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"content": "\u003cp>Former President Barack Obama is in negotiations with Netflix to produce a series of high-profile shows, according to a story in \u003ca href=\"https://www.nytimes.com/2018/03/08/us/politics/obama-netflix-shows.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=first-column-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a>.\u003c/p>\n\u003cp>The paper, citing people who are familiar with the “advanced” discussions, reports:\u003c/p>\n\u003cblockquote>\n\u003cp data-para-count=\"319\" data-total-count=\"579\">“Under terms of a proposed deal, which is not yet final, Netflix would pay Mr. Obama and his wife, Michelle, for exclusive content that would be available only on the streaming service, which has nearly 118 million subscribers around the world. The number of episodes and the formats for the shows have not been decided.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Mr. Obama does not intend to use his Netflix shows to directly respond to President Trump or conservative critics, according to people familiar with discussions about the programming. They said the Obamas had talked about producing shows that highlight inspirational stories.”\u003c/p>\n\u003c/blockquote>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Multiple show concepts are under consideration.\u003c/p>\n\u003cp data-para-count=\"294\" data-total-count=\"1895\">In one possible show idea, Obama could moderate conversations on topics that dominated his presidency — health care, voting rights, immigration, foreign policy, climate change — and that have continued to divide a polarized American electorate during President Trump’s time in office.\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">Another program could feature the former first lady on topics, like nutrition, that she championed in the White House. The Obamas could also lend their brand — and their endorsement — to documentaries or fictional programming on Netflix that align with their beliefs and values.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">It’s unclear how much the Obamas would be paid. Executives from Apple and Amazon, which have their own streaming services, are said to have expressed interest in talking with the former president about content deals.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“President and Mrs. Obama have always believed in the power of storytelling to inspire,” Eric Schultz, a senior adviser to the former president, told the T\u003cem>imes\u003c/em> Thursday.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Throughout their lives, they have lifted up stories of people whose efforts to make a difference are quietly changing the world for the better. As they consider their future personal plans, they continue to explore new ways to help others tell and share their stories,” Schultz said.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">A Netflix spokesman declined to comment to media organizations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Netflix reports that they have more than 117 million subscribers, 55 million of whom are in the U.S. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Obama+In+Talks+To+Produce+Shows+For+Netflix%2C+Report+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former President Barack Obama is in negotiations with Netflix to produce a series of high-profile shows, according to a story in \u003ca href=\"https://www.nytimes.com/2018/03/08/us/politics/obama-netflix-shows.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=first-column-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a>.\u003c/p>\n\u003cp>The paper, citing people who are familiar with the “advanced” discussions, reports:\u003c/p>\n\u003cblockquote>\n\u003cp data-para-count=\"319\" data-total-count=\"579\">“Under terms of a proposed deal, which is not yet final, Netflix would pay Mr. Obama and his wife, Michelle, for exclusive content that would be available only on the streaming service, which has nearly 118 million subscribers around the world. The number of episodes and the formats for the shows have not been decided.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Mr. Obama does not intend to use his Netflix shows to directly respond to President Trump or conservative critics, according to people familiar with discussions about the programming. They said the Obamas had talked about producing shows that highlight inspirational