—and another law to allow for wider, permanent returns.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Cole edited this story for broadcast.\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\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Across+Europe%2C+Museums+Rethink+What+To+Do+With+Their+African+Art+Collections&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Simone Biles Lands Historic Triple-Double at U.S. Gymnastics Championships",
"headTitle": "Simone Biles Lands Historic Triple-Double at U.S. Gymnastics Championships | KQED",
"content": "\u003cp>The first time that Simone Biles performed a triple-double at the U.S. Gymnastics Championships in Kansas City, she wasn’t pleased. After soaring through the air to complete two flips and three full twists on Friday, she stumbled.\u003c/p>\n\u003cp>On Sunday, the 22-year-old did it again—and stuck the landing. It’s the first time a woman has done so in competition.\u003c/p>\n\u003cp>https://twitter.com/NBCSports/status/1160719410576986112?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1160719410576986112&ref_url=https%3A%2F%2Fwww.npr.org%2F2019%2F08%2F12%2F750434716%2Fsimone-biles-lands-historic-triple-double-earns-6th-u-s-all-around-gymnastics-ti\u003c/p>\n\u003cp>The reigning world champion finished the competition on Sunday with the U.S. all-around title. It’s her sixth.\u003c/p>\n\u003cp>Previously the only woman to win six U.S. all-around gold medals was Clara Schroth-Lomady, who won her titles between 1945 and 1952.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2fdp8SVOSF4\u003c/p>\n\u003cp>Biles also made history by performing a double-double dismount—two twists and two somersaults—off the balance beam on Friday.\u003c/p>\n\u003cp>Before competing last week, Biles criticized USA Gymnastics, the national governing body of the sport, for failing to protect its athletes against abuse. \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/16/578300699/gymnastics-doctors-victims-speak-as-simone-biles-says-she-was-also-abused\">Biles revealed in 2018\u003c/a> that she was one of the many gymnasts abused by former national team doctor Larry Nassar.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You had one job. You literally had one job and you couldn’t protect us,” Biles \u003ca href=\"https://www.cnn.com/2019/08/08/us/simone-biles-usa-gymnastics-one-job/index.html\">told reporters\u003c/a> on Wednesday.\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=Simone+Biles+Earns+6th+U.S.+All-Around+Gymnastics+Title+With+Historic+Triple-Double&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The reigning world champion is the first woman to stick the landing after two flips and three full twists. Biles also made history by performing a double-double dismount off the balance beam Friday. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time that Simone Biles performed a triple-double at the U.S. Gymnastics Championships in Kansas City, she wasn’t pleased. After soaring through the air to complete two flips and three full twists on Friday, she stumbled.\u003c/p>\n\u003cp>On Sunday, the 22-year-old did it again—and stuck the landing. It’s the first time a woman has done so in competition.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The reigning world champion finished the competition on Sunday with the U.S. all-around title. It’s her sixth.\u003c/p>\n\u003cp>Previously the only woman to win six U.S. all-around gold medals was Clara Schroth-Lomady, who won her titles between 1945 and 1952.\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/2fdp8SVOSF4'\n title='//www.youtube.com/embed/2fdp8SVOSF4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Biles also made history by performing a double-double dismount—two twists and two somersaults—off the balance beam on Friday.\u003c/p>\n\u003cp>Before competing last week, Biles criticized USA Gymnastics, the national governing body of the sport, for failing to protect its athletes against abuse. \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/16/578300699/gymnastics-doctors-victims-speak-as-simone-biles-says-she-was-also-abused\">Biles revealed in 2018\u003c/a> that she was one of the many gymnasts abused by former national team doctor Larry Nassar.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You had one job. You literally had one job and you couldn’t protect us,” Biles \u003ca href=\"https://www.cnn.com/2019/08/08/us/simone-biles-usa-gymnastics-one-job/index.html\">told reporters\u003c/a> on Wednesday.\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=Simone+Biles+Earns+6th+U.S.+All-Around+Gymnastics+Title+With+Historic+Triple-Double&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The air tingles with prose. Patrons perch atop bar stools, but they aren’t drinking. Individuals congregate together as a group, but they aren’t talking.\u003c/p>\n\u003cp>Paperbacks adorn a table stained by water rings, and tote bags dangle over the backs of chairs. Classic rock is blaring from the speakers, but at this table, silence rings out.\u003c/p>\n\u003cp>A Silent Book Club is meeting.\u003c/p>\n\u003cp>The concept is simple yet revolutionary: Members meet up at a bar, a library, a bookstore or any venue that will host them. Once the bell rings, silent reading time commences. After an hour, the bell rings again.\u003c/p>\n\u003cp>Other than that, there are no rules.\u003c/p>\n\u003cp>Liberated from the orthodoxy of traditional book clubs, participants can bring whatever they’d like to read and chat about anything, before and after the designated reading time.\u003c/p>\n\u003cp>The idea began with two friends reading together at a bar in San Francisco, annoyed by the assigned reading of a demanding book club.\u003c/p>\n\u003cp>“I wished that I had a book club where basically there was no assigned reading but you could just show up, hang out with your friends, talk about what you were reading and then just sort of read your book with no pressure to prepare snacks or vacuum your house or do any of the things that normal, traditional book club hosting entails,” says Guinevere de la Mare, who co-founded the organization with Laura Gluhanich in 2012.\u003c/p>\n\u003cp>“And Laura was like, ‘That sounds amazing. Let’s do it.’ And so we did.”\u003c/p>\n\u003cp>Today, \u003ca href=\"https://silentbook.club/blogs/events\">Silent Book Club has over 70 chapters\u003c/a> for what de la Mare calls Introvert Happy Hour. Locations dot the globe, with congregants meeting monthly in Pakistan, Hong Kong, the Netherlands and many other cities and countries.\u003c/p>\n\u003cp>https://www.instagram.com/p/BL-XTfgj_To/?utm_source=ig_web_button_share_sheet\u003c/p>\n\u003cp>The founders help interested individuals create new chapters by offering logistical assistance and social media suggestions. From there, de la Mare says, she lets each group do as it pleases, with the goal of creating spaces “where people can connect with like-minded individuals, even if all that they have in common is a love of reading.”\u003c/p>\n\u003cp>Many clubs share book recommendations, or members go around in a circle to talk about what they’re reading. Others exchange scholasticism for schmoozing, order drinks and become part of the barroom din that once pierced their silent reading time.\u003c/p>\n\u003cp>“Some people choose to talk about their book. Some people choose to talk about how they felt about the experience. Some people don’t talk at all,” says Ana Maria Panait, who started a chapter in Johannesburg, South Africa.\u003c/p>\n\u003cp>The space is especially attractive to introverts who might have trouble energizing themselves to socialize and meet up with new people.\u003c/p>\n\u003cp>The designated silent time and built-in conversation topic make for a safe space in which introverted individuals can feel comfortable.\u003c/p>\n\u003cp>“It just relieves this ton of pressure around that horrible awkward small talk which I think is a big hurdle to a lot of people who don’t want to go to parties,” de la Mare says.\u003c/p>\n\u003cp>Mandy Shunnarah began her own chapter in Columbus, Ohio, which averages between 25 and 50 attendees each month.\u003c/p>\n\u003cp>“I would say that I’m an introvert who’s really good at pretending to be an extrovert for small amounts of time,” she says. “What I like about Silent Book Club is you get the community of a book club but without the homework. So there’s less pressure to contribute to one single conversation or to make insightful comments about one particular book. I think it’s more of a low-pressure social situation.”\u003c/p>\n\u003cp>As chapters continue to pop up, silent bibliophiles are carving out spaces for introverts to find joy, comfort and camaraderie.\u003c/p>\n\u003cp>Socializing might not come naturally to all participants, but with books in tow, what follows is often organic.\u003c/p>\n\u003cp>Says Shunnarah: “We stay until the library kicks us out.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Josh Axelrod is a New Orleans-based journalist. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The air tingles with prose. Patrons perch atop bar stools, but they aren’t drinking. Individuals congregate together as a group, but they aren’t talking.\u003c/p>\n\u003cp>Paperbacks adorn a table stained by water rings, and tote bags dangle over the backs of chairs. Classic rock is blaring from the speakers, but at this table, silence rings out.\u003c/p>\n\u003cp>A Silent Book Club is meeting.\u003c/p>\n\u003cp>The concept is simple yet revolutionary: Members meet up at a bar, a library, a bookstore or any venue that will host them. Once the bell rings, silent reading time commences. After an hour, the bell rings again.\u003c/p>\n\u003cp>Other than that, there are no rules.\u003c/p>\n\u003cp>Liberated from the orthodoxy of traditional book clubs, participants can bring whatever they’d like to read and chat about anything, before and after the designated reading time.\u003c/p>\n\u003cp>The idea began with two friends reading together at a bar in San Francisco, annoyed by the assigned reading of a demanding book club.\u003c/p>\n\u003cp>“I wished that I had a book club where basically there was no assigned reading but you could just show up, hang out with your friends, talk about what you were reading and then just sort of read your book with no pressure to prepare snacks or vacuum your house or do any of the things that normal, traditional book club hosting entails,” says Guinevere de la Mare, who co-founded the organization with Laura Gluhanich in 2012.\u003c/p>\n\u003cp>“And Laura was like, ‘That sounds amazing. Let’s do it.’ And so we did.”\u003c/p>\n\u003cp>Today, \u003ca href=\"https://silentbook.club/blogs/events\">Silent Book Club has over 70 chapters\u003c/a> for what de la Mare calls Introvert Happy Hour. Locations dot the globe, with congregants meeting monthly in Pakistan, Hong Kong, the Netherlands and many other cities and countries.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The founders help interested individuals create new chapters by offering logistical assistance and social media suggestions. From there, de la Mare says, she lets each group do as it pleases, with the goal of creating spaces “where people can connect with like-minded individuals, even if all that they have in common is a love of reading.”\u003c/p>\n\u003cp>Many clubs share book recommendations, or members go around in a circle to talk about what they’re reading. Others exchange scholasticism for schmoozing, order drinks and become part of the barroom din that once pierced their silent reading time.\u003c/p>\n\u003cp>“Some people choose to talk about their book. Some people choose to talk about how they felt about the experience. Some people don’t talk at all,” says Ana Maria Panait, who started a chapter in Johannesburg, South Africa.\u003c/p>\n\u003cp>The space is especially attractive to introverts who might have trouble energizing themselves to socialize and meet up with new people.\u003c/p>\n\u003cp>The designated silent time and built-in conversation topic make for a safe space in which introverted individuals can feel comfortable.\u003c/p>\n\u003cp>“It just relieves this ton of pressure around that horrible awkward small talk which I think is a big hurdle to a lot of people who don’t want to go to parties,” de la Mare says.\u003c/p>\n\u003cp>Mandy Shunnarah began her own chapter in Columbus, Ohio, which averages between 25 and 50 attendees each month.\u003c/p>\n\u003cp>“I would say that I’m an introvert who’s really good at pretending to be an extrovert for small amounts of time,” she says. “What I like about Silent Book Club is you get the community of a book club but without the homework. So there’s less pressure to contribute to one single conversation or to make insightful comments about one particular book. I think it’s more of a low-pressure social situation.”\u003c/p>\n\u003cp>As chapters continue to pop up, silent bibliophiles are carving out spaces for introverts to find joy, comfort and camaraderie.\u003c/p>\n\u003cp>Socializing might not come naturally to all participants, but with books in tow, what follows is often organic.\u003c/p>\n\u003cp>Says Shunnarah: “We stay until the library kicks us out.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Josh Axelrod is a New Orleans-based journalist. His work has appeared on CNN and in \u003c/em>The Jerusalem Post\u003cem> and \u003c/em>The New Orleans Advocate\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>After the Wedding\u003c/em> is a movie full of transformative secrets.\u003c/p>\n\u003cp>It’s a gender-swapped remake of a 2006 Danish film, and when we first meet the main character—Isabel, played by Michelle Williams—she’s living a modest, humble life running an orphanage in India. Then one day she’s asked to go to New York City to clinch a deal for a life-changing donation to the orphanage. The money would come from a media mogul, Theresa, played by Julianne Moore.\u003c/p>\n\u003cp>That transaction lands Isabel in a world of wealth and power tied too closely to her past—when she was a very different person.\u003c/p>\n\u003cp>“I thought of her as somebody who used to burn very hot, and whose fire had to be extinguished,” Williams says in an interview. “And that only a place like India, with all of its sights and smells and sounds, can calm a person like this.”\u003c/p>\n\u003cp>Michelle Williams spoke with NPR about her role in \u003cem>After the Wedding\u003c/em>, the effect of pay inequality on her own career and filming in India.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a place that I’ve been drawn to for its religious heritage, its fervor, the way that it overwhelms your senses,” Williams says. “But what was most unusual about it was shooting in a Third World country. I don’t think that I’ve ever shot a film in those circumstances. And the sentiment that I was left with, when we departed India, was: It’s such a luxury to have problems. And it was one of the things that I wanted to address in making this film, was to play someone whose tolerance for petty grievances or opulent displays of wealth was shattered because of the life she had lived for the last two decades.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RJ4QxPjU2Lk\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character Isabel, who is visibly uncomfortable with wealth\u003c/strong>\u003c/p>\n\u003cp>She was a New Yorker, and she had a life in New York, and she fled it — and she recreated herself in India as somebody whose life was devoted to making other people’s lives better. And whether that’s selfish or selfless, up to you. But as a New Yorker, I think a lot about how these economic situations abut each other, and about what my family’s response is to that, what my daughter and I talk about as it relates to that. And so it was something that I wanted to put on screen and hopefully send out to a larger conversation. How do we see what we see … how does that change how we live? …\u003c/p>\n\u003cp>What my character finds herself in is a situation with a woman who thinks that there’s a price on people, and that what she’s offering will appeal to my character—that isn’t it what everyone wants, money and power? And what my character is saying by resisting the offer is that more than anything, she wants freedom and autonomy and to live a life of her own making. But the ultimate question comes toward the end, when what she’s made to realize is that this money that’s being dangled in front of her will affect other peoples’ lives.\u003c/p>\n\u003cp>\u003cstrong>On the aftermath of the \u003c/strong>\u003ca href=\"https://www.npr.org/2018/01/10/577163183/how-a-massive-pay-gap-occurred-in-the-all-the-money-in-the-world-reshoot\">\u003cstrong>All the Money in the World\u003c/strong> \u003cstrong>controversy\u003c/strong>\u003c/a>\u003cstrong>, where she received a tiny fraction of the money her male co-star was paid\u003c/strong>\u003c/p>\n\u003cp>It is a sort of private humiliation that became the greatest public platform of my life—much more so than talking about my film and stage work. Because, as I said in a speech on Capitol Hill: If it’s like this for me, how bad is it for other women? And I have started to see a shift, certainly in the way that people treat me—and from what I hear from women coming up to me, that my example has been really useful for them. …\u003c/p>\n\u003cp>It has changed the way that I try and think about money—because it’s tied into our self-worth. And I didn’t really think to ask for it because I didn’t think to value myself in that kind of way. And when I started to think about what would I use money for if I had it, and I started to think about freedom of choice or freedom of time, then I started to be able to open myself up to the idea that I could put a value on myself, and ask for it in my workplace.\u003c/p>\n\u003cp>\u003cstrong>On what she’s said to her daughter about the experience\u003c/strong>\u003c/p>\n\u003cp>Well, what’s so great with single parenting is that you live in extreme intimacy with each another. So everything that I go through, she’s very well aware of it. And for the better, really—so, she was along for the ride of all of this in the last couple of years, in terms of this issue of fair pay. So she’s seen me struggle, and then she’s seen this almost fairy-tale happy ending, which is the job that I most recently finished—a TV series called \u003cem>Fosse/Verdon\u003c/em>. I was paid the same as my male co-star [Sam Rockwell]. …\u003c/p>\n\u003cp>And unfortunately, that’s really the only way to move forward, is that it has to start at the top. And that’s what I experienced when I did this TV show with FX, was: They wanted to make the workplace fair. They wanted me to feel valued. So, what it means we talk about when supporting women—it doesn’t just mean holding our hands. It means supporting us economically.\u003c/p>\n\u003cp>\u003cstrong>On if roles for women are improving \u003c/strong>\u003c/p>\n\u003cp>I can say for me personally, my opportunities have gotten better and better. I’m more and more excited about the kind of work that I’m allowed to do—and that periods where I’m not working or not getting the kind of parts that I want to play, I can work on myself in those times. I can fill myself up in other ways so I’m ready and prepared when the role that I’ve been dreaming of does come my way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Cindy Johnston 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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michelle+Williams+On+Economic+Inequality+In+Her+New+Movie+%E2%80%94+And+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "In her new movie, Williams plays the head of an orphanage who is uncomfortable around wealth. In her own life, she's dealt with a controversy where she was paid much less than a male co-star.",
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"title": "Michelle Williams On Equal Pay, 'After the Wedding' and Being a Single Mom | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>After the Wedding\u003c/em> is a movie full of transformative secrets.\u003c/p>\n\u003cp>It’s a gender-swapped remake of a 2006 Danish film, and when we first meet the main character—Isabel, played by Michelle Williams—she’s living a modest, humble life running an orphanage in India. Then one day she’s asked to go to New York City to clinch a deal for a life-changing donation to the orphanage. The money would come from a media mogul, Theresa, played by Julianne Moore.\u003c/p>\n\u003cp>That transaction lands Isabel in a world of wealth and power tied too closely to her past—when she was a very different person.\u003c/p>\n\u003cp>“I thought of her as somebody who used to burn very hot, and whose fire had to be extinguished,” Williams says in an interview. “And that only a place like India, with all of its sights and smells and sounds, can calm a person like this.”\u003c/p>\n\u003cp>Michelle Williams spoke with NPR about her role in \u003cem>After the Wedding\u003c/em>, the effect of pay inequality on her own career and filming in India.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a place that I’ve been drawn to for its religious heritage, its fervor, the way that it overwhelms your senses,” Williams says. “But what was most unusual about it was shooting in a Third World country. I don’t think that I’ve ever shot a film in those circumstances. And the sentiment that I was left with, when we departed India, was: It’s such a luxury to have problems. And it was one of the things that I wanted to address in making this film, was to play someone whose tolerance for petty grievances or opulent displays of wealth was shattered because of the life she had lived for the last two decades.”\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/RJ4QxPjU2Lk'\n title='//www.youtube.com/embed/RJ4QxPjU2Lk'\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 her character Isabel, who is visibly uncomfortable with wealth\u003c/strong>\u003c/p>\n\u003cp>She was a New Yorker, and she had a life in New York, and she fled it — and she recreated herself in India as somebody whose life was devoted to making other people’s lives better. And whether that’s selfish or selfless, up to you. But as a New Yorker, I think a lot about how these economic situations abut each other, and about what my family’s response is to that, what my daughter and I talk about as it relates to that. And so it was something that I wanted to put on screen and hopefully send out to a larger conversation. How do we see what we see … how does that change how we live? …\u003c/p>\n\u003cp>What my character finds herself in is a situation with a woman who thinks that there’s a price on people, and that what she’s offering will appeal to my character—that isn’t it what everyone wants, money and power? And what my character is saying by resisting the offer is that more than anything, she wants freedom and autonomy and to live a life of her own making. But the ultimate question comes toward the end, when what she’s made to realize is that this money that’s being dangled in front of her will affect other peoples’ lives.\u003c/p>\n\u003cp>\u003cstrong>On the aftermath of the \u003c/strong>\u003ca href=\"https://www.npr.org/2018/01/10/577163183/how-a-massive-pay-gap-occurred-in-the-all-the-money-in-the-world-reshoot\">\u003cstrong>All the Money in the World\u003c/strong> \u003cstrong>controversy\u003c/strong>\u003c/a>\u003cstrong>, where she received a tiny fraction of the money her male co-star was paid\u003c/strong>\u003c/p>\n\u003cp>It is a sort of private humiliation that became the greatest public platform of my life—much more so than talking about my film and stage work. Because, as I said in a speech on Capitol Hill: If it’s like this for me, how bad is it for other women? And I have started to see a shift, certainly in the way that people treat me—and from what I hear from women coming up to me, that my example has been really useful for them. …\u003c/p>\n\u003cp>It has changed the way that I try and think about money—because it’s tied into our self-worth. And I didn’t really think to ask for it because I didn’t think to value myself in that kind of way. And when I started to think about what would I use money for if I had it, and I started to think about freedom of choice or freedom of time, then I started to be able to open myself up to the idea that I could put a value on myself, and ask for it in my workplace.\u003c/p>\n\u003cp>\u003cstrong>On what she’s said to her daughter about the experience\u003c/strong>\u003c/p>\n\u003cp>Well, what’s so great with single parenting is that you live in extreme intimacy with each another. So everything that I go through, she’s very well aware of it. And for the better, really—so, she was along for the ride of all of this in the last couple of years, in terms of this issue of fair pay. So she’s seen me struggle, and then she’s seen this almost fairy-tale happy ending, which is the job that I most recently finished—a TV series called \u003cem>Fosse/Verdon\u003c/em>. I was paid the same as my male co-star [Sam Rockwell]. …\u003c/p>\n\u003cp>And unfortunately, that’s really the only way to move forward, is that it has to start at the top. And that’s what I experienced when I did this TV show with FX, was: They wanted to make the workplace fair. They wanted me to feel valued. So, what it means we talk about when supporting women—it doesn’t just mean holding our hands. It means supporting us economically.\u003c/p>\n\u003cp>\u003cstrong>On if roles for women are improving \u003c/strong>\u003c/p>\n\u003cp>I can say for me personally, my opportunities have gotten better and better. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Cindy Johnston 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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michelle+Williams+On+Economic+Inequality+In+Her+New+Movie+%E2%80%94+And+Her+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Jaws' Shark Gets His Bite Back: A Love Story",
"headTitle": "‘Jaws’ Shark Gets His Bite Back: A Love Story | KQED",
"content": "\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The last replica shark from the 1975 classic blockbuster, 'Jaws', has gotten a facelift on his way to a new museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'When I Was White' Centers on the Formation of Race, Identity and Self",
"headTitle": "‘When I Was White’ Centers on the Formation of Race, Identity and Self | KQED",
"content": "\u003cp>When one thinks of American blackness, there is the unsaid ugly truth that nearly all American blacks who have descended from the historical African diaspora in America have one (or several) rapacious white slave owners in their family tree at some point.\u003c/p>\n\u003cp>Here, in the early days of the United States, was the invention of racism for economic necessity. From 1619 until 1865, white male Americans chose to breed a black enslaved workforce through the state-sanctioned rape of black women to build the new nation and support their white supremacist class. Race became the single unifying identifier—determining everything about one’s life starting with this most basic division: enslaved or free.\u003c/p>\n\u003cp>The American law was that the “condition of the child followed that of the mother,” backed up by the “one drop rule,” the legal framework that dictated even one drop of blackness made an individual black, never white. The idea of blackness as a pollutant, a taint that would erode the purity of whiteness, was seized by politicians around the world then—and now.\u003c/p>\n\u003cp>Because of this legacy of sexual violence and anti-blackness, black and white mixed individuals have long been considered black in America.\u003c/p>\n\u003cp>To a much larger degree than many people would like to admit, race still determines a vast part of one’s life—social networks and mobility, birth and other medical care, employment opportunities and so on. Indeed, there is an entire genre of literature and film, popularized in the late 18th and early 19th centuries, composed of blacks “passing” for white to avoid this racism. Some of the most famous examples are Nella Larsen’s 1929 novel, \u003cem>Passing; \u003c/em>James Weldon Johnson’s 1912 opus, \u003cem>The Autobiography of an Ex-Colored Man; \u003c/em>and the 1959 film \u003cem>The Imitation of Life\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sarah Valentine, the author of the memoir \u003cem>When I Was White,\u003c/em> did not choose to pass for white; her mother made the choice for her. So Valentine was raised as white by white parents in white middle-class communities—only to discover as a young woman that her biological father was actually black. As Valentine endeavors to explore what her new identity means to her, she searches for ways to connect to her blackness. For Valentine, learning that she is black is to reject whiteness; she cannot comprehend how the privileges of whiteness can be held hand in hand with the racism the black body is subject to.\u003c/p>\n\u003cp>Valentine has good reason to feel this way; her space of “passing” for white puts her in situations where, because they assume she is one of their own, she hears the racist things white people say when there are no black people around—starting with her own family. Valentine’s pain when her mother refuses to let her attend a school dance because her date is black, dismisses black people as lazy welfare spongers who live in the ghetto or bans Valentine from watching TV shows with black people is palpable.\u003c/p>\n\u003cp>Because of her white mother’s ongoing racism throughout her childhood, Valentine’s first understanding of blackness is as other—as negative, dangerous and wrong. “I got the message that black was undesirable,” Valentine writes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863402 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85.jpg\" alt=\"\" width=\"388\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85-160x247.jpg 160w\" sizes=\"(max-width: 388px) 100vw, 388px\">At the center of \u003cem>When I Was White\u003c/em> is this immensely complicated relationship between Valentine and her mother. As Valentine seeks to learn more about her biological father, her mother will only say: “Your father was a black man who raped me in college.” Valentine tries to reckon with this, seeking more information from her mother—and in the aftermath of her mother’s ever changing narrative of Valentine’s conception and constant refusals to answer Valentine’s questions, she seeks answers from her mother’s college friends as well. Valentine, torn between respecting her mother’s trauma and wanting to connect with her biological father, struggles to come to terms with the many layers of the situation, navigating the line between the importance of believing women’s accounts of rape and the awareness of the history of white women’s false rape accusations against black men as an excuse for lynching and other racial violence throughout American history.\u003c/p>\n\u003cp>Valentine is at her best when we see her sift through this history, creating well-crafted scenes that resonate with depth and emotional weight in a commitment to get to the truth—even if it paints her in a negative light. She reveals that everyone suspected she had black heritage—friends, teachers, even she herself—but to prevent jeopardizing her family dynamic, no one spoke of it. Scared, the young Valentine had also remained silent.\u003c/p>\n\u003cp>“I worried that acknowledging I was black and had a different father than the one I grew up with could shatter the unity of the family my parents had worked so hard to create,” Valentine writes. Indeed, after taking a DNA test and finding out they are not biologically related, the man Valentine knew as her father moved out of the home he shared with Valentine’s mother and into an apartment of his own 300 miles away.\u003c/p>\n\u003cp>Black and white biraciality in this country has long been understood as a type of blackness, and the presence of biracial individuals within blackness has added to the power of the black cultural block. Without biracial being considered black, for example, America would not yet have had its first black president.\u003c/p>\n\u003cp>But why, then, is biracial not also a type of white? If you look past the racist origins of the “one drop rule,” what happens to our thinking of racial duality?\u003c/p>\n\u003cp>One wonders: Why is this mutually exclusive? Why must Valentine choose either black or white? One wonders, too: If the author was Latina and black or Asian and black, would discovering her blackness mean losing her Latinx or Asian identity? We are beyond black and white, beyond the “one drop rule,” in American society. So, should our understanding of multiracial identity evolve too? Can it evolve?\u003c/p>\n\u003cp>Or is the history and continued presence of white supremacy in our culture so virulent that whiteness cannot be held in the same conversation as other multiracial identities?\u003c/p>\n\u003cp>These and other questions are tackled in \u003cem>When I Was White. \u003c/em>But in a larger sense, Valentine’s memoir documents an experience any black individual in the U.S. has had: From birth you have seen yourself as a normal human being, worthy of just as much respect and personhood as anyone in America. But then, upon that first pivotal experience with racism, you realize that in this society, because of your skin, you are seen as \u003cem>other;\u003c/em> because of your skin you are seen as \u003cem>less than \u003c/em>and treated accordingly—and always with the threat of violence against your body ready to rise.\u003c/p>\n\u003cp>As the United States continues to become more brown and black and less white—resulting in a xenophobic backlash against brown and black Americans and a nostalgia by some for white European immigrants—the ideas in \u003cem>When I Was White \u003c/em>become even more necessary. Here, quite simply, is a masterful explication on the formation of self and identity—of learning to trust yourself instead of the lies other people, no matter how close, tell you about who you are.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hope Wabuke is a Ugandan-American poet, essayist and writer. She is a contributing editor for The Root and has written for \u003c/em>The Guardian, The Sun, Creative Nonfiction Magazine, The Daily Beast\u003cem> and \u003c/em>Salon,\u003cem> among others. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+I+Was+White%27+Centers+On+The+Formation+Of+Race%2C+Identity+And+Self+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When one thinks of American blackness, there is the unsaid ugly truth that nearly all American blacks who have descended from the historical African diaspora in America have one (or several) rapacious white slave owners in their family tree at some point.\u003c/p>\n\u003cp>Here, in the early days of the United States, was the invention of racism for economic necessity. From 1619 until 1865, white male Americans chose to breed a black enslaved workforce through the state-sanctioned rape of black women to build the new nation and support their white supremacist class. Race became the single unifying identifier—determining everything about one’s life starting with this most basic division: enslaved or free.\u003c/p>\n\u003cp>The American law was that the “condition of the child followed that of the mother,” backed up by the “one drop rule,” the legal framework that dictated even one drop of blackness made an individual black, never white. The idea of blackness as a pollutant, a taint that would erode the purity of whiteness, was seized by politicians around the world then—and now.\u003c/p>\n\u003cp>Because of this legacy of sexual violence and anti-blackness, black and white mixed individuals have long been considered black in America.\u003c/p>\n\u003cp>To a much larger degree than many people would like to admit, race still determines a vast part of one’s life—social networks and mobility, birth and other medical care, employment opportunities and so on. Indeed, there is an entire genre of literature and film, popularized in the late 18th and early 19th centuries, composed of blacks “passing” for white to avoid this racism. Some of the most famous examples are Nella Larsen’s 1929 novel, \u003cem>Passing; \u003c/em>James Weldon Johnson’s 1912 opus, \u003cem>The Autobiography of an Ex-Colored Man; \u003c/em>and the 1959 film \u003cem>The Imitation of Life\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sarah Valentine, the author of the memoir \u003cem>When I Was White,\u003c/em> did not choose to pass for white; her mother made the choice for her. So Valentine was raised as white by white parents in white middle-class communities—only to discover as a young woman that her biological father was actually black. As Valentine endeavors to explore what her new identity means to her, she searches for ways to connect to her blackness. For Valentine, learning that she is black is to reject whiteness; she cannot comprehend how the privileges of whiteness can be held hand in hand with the racism the black body is subject to.\u003c/p>\n\u003cp>Valentine has good reason to feel this way; her space of “passing” for white puts her in situations where, because they assume she is one of their own, she hears the racist things white people say when there are no black people around—starting with her own family. Valentine’s pain when her mother refuses to let her attend a school dance because her date is black, dismisses black people as lazy welfare spongers who live in the ghetto or bans Valentine from watching TV shows with black people is palpable.\u003c/p>\n\u003cp>Because of her white mother’s ongoing racism throughout her childhood, Valentine’s first understanding of blackness is as other—as negative, dangerous and wrong. “I got the message that black was undesirable,” Valentine writes.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863402 alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85.jpg\" alt=\"\" width=\"388\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85.jpg 388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/9781250146755_custom-cd454d4a1310a04e7094e699513173647d738ac3-s600-c85-160x247.jpg 160w\" sizes=\"(max-width: 388px) 100vw, 388px\">At the center of \u003cem>When I Was White\u003c/em> is this immensely complicated relationship between Valentine and her mother. As Valentine seeks to learn more about her biological father, her mother will only say: “Your father was a black man who raped me in college.” Valentine tries to reckon with this, seeking more information from her mother—and in the aftermath of her mother’s ever changing narrative of Valentine’s conception and constant refusals to answer Valentine’s questions, she seeks answers from her mother’s college friends as well. Valentine, torn between respecting her mother’s trauma and wanting to connect with her biological father, struggles to come to terms with the many layers of the situation, navigating the line between the importance of believing women’s accounts of rape and the awareness of the history of white women’s false rape accusations against black men as an excuse for lynching and other racial violence throughout American history.\u003c/p>\n\u003cp>Valentine is at her best when we see her sift through this history, creating well-crafted scenes that resonate with depth and emotional weight in a commitment to get to the truth—even if it paints her in a negative light. She reveals that everyone suspected she had black heritage—friends, teachers, even she herself—but to prevent jeopardizing her family dynamic, no one spoke of it. Scared, the young Valentine had also remained silent.\u003c/p>\n\u003cp>“I worried that acknowledging I was black and had a different father than the one I grew up with could shatter the unity of the family my parents had worked so hard to create,” Valentine writes. Indeed, after taking a DNA test and finding out they are not biologically related, the man Valentine knew as her father moved out of the home he shared with Valentine’s mother and into an apartment of his own 300 miles away.\u003c/p>\n\u003cp>Black and white biraciality in this country has long been understood as a type of blackness, and the presence of biracial individuals within blackness has added to the power of the black cultural block. Without biracial being considered black, for example, America would not yet have had its first black president.\u003c/p>\n\u003cp>But why, then, is biracial not also a type of white? If you look past the racist origins of the “one drop rule,” what happens to our thinking of racial duality?\u003c/p>\n\u003cp>One wonders: Why is this mutually exclusive? Why must Valentine choose either black or white? One wonders, too: If the author was Latina and black or Asian and black, would discovering her blackness mean losing her Latinx or Asian identity? We are beyond black and white, beyond the “one drop rule,” in American society. So, should our understanding of multiracial identity evolve too? Can it evolve?\u003c/p>\n\u003cp>Or is the history and continued presence of white supremacy in our culture so virulent that whiteness cannot be held in the same conversation as other multiracial identities?\u003c/p>\n\u003cp>These and other questions are tackled in \u003cem>When I Was White. \u003c/em>But in a larger sense, Valentine’s memoir documents an experience any black individual in the U.S. has had: From birth you have seen yourself as a normal human being, worthy of just as much respect and personhood as anyone in America. But then, upon that first pivotal experience with racism, you realize that in this society, because of your skin, you are seen as \u003cem>other;\u003c/em> because of your skin you are seen as \u003cem>less than \u003c/em>and treated accordingly—and always with the threat of violence against your body ready to rise.\u003c/p>\n\u003cp>As the United States continues to become more brown and black and less white—resulting in a xenophobic backlash against brown and black Americans and a nostalgia by some for white European immigrants—the ideas in \u003cem>When I Was White \u003c/em>become even more necessary. Here, quite simply, is a masterful explication on the formation of self and identity—of learning to trust yourself instead of the lies other people, no matter how close, tell you about who you are.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hope Wabuke is a Ugandan-American poet, essayist and writer. She is a contributing editor for The Root and has written for \u003c/em>The Guardian, The Sun, Creative Nonfiction Magazine, The Daily Beast\u003cem> and \u003c/em>Salon,\u003cem> among others. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27When+I+Was+White%27+Centers+On+The+Formation+Of+Race%2C+Identity+And+Self+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Kitchen,' Mob Wives Are Doin' it For Themselves",
"headTitle": "In ‘The Kitchen,’ Mob Wives Are Doin’ it For Themselves | KQED",
"content": "\u003cp>In \u003cem>The Kitchen\u003c/em>, Tiffany Haddish snatches a revolver from her just-out-of-jail gangster husband, gets up in his face, and snarls, “It’s \u003cem>my \u003c/em>business now.”\u003c/p>\n\u003cp>It’s a strong moment—one that gets at something deeper than the surface pleasures and platitudes of a mob movie led by women; it intimates just how caustic and corrosive running a business can be. How are the consequences of the American Dream—the ruthless ambitions that drive capitalism—gendered?\u003c/p>\n\u003cp>That’s the question at the center of Andrea Berloff’s film, based on the comic book miniseries by Ollie Masters and illustrated by Ming Doyle. Yet so much of what’s promising about \u003cem>The Kitchen, \u003c/em>including its ability to explore that question meaningfully, is hampered by its need to justify its own existence—to keep convincing you that it’s sufficiently woke.\u003c/p>\n\u003cp>The film follows three women (Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss) whose Irish gangster husbands (Brian d’Arcy James, Kevin O’Carroll, and Jeremy Bobb, respectively) are sent to jail, leaving the three to pick up the pieces in 1970s-era Hell’s Kitchen. As we watch them assert power and claim turf for themselves,\u003cem>The Kitchen\u003c/em> does give Haddish and Moss room to flex their genre muscles, but it habitually second-guesses its own decision to tell its story in the first place.\u003c/p>\n\u003cp>The palpable, hesitant self-doubt the film exudes is ironic, given the trajectory of its characters’ ascension in the mob world. Kathy (McCarthy), Ruby (Haddish), and Claire (Moss) have to prove to the family that anything male mobsters can do, they can do better. It feels like the film, too, keeps trying to say this. In several scenes, characters explicate and underline that women can be gangsters, too, and that the world is misogynistic, patriarchal and racist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The character of Little Jackie (Myt Watford), for example—who runs things while Ruby’s husband is behind bars—is written as a stingy, foul, \u003cem>cartoonishly \u003c/em>misogynistic jerk. By showing him shorting the women the money they now need to support themselves and their families, the script tells us everything we need to know about how women are undervalued in that system. But the film relentlessly asserts and overexplains this point, stripping it of any human nuance. Writer-director Andrea Berloff’s script similarly telegraphs what it means when the women take things into their own hands, employing clunky dialogue about how meaningful it is that these characters can do this.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlcyEDZVYkw\u003c/p>\n\u003cp>Those moments when the film makes its points about gender and power dynamics using little to no dialogue are its most effective. It’s a lot more interesting, for instance, to watch Tiffany Haddish strut down a crosswalk, hand held out at cars, evoking Pam Grier as she \u003cem>literally \u003c/em>stops traffic, than it is to listen to her intone that they need to remind the family “what the word \u003cem>family \u003c/em>even \u003cem>means\u003c/em>.”\u003c/p>\n\u003cp>It’s also more exciting to watch Elisabeth Moss, whose character is heavily shaped by the marital abuse she’s experienced, wield a Magnum at a street harasser than it is to watch her chew her way through ham-fisted speeches about the action she just took, or is about to take.\u003c/p>\n\u003cp>Once the film settles down and stops trying to rationalize itself, \u003cem>The Kitchen\u003c/em> can be thrilling. Soon enough, things get appropriately pulpy and nasty, leaning into genre conventions and then inflecting them with female power. As Margo Channing might opine, “Funny business, a woman’s career.” Berloff lets her leads walk the streets like they own them, because they do, adding ghoulish details that drive this home: the body in the alleyway, the bloodstains on the wall, the cross hanging on a wall behind someone as they hack away at a corpse.\u003c/p>\n\u003cp>When it’s actively exploring ambiguities of power and alliance, transaction and labor, leadership and territory, the film raises intriguing questions about capitalism, gender and race. And it manages to do so while supplying a steady stream of entertaining plot twists. As the relationships among these three women fluctuate and evolve, they emerge as clear, individualized characters, as opposed to mouthpieces delivering talking points about gender politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It takes roughly a third of the film’s running time for it to stop insisting on itself long enough to dig deeper, beyond the surface optics of its story. In the end, Berloff \u003cem>is\u003c/em> invested in showing us that in the mob—as in the world of “legitimate” business—empires are built on the blood of others. I just wish the film didn’t feel it needed to tell us to buckle our seatbelts; we already knew it was going to be a bumpy night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Overwritten%2C+Undercooked+%27The+Kitchen%2C%27+Mob+Wives+Are+Doin%27+It+For+Themselves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>The Kitchen\u003c/em>, Tiffany Haddish snatches a revolver from her just-out-of-jail gangster husband, gets up in his face, and snarls, “It’s \u003cem>my \u003c/em>business now.”\u003c/p>\n\u003cp>It’s a strong moment—one that gets at something deeper than the surface pleasures and platitudes of a mob movie led by women; it intimates just how caustic and corrosive running a business can be. How are the consequences of the American Dream—the ruthless ambitions that drive capitalism—gendered?\u003c/p>\n\u003cp>That’s the question at the center of Andrea Berloff’s film, based on the comic book miniseries by Ollie Masters and illustrated by Ming Doyle. Yet so much of what’s promising about \u003cem>The Kitchen, \u003c/em>including its ability to explore that question meaningfully, is hampered by its need to justify its own existence—to keep convincing you that it’s sufficiently woke.\u003c/p>\n\u003cp>The film follows three women (Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss) whose Irish gangster husbands (Brian d’Arcy James, Kevin O’Carroll, and Jeremy Bobb, respectively) are sent to jail, leaving the three to pick up the pieces in 1970s-era Hell’s Kitchen. As we watch them assert power and claim turf for themselves,\u003cem>The Kitchen\u003c/em> does give Haddish and Moss room to flex their genre muscles, but it habitually second-guesses its own decision to tell its story in the first place.\u003c/p>\n\u003cp>The palpable, hesitant self-doubt the film exudes is ironic, given the trajectory of its characters’ ascension in the mob world. Kathy (McCarthy), Ruby (Haddish), and Claire (Moss) have to prove to the family that anything male mobsters can do, they can do better. It feels like the film, too, keeps trying to say this. In several scenes, characters explicate and underline that women can be gangsters, too, and that the world is misogynistic, patriarchal and racist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The character of Little Jackie (Myt Watford), for example—who runs things while Ruby’s husband is behind bars—is written as a stingy, foul, \u003cem>cartoonishly \u003c/em>misogynistic jerk. By showing him shorting the women the money they now need to support themselves and their families, the script tells us everything we need to know about how women are undervalued in that system. But the film relentlessly asserts and overexplains this point, stripping it of any human nuance. Writer-director Andrea Berloff’s script similarly telegraphs what it means when the women take things into their own hands, employing clunky dialogue about how meaningful it is that these characters can do 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/YlcyEDZVYkw'\n title='//www.youtube.com/embed/YlcyEDZVYkw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those moments when the film makes its points about gender and power dynamics using little to no dialogue are its most effective. It’s a lot more interesting, for instance, to watch Tiffany Haddish strut down a crosswalk, hand held out at cars, evoking Pam Grier as she \u003cem>literally \u003c/em>stops traffic, than it is to listen to her intone that they need to remind the family “what the word \u003cem>family \u003c/em>even \u003cem>means\u003c/em>.”\u003c/p>\n\u003cp>It’s also more exciting to watch Elisabeth Moss, whose character is heavily shaped by the marital abuse she’s experienced, wield a Magnum at a street harasser than it is to watch her chew her way through ham-fisted speeches about the action she just took, or is about to take.\u003c/p>\n\u003cp>Once the film settles down and stops trying to rationalize itself, \u003cem>The Kitchen\u003c/em> can be thrilling. Soon enough, things get appropriately pulpy and nasty, leaning into genre conventions and then inflecting them with female power. As Margo Channing might opine, “Funny business, a woman’s career.” Berloff lets her leads walk the streets like they own them, because they do, adding ghoulish details that drive this home: the body in the alleyway, the bloodstains on the wall, the cross hanging on a wall behind someone as they hack away at a corpse.\u003c/p>\n\u003cp>When it’s actively exploring ambiguities of power and alliance, transaction and labor, leadership and territory, the film raises intriguing questions about capitalism, gender and race. And it manages to do so while supplying a steady stream of entertaining plot twists. As the relationships among these three women fluctuate and evolve, they emerge as clear, individualized characters, as opposed to mouthpieces delivering talking points about gender politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It takes roughly a third of the film’s running time for it to stop insisting on itself long enough to dig deeper, beyond the surface optics of its story. In the end, Berloff \u003cem>is\u003c/em> invested in showing us that in the mob—as in the world of “legitimate” business—empires are built on the blood of others. I just wish the film didn’t feel it needed to tell us to buckle our seatbelts; we already knew it was going to be a bumpy night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Overwritten%2C+Undercooked+%27The+Kitchen%2C%27+Mob+Wives+Are+Doin%27+It+For+Themselves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cyntoia Brown, who served 15 years of a life sentence for killing a man when she was 16, has been released from a Nashville prison, Tennessee officials \u003ca href=\"https://www.tn.gov/correction/news/2019/8/7/release-of-cyntoia-brown.html\">announced\u003c/a> early Wednesday.\u003c/p>\n\u003cp>Earlier this year, then-Gov. Bill Haslam took the unusual step of granting Brown clemency for what \u003ca href=\"https://www.npr.org/2019/01/07/682938808/cyntoia-brown-jailed-for-murder-is-granted-clemency-by-tenn-governor\">he called\u003c/a> a “tragic and complex case,” a major victory for Brown and her supporters, who for years have maintained that the 2004 killing was an act of self-defense.\u003c/p>\n\u003cp>Over the years, the fight for Brown’s release has brought prominent lawyers to her defense, a\u003ca href=\"http://www.pbs.org/independentlens/films/me-facing-life/\"> PBS documentary\u003c/a> and backing from celebrities including Kim Kardashian West and Rihanna. Her case also \u003ca href=\"https://www.nashvillepublicradio.org/post/cyntoia-brown-s-release-raises-questions-about-tennessee-s-strict-sentencing-rules#stream/0\">inspired the introduction\u003c/a> of state legislation aimed at protecting minors who are victims of sex trafficking.\u003c/p>\n\u003cp>In 2006, Brown was convicted of aggravated robbery and first-degree murder for killing 43-year-old real estate agent Johnny Allen, whom she went home with after he picked her up for sex at a Sonic Drive-In in Nashville.\u003c/p>\n\u003cp>She told police that she pulled a pistol out of her purse and fatally shot Allen because she thought he was reaching for a gun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She then fled with Allen’s guns and money. She drove away in his pickup truck.\u003c/p>\n\u003cp>Prosecutors claimed that Brown shot Allen as part of a plan to rob him, but Brown told police she was acting to protect herself. She was convicted and sentenced to life in prison over the killing.\u003c/p>\n\u003cp>The U.S. Supreme Court\u003ca href=\"https://www.npr.org/2016/01/25/464338364/supreme-court-opens-door-to-parole-for-juvenile-lifers\"> has ruled that\u003c/a> mandatory life sentences without parole for juvenile offenders are not constitutional, but Tennessee prosecutors successfully argued that Brown would technically become eligible for parole after 51 years, in 2055.\u003c/p>\n\u003cp>Brown, now 31, was among \u003ca href=\"https://www.tennessean.com/story/news/politics/2019/03/07/tennessee-teen-lifers-tennessean-investigation-cyntoia-brown/3079107002/\">more than 180 inmates\u003c/a> serving life sentences in the state for crimes they committed as teenagers.\u003c/p>\n\u003cp>She never testified during her trial, but during her appeals process, Brown, who had been a teenage runaway, took the stand and described how at the time of the killing, she was ensnared in an abusive relationship with a drug dealer known as Cut Throat who forced her into prostitution.\u003c/p>\n\u003cp>Her case gained new scrutiny with the rise of the #MeToo movement, as her supporters drew attention to the case using the hashtag #FreeCyntoiaBrown. Criminal justice reform advocates portrayed Brown’s case as an example of the unreasonable incarceration of a teenager who was a victim of sex trafficking.\u003c/p>\n\u003cp>“Did we somehow change the definition of #JUSTICE along the way??” Rihanna asked in \u003ca href=\"https://www.instagram.com/p/Bbwi26PjHf7/?hl=en\">a 2017 Instagram post\u003c/a> about Brown that received nearly 2 million likes. “The system has failed,” Kardashian West \u003ca href=\"https://twitter.com/kimkardashian/status/933001503123554304?lang=en\">tweeted\u003c/a>.\u003c/p>\n\u003cp>While incarcerated, Brown earned her GED, finished a bachelor’s degree and mentored at-risk youth.\u003c/p>\n\u003cp>“Transformation should be accompanied by hope,” Haslam said when commuting her sentence to parole in January.\u003c/p>\n\u003cp>On Tuesday, the National Women’s Law Center \u003ca href=\"https://twitter.com/nwlc/status/1159101177415557123\">celebrated\u003c/a> the long legal battle that led to Brown’s release, but with a cautionary note.\u003c/p>\n\u003cp>“We’re glad Cyntoia has finally been freed — but we must not forget that she never should have been in prison in the first place. We must continue to seek justice for survivors like her,” the group said on Twitter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Her publisher \u003ca href=\"https://catalog.simonandschuster.com/TitleDetails/TitleDetails.aspx?cid=1300&isbn=9781982141103&FilterByName=&FilterBy=&FilterVal=&ob=0&pn=1&ed=&showcart=N&camefrom=&find=&a=\">announced\u003c/a> that Brown will release a memoir in October that will describe her traumatic childhood, how she transformed her life from behind bars and the events that led to her murder conviction and eventual release.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cyntoia Brown, who served 15 years of a life sentence for killing a man when she was 16, has been released from a Nashville prison, Tennessee officials \u003ca href=\"https://www.tn.gov/correction/news/2019/8/7/release-of-cyntoia-brown.html\">announced\u003c/a> early Wednesday.\u003c/p>\n\u003cp>Earlier this year, then-Gov. Bill Haslam took the unusual step of granting Brown clemency for what \u003ca href=\"https://www.npr.org/2019/01/07/682938808/cyntoia-brown-jailed-for-murder-is-granted-clemency-by-tenn-governor\">he called\u003c/a> a “tragic and complex case,” a major victory for Brown and her supporters, who for years have maintained that the 2004 killing was an act of self-defense.\u003c/p>\n\u003cp>Over the years, the fight for Brown’s release has brought prominent lawyers to her defense, a\u003ca href=\"http://www.pbs.org/independentlens/films/me-facing-life/\"> PBS documentary\u003c/a> and backing from celebrities including Kim Kardashian West and Rihanna. Her case also \u003ca href=\"https://www.nashvillepublicradio.org/post/cyntoia-brown-s-release-raises-questions-about-tennessee-s-strict-sentencing-rules#stream/0\">inspired the introduction\u003c/a> of state legislation aimed at protecting minors who are victims of sex trafficking.\u003c/p>\n\u003cp>In 2006, Brown was convicted of aggravated robbery and first-degree murder for killing 43-year-old real estate agent Johnny Allen, whom she went home with after he picked her up for sex at a Sonic Drive-In in Nashville.\u003c/p>\n\u003cp>She told police that she pulled a pistol out of her purse and fatally shot Allen because she thought he was reaching for a gun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She then fled with Allen’s guns and money. She drove away in his pickup truck.\u003c/p>\n\u003cp>Prosecutors claimed that Brown shot Allen as part of a plan to rob him, but Brown told police she was acting to protect herself. She was convicted and sentenced to life in prison over the killing.\u003c/p>\n\u003cp>The U.S. Supreme Court\u003ca href=\"https://www.npr.org/2016/01/25/464338364/supreme-court-opens-door-to-parole-for-juvenile-lifers\"> has ruled that\u003c/a> mandatory life sentences without parole for juvenile offenders are not constitutional, but Tennessee prosecutors successfully argued that Brown would technically become eligible for parole after 51 years, in 2055.\u003c/p>\n\u003cp>Brown, now 31, was among \u003ca href=\"https://www.tennessean.com/story/news/politics/2019/03/07/tennessee-teen-lifers-tennessean-investigation-cyntoia-brown/3079107002/\">more than 180 inmates\u003c/a> serving life sentences in the state for crimes they committed as teenagers.\u003c/p>\n\u003cp>She never testified during her trial, but during her appeals process, Brown, who had been a teenage runaway, took the stand and described how at the time of the killing, she was ensnared in an abusive relationship with a drug dealer known as Cut Throat who forced her into prostitution.\u003c/p>\n\u003cp>Her case gained new scrutiny with the rise of the #MeToo movement, as her supporters drew attention to the case using the hashtag #FreeCyntoiaBrown. Criminal justice reform advocates portrayed Brown’s case as an example of the unreasonable incarceration of a teenager who was a victim of sex trafficking.\u003c/p>\n\u003cp>“Did we somehow change the definition of #JUSTICE along the way??” Rihanna asked in \u003ca href=\"https://www.instagram.com/p/Bbwi26PjHf7/?hl=en\">a 2017 Instagram post\u003c/a> about Brown that received nearly 2 million likes. “The system has failed,” Kardashian West \u003ca href=\"https://twitter.com/kimkardashian/status/933001503123554304?lang=en\">tweeted\u003c/a>.\u003c/p>\n\u003cp>While incarcerated, Brown earned her GED, finished a bachelor’s degree and mentored at-risk youth.\u003c/p>\n\u003cp>“Transformation should be accompanied by hope,” Haslam said when commuting her sentence to parole in January.\u003c/p>\n\u003cp>On Tuesday, the National Women’s Law Center \u003ca href=\"https://twitter.com/nwlc/status/1159101177415557123\">celebrated\u003c/a> the long legal battle that led to Brown’s release, but with a cautionary note.\u003c/p>\n\u003cp>“We’re glad Cyntoia has finally been freed — but we must not forget that she never should have been in prison in the first place. We must continue to seek justice for survivors like her,” the group said on Twitter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Her publisher \u003ca href=\"https://catalog.simonandschuster.com/TitleDetails/TitleDetails.aspx?cid=1300&isbn=9781982141103&FilterByName=&FilterBy=&FilterVal=&ob=0&pn=1&ed=&showcart=N&camefrom=&find=&a=\">announced\u003c/a> that Brown will release a memoir in October that will describe her traumatic childhood, how she transformed her life from behind bars and the events that led to her murder conviction and eventual release.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Old Gang is Back Together in 'BH90210' ... Sort Of",
"headTitle": "The Old Gang is Back Together in ‘BH90210’ … Sort Of | KQED",
"content": "\u003cp>How do you do a reboot when there’s absolutely no reason to do a reboot?\u003c/p>\n\u003cp>The characters on \u003cem>Beverly Hills, 90210 \u003c/em>were never particularly interesting. They were generic rich high-school students who grew into generic rich college students and then generic rich adults. They had money to chase their dreams regardless of talent (Owning a club! Running a newspaper! Having a boutique!). Their problems (Stalking! Diet pill addiction! Gambling addiction! Cocaine addiction! Meth addiction! Joining a cult!) would, in most cases, flare up and then go away, specifically because without them, there was no plot other than everyone sleeping with each other.\u003c/p>\n\u003cp>In short, there is no ever-loving reason to revisit any of these ding-dongs.\u003c/p>\n\u003cp>Refreshingly, the makers of the new show \u003cem>BH90210\u003c/em>, a nostalgia product for people who miss the original show, know there’s no reason to. So they don’t try. Instead, what begins Wednesday night on Fox is a scripted show about the actors trying to decide whether to revive the teen soap they were on when they were young. And all those actors play themselves. Get it? So you’re not catching up with Brenda and Brandon; you’re catching up with Shannen Doherty and Jason Priestley, playing fictionalized versions of themselves in a kind of showbiz comedy-drama-soap-farce about a potential \u003cem>90210 \u003c/em>reboot.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YcWKGy7df5o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are strong resemblances between the fictionalized versions of these actors and the real ones: Like the real Gabrielle Carteris, the one on the show is the president of the actors’ guild, and like the real Tori Spelling, the scripted one has had financial problems after using reality television to support herself and her large family for years. But the spouses are played by actors and the details are made up and so forth.\u003c/p>\n\u003cp>[Side note: Let’s just say that when I refer to an actor by first name, like “Tori,” I mean the fictional version. When I refer to an actor by last name, like “Spelling,” I mean the actual actor. It will make things … well, marginally clearer.]\u003c/p>\n\u003cp>In the first episode, the cast (Jason, Tori, Gabi, Jennie Garth, Ian Ziering, and Brian Austin Green) gets together at an anniversary panel. After they share a wild night of light infidelity and petty theft, Tori decides that the way to pay her many overdue bills is to convince everybody to come back together for a \u003cem>90210 \u003c/em>reboot. But they may also need Shannen—that’s Shannen Doherty—who we learn is off running an animal sanctuary and has been semi-estranged from the cast for years. (Another element borrowed from real-life rumors, at the very least.) There is a reasonably classy acknowledgment that a core cast member, Luke Perry, has died, but Tori hypothesizes that the rest of them just might be able to rally and put on a new show.\u003c/p>\n\u003cp>On the one hand, this is a very strange way to make a reboot. It’s not even of any potential value to anybody who isn’t looking at it as nostalgia—in no way would this hold up as a new Fox comedy for a curious person coming to it fresh. There is no straight-faced argument for it as an independent piece of work.\u003c/p>\n\u003cp>But as a nostalgic doodad, which is all that a lot of these reboots are anyway? It’s kind of cute. And, as previously mentioned, strange.\u003c/p>\n\u003cp>There’s no question that they’re flirting with a kind of uncanny San Fernando Valley, where the fictionalized actors are fake but also real, but also fake, \u003cem>ad infinitum\u003c/em>. Because Spelling is in fact an executive producer of \u003cem>BH90210\u003c/em>, just as fictional Tori is driving the reboot and trying to get everyone on board. Brian is married to a very famous woman, just as Green is married to Megan Fox. Jennie has had a couple of failed marriages, just like Garth, and Jason really wants to direct, just like Priestley.\u003c/p>\n\u003cp>There are a certain number of silly meta-jokes, like the fact that Tori’s husband is played by Ivan Sergei, who was Spelling’s co-star in the legendarily campy TV movie \u003cem>Mother May I Sleep With Danger?\u003c/em> It’s hard not to think that a moment in which Jason is kicked right in the Priestley, as it were, is meant as a little gift to people who found Brandon Walsh to be a self-righteous gasbag. (He was one, FYI.)\u003c/p>\n\u003cp>It’s hard to give a proper critique of something like this. It’s more like a bonus feature on a DVD than anything else. They’ve only given critics the first two episodes, and Shannen hasn’t even joined the group yet, so who knows how committed they are to making this as wild as it might be. But perhaps because expectations were lower than the top of Brandon’s head (he was short, you see), I must admit that I chuckled at its audacious weirdness. It’s the kind of thing that passes the time while you fold the laundry, and then you never think about it again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some days, that’s a blessing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Old+Gang+Is+Back+Together+In+%27BH90210%2C%27+Sort+Of&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "There's certainly no need to revisit the ding dongs from 'Beverly Hills, 90210'. So to fill what they hope is an appetite for nostalgia, the stars are playing themselves in a showbiz story.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How do you do a reboot when there’s absolutely no reason to do a reboot?\u003c/p>\n\u003cp>The characters on \u003cem>Beverly Hills, 90210 \u003c/em>were never particularly interesting. They were generic rich high-school students who grew into generic rich college students and then generic rich adults. They had money to chase their dreams regardless of talent (Owning a club! Running a newspaper! Having a boutique!). Their problems (Stalking! Diet pill addiction! Gambling addiction! Cocaine addiction! Meth addiction! Joining a cult!) would, in most cases, flare up and then go away, specifically because without them, there was no plot other than everyone sleeping with each other.\u003c/p>\n\u003cp>In short, there is no ever-loving reason to revisit any of these ding-dongs.\u003c/p>\n\u003cp>Refreshingly, the makers of the new show \u003cem>BH90210\u003c/em>, a nostalgia product for people who miss the original show, know there’s no reason to. So they don’t try. Instead, what begins Wednesday night on Fox is a scripted show about the actors trying to decide whether to revive the teen soap they were on when they were young. And all those actors play themselves. Get it? So you’re not catching up with Brenda and Brandon; you’re catching up with Shannen Doherty and Jason Priestley, playing fictionalized versions of themselves in a kind of showbiz comedy-drama-soap-farce about a potential \u003cem>90210 \u003c/em>reboot.\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/YcWKGy7df5o'\n title='//www.youtube.com/embed/YcWKGy7df5o'\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>There are strong resemblances between the fictionalized versions of these actors and the real ones: Like the real Gabrielle Carteris, the one on the show is the president of the actors’ guild, and like the real Tori Spelling, the scripted one has had financial problems after using reality television to support herself and her large family for years. But the spouses are played by actors and the details are made up and so forth.\u003c/p>\n\u003cp>[Side note: Let’s just say that when I refer to an actor by first name, like “Tori,” I mean the fictional version. When I refer to an actor by last name, like “Spelling,” I mean the actual actor. It will make things … well, marginally clearer.]\u003c/p>\n\u003cp>In the first episode, the cast (Jason, Tori, Gabi, Jennie Garth, Ian Ziering, and Brian Austin Green) gets together at an anniversary panel. After they share a wild night of light infidelity and petty theft, Tori decides that the way to pay her many overdue bills is to convince everybody to come back together for a \u003cem>90210 \u003c/em>reboot. But they may also need Shannen—that’s Shannen Doherty—who we learn is off running an animal sanctuary and has been semi-estranged from the cast for years. (Another element borrowed from real-life rumors, at the very least.) There is a reasonably classy acknowledgment that a core cast member, Luke Perry, has died, but Tori hypothesizes that the rest of them just might be able to rally and put on a new show.\u003c/p>\n\u003cp>On the one hand, this is a very strange way to make a reboot. It’s not even of any potential value to anybody who isn’t looking at it as nostalgia—in no way would this hold up as a new Fox comedy for a curious person coming to it fresh. There is no straight-faced argument for it as an independent piece of work.\u003c/p>\n\u003cp>But as a nostalgic doodad, which is all that a lot of these reboots are anyway? It’s kind of cute. And, as previously mentioned, strange.\u003c/p>\n\u003cp>There’s no question that they’re flirting with a kind of uncanny San Fernando Valley, where the fictionalized actors are fake but also real, but also fake, \u003cem>ad infinitum\u003c/em>. Because Spelling is in fact an executive producer of \u003cem>BH90210\u003c/em>, just as fictional Tori is driving the reboot and trying to get everyone on board. Brian is married to a very famous woman, just as Green is married to Megan Fox. Jennie has had a couple of failed marriages, just like Garth, and Jason really wants to direct, just like Priestley.\u003c/p>\n\u003cp>There are a certain number of silly meta-jokes, like the fact that Tori’s husband is played by Ivan Sergei, who was Spelling’s co-star in the legendarily campy TV movie \u003cem>Mother May I Sleep With Danger?\u003c/em> It’s hard not to think that a moment in which Jason is kicked right in the Priestley, as it were, is meant as a little gift to people who found Brandon Walsh to be a self-righteous gasbag. (He was one, FYI.)\u003c/p>\n\u003cp>It’s hard to give a proper critique of something like this. It’s more like a bonus feature on a DVD than anything else. They’ve only given critics the first two episodes, and Shannen hasn’t even joined the group yet, so who knows how committed they are to making this as wild as it might be. But perhaps because expectations were lower than the top of Brandon’s head (he was short, you see), I must admit that I chuckled at its audacious weirdness. It’s the kind of thing that passes the time while you fold the laundry, and then you never think about it again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some days, that’s a blessing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Old+Gang+Is+Back+Together+In+%27BH90210%2C%27+Sort+Of&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Opinion: Even a Grammar Geezer Like Me Can Get Used to Gender Neutral Pronouns",
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"content": "\u003cp>Letter-for-letter, no part of speech gets people more worked up than pronouns do. Linguistic history is dotted with eruptions of pronoun rage. Right now, the provocation is the gender-neutral pronouns that some nonbinary people have asked to be called by, so that they won’t have to be identified as “he” or “she.”\u003c/p>\n\u003cp>There are several of these in circulation. Some are new words, like “ze” and “co,” but some go back a ways—in fact, people have been proposing new gender-neutral pronouns for \u003ca href=\"https://www.english.illinois.edu/-people-/faculty/debaron/essays/epicene.htm\">150 years\u003c/a>, though none has ever caught on. But the most popular choice, and probably the most controversial one, is the familiar pronoun that people describe as the singular “they.”\u003c/p>\n\u003cp>You can see why people would pick “they.” In everyday speech we often use that pronoun for a single person, though only when the word or phrase it substitutes for—its antecedent, as it’s called—doesn’t refer to a specific individual. So we say, “Somebody lost their wallet,” or, “If a student fails, they have to retake the course.” Or the person we’re referring to may be simply unknown. Your daughter’s cell phone rings at the dinner table; you say, “Tell them you’ll call them back.” Male or female, one caller or several? The pronoun “they” is like, “whatever.”\u003c/p>\n\u003cp>That singular “they” goes back hundreds of years. \u003ca href=\"http://www.pemberley.com/janeinfo/austhlis.html#X2\">Jane Austen’s\u003c/a> novels are bristling with sentences like “No one can ever be in love more than once in their life.” But that use of the pronoun fell into disrepute in the 19\u003csup>th\u003c/sup> century, when grammarians condemned it as incorrect and proclaimed that the so-called generic “he” should be used instead. The idea is that when you write, “Every singer has his range,” the pronoun “his” refers to both men and women—or as they sometimes put it, “the \u003ca href=\"https://blogs.illinois.edu/view/25/300287\">masculine embraces the feminine\u003c/a>.”\u003c/p>\n\u003cp>When second-wave feminists protested in the 1970s that the generic “he” was sexist, they roused a storm of indignation. They were accused of \u003ca href=\"https://www.latimes.com/archives/la-xpm-1985-07-09-vw-8305-story.html\">emasculating\u003c/a> and \u003ca href=\"https://www.nytimes.com/1986/08/10/magazine/on-language-gender-benders.html\">neutering\u003c/a> the language. The chairman of the Harvard Linguistics Department charged that they were suffering from “\u003ca href=\"http://www.newyorker.com/magazine/2014/02/10/pronoun-envy\">pronoun envy\u003c/a>.” \u003ca href=\"https://www.nytimes.com/1995/10/29/magazine/on-language-proximity-talks.html\">William Safire\u003c/a> warned that to accept the use of “they” in place of “he” would be to “cave in to the radic-lib forces of usage permissiveness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In retrospect, those reactions betrayed the obtuseness that the psychologist Cordelia Fine calls “\u003ca href=\"https://wwnorton.com/books/Delusions-of-Gender\">delusions of gender\u003c/a>.” The fact is that the pronoun “he” is never gender-neutral. If Sting had sung, “If you love somebody, set him free,” it would have brought only a male to mind. What the language required was “set them free.”\u003c/p>\n\u003cp>The gender-neutral singular “they” has history, English grammar and gender equity on its side, and it’s gradually been \u003ca href=\"https://www.baltimoresun.com/opinion/columnists/mcintyre/87915039-132.html\">restored\u003c/a> to the written language. Schoolroom crotchets can be hard to let go of. But we’ve largely leveled the linguistic playing field—at least, “he” no longer takes precedence over “she.”\u003c/p>\n\u003cp>But that didn’t make any provision for the rainbow of nonbinary and nonconforming \u003ca href=\"https://www.nytimes.com/interactive/2019/06/28/us/pride-identity.html?searchResultPosition=1\">gender identities\u003c/a> that have risen into public awareness in recent years. The language still required us to choose between “he” and “she” to refer to a specific individual. The singular “they” initially sounded awkward here. We can say, “Somebody named Sandy was brushing their hair” where the pronoun replaces the nonspecific “somebody”—that’s been standard colloquial English for centuries. But when someone says just, “Sandy was brushing their hair,” you’re brought up short. Your first thought is that “they” must refer to some group of people whose hair Sandy was brushing.\u003c/p>\n\u003cp>But you can make this work if you tweak your internal grammar so that the pronoun “they” can refer to a specific individual. It takes some practice to get the hang of it, but the human language processing capacity is more adaptable than people realize, even for geezers like me. As I read through an \u003ca href=\"https://www.nytimes.com/2019/06/04/magazine/gender-nonbinary.html\">article\u003c/a> about a nonbinary person who uses “they,” “them” and “their,” the pronouns ultimately sort themselves out. In context, they’re rarely ambiguous, no more than any other pronoun: “Tracy should take better care of themself”; “Pat hasn’t made up their mind.”\u003c/p>\n\u003cp>That new use of “they” has passed muster with the AP’s \u003ca href=\"https://www.poynter.org/reporting-editing/2017/ap-style-change-singular-they-is-acceptable-in-limited-cases/\">style guide\u003c/a> and the \u003ca href=\"https://ahdictionary.com/word/search.html?q=they\">American Heritage Dictionary\u003c/a>. In theory, anyone can adopt it, whatever their gender identity. But we’ll still be using “he” and “she” to refer to most individuals who identify as male and female. You can introduce new gender-neutral terms without driving out the gendered ones. “Sibling” has been part of the everyday language for more than 50 years, but we can still talk about brothers and sisters. When someone says, “Taylor has a lot going for them,” it’s a fair bet that that’s the pronoun that Taylor prefers to be called by.\u003c/p>\n\u003cp>It’s not a lot to ask—just a small courtesy and sign of respect. In fact, the accommodations we’re being asked to make to nonbinary individuals are much less far-reaching than the \u003ca href=\"https://www.npr.org/books/titles/745283921/the-handbook-of-nonsexist-writing\">linguistic changes\u003c/a> that \u003ca href=\"https://public.oed.com/blog/resistance-fertile-language-borne-feminist-movement/\">feminists\u003c/a> called for 50 years ago. Yet the reactions this time have been even more vehement than they were back then.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fifth-grade teacher in \u003ca href=\"https://wapo.st/2YKHqyV\">Florida\u003c/a> whose preferred pronouns are “they,” “them” and “their” was removed from the classroom when some parents complained about exposing their children to the transgender lifestyle. When the diversity and inclusion office at the University of Tennessee at Knoxville published a guide to alternative pronouns in 2015, the state \u003ca href=\"https://www.mic.com/articles/142080/tennessee-budget-bill-bans-gender-neutral-pronouns-tramples-on-free-speech\">legislature\u003c/a> promptly defunded the center and barred the university from promoting the use of gender-neutral pronouns in the future. Like the classic episodes of pronoun rage in earlier eras, these aren’t about pronouns at all.\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=Opinion%3A+Even+A+Grammar+Geezer+Like+Me+Can+Get+Used+To+Gender+Neutral+Pronouns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Letter-for-letter, no part of speech gets people more worked up than pronouns do. Linguistic history is dotted with eruptions of pronoun rage. Right now, the provocation is the gender-neutral pronouns that some nonbinary people have asked to be called by, so that they won’t have to be identified as “he” or “she.”\u003c/p>\n\u003cp>There are several of these in circulation. Some are new words, like “ze” and “co,” but some go back a ways—in fact, people have been proposing new gender-neutral pronouns for \u003ca href=\"https://www.english.illinois.edu/-people-/faculty/debaron/essays/epicene.htm\">150 years\u003c/a>, though none has ever caught on. But the most popular choice, and probably the most controversial one, is the familiar pronoun that people describe as the singular “they.”\u003c/p>\n\u003cp>You can see why people would pick “they.” In everyday speech we often use that pronoun for a single person, though only when the word or phrase it substitutes for—its antecedent, as it’s called—doesn’t refer to a specific individual. So we say, “Somebody lost their wallet,” or, “If a student fails, they have to retake the course.” Or the person we’re referring to may be simply unknown. Your daughter’s cell phone rings at the dinner table; you say, “Tell them you’ll call them back.” Male or female, one caller or several? The pronoun “they” is like, “whatever.”\u003c/p>\n\u003cp>That singular “they” goes back hundreds of years. \u003ca href=\"http://www.pemberley.com/janeinfo/austhlis.html#X2\">Jane Austen’s\u003c/a> novels are bristling with sentences like “No one can ever be in love more than once in their life.” But that use of the pronoun fell into disrepute in the 19\u003csup>th\u003c/sup> century, when grammarians condemned it as incorrect and proclaimed that the so-called generic “he” should be used instead. The idea is that when you write, “Every singer has his range,” the pronoun “his” refers to both men and women—or as they sometimes put it, “the \u003ca href=\"https://blogs.illinois.edu/view/25/300287\">masculine embraces the feminine\u003c/a>.”\u003c/p>\n\u003cp>When second-wave feminists protested in the 1970s that the generic “he” was sexist, they roused a storm of indignation. They were accused of \u003ca href=\"https://www.latimes.com/archives/la-xpm-1985-07-09-vw-8305-story.html\">emasculating\u003c/a> and \u003ca href=\"https://www.nytimes.com/1986/08/10/magazine/on-language-gender-benders.html\">neutering\u003c/a> the language. The chairman of the Harvard Linguistics Department charged that they were suffering from “\u003ca href=\"http://www.newyorker.com/magazine/2014/02/10/pronoun-envy\">pronoun envy\u003c/a>.” \u003ca href=\"https://www.nytimes.com/1995/10/29/magazine/on-language-proximity-talks.html\">William Safire\u003c/a> warned that to accept the use of “they” in place of “he” would be to “cave in to the radic-lib forces of usage permissiveness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In retrospect, those reactions betrayed the obtuseness that the psychologist Cordelia Fine calls “\u003ca href=\"https://wwnorton.com/books/Delusions-of-Gender\">delusions of gender\u003c/a>.” The fact is that the pronoun “he” is never gender-neutral. If Sting had sung, “If you love somebody, set him free,” it would have brought only a male to mind. What the language required was “set them free.”\u003c/p>\n\u003cp>The gender-neutral singular “they” has history, English grammar and gender equity on its side, and it’s gradually been \u003ca href=\"https://www.baltimoresun.com/opinion/columnists/mcintyre/87915039-132.html\">restored\u003c/a> to the written language. Schoolroom crotchets can be hard to let go of. But we’ve largely leveled the linguistic playing field—at least, “he” no longer takes precedence over “she.”\u003c/p>\n\u003cp>But that didn’t make any provision for the rainbow of nonbinary and nonconforming \u003ca href=\"https://www.nytimes.com/interactive/2019/06/28/us/pride-identity.html?searchResultPosition=1\">gender identities\u003c/a> that have risen into public awareness in recent years. The language still required us to choose between “he” and “she” to refer to a specific individual. The singular “they” initially sounded awkward here. We can say, “Somebody named Sandy was brushing their hair” where the pronoun replaces the nonspecific “somebody”—that’s been standard colloquial English for centuries. But when someone says just, “Sandy was brushing their hair,” you’re brought up short. Your first thought is that “they” must refer to some group of people whose hair Sandy was brushing.\u003c/p>\n\u003cp>But you can make this work if you tweak your internal grammar so that the pronoun “they” can refer to a specific individual. It takes some practice to get the hang of it, but the human language processing capacity is more adaptable than people realize, even for geezers like me. As I read through an \u003ca href=\"https://www.nytimes.com/2019/06/04/magazine/gender-nonbinary.html\">article\u003c/a> about a nonbinary person who uses “they,” “them” and “their,” the pronouns ultimately sort themselves out. In context, they’re rarely ambiguous, no more than any other pronoun: “Tracy should take better care of themself”; “Pat hasn’t made up their mind.”\u003c/p>\n\u003cp>That new use of “they” has passed muster with the AP’s \u003ca href=\"https://www.poynter.org/reporting-editing/2017/ap-style-change-singular-they-is-acceptable-in-limited-cases/\">style guide\u003c/a> and the \u003ca href=\"https://ahdictionary.com/word/search.html?q=they\">American Heritage Dictionary\u003c/a>. In theory, anyone can adopt it, whatever their gender identity. But we’ll still be using “he” and “she” to refer to most individuals who identify as male and female. You can introduce new gender-neutral terms without driving out the gendered ones. “Sibling” has been part of the everyday language for more than 50 years, but we can still talk about brothers and sisters. When someone says, “Taylor has a lot going for them,” it’s a fair bet that that’s the pronoun that Taylor prefers to be called by.\u003c/p>\n\u003cp>It’s not a lot to ask—just a small courtesy and sign of respect. In fact, the accommodations we’re being asked to make to nonbinary individuals are much less far-reaching than the \u003ca href=\"https://www.npr.org/books/titles/745283921/the-handbook-of-nonsexist-writing\">linguistic changes\u003c/a> that \u003ca href=\"https://public.oed.com/blog/resistance-fertile-language-borne-feminist-movement/\">feminists\u003c/a> called for 50 years ago. Yet the reactions this time have been even more vehement than they were back then.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fifth-grade teacher in \u003ca href=\"https://wapo.st/2YKHqyV\">Florida\u003c/a> whose preferred pronouns are “they,” “them” and “their” was removed from the classroom when some parents complained about exposing their children to the transgender lifestyle. When the diversity and inclusion office at the University of Tennessee at Knoxville published a guide to alternative pronouns in 2015, the state \u003ca href=\"https://www.mic.com/articles/142080/tennessee-budget-bill-bans-gender-neutral-pronouns-tramples-on-free-speech\">legislature\u003c/a> promptly defunded the center and barred the university from promoting the use of gender-neutral pronouns in the future. Like the classic episodes of pronoun rage in earlier eras, these aren’t about pronouns at all.\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=Opinion%3A+Even+A+Grammar+Geezer+Like+Me+Can+Get+Used+To+Gender+Neutral+Pronouns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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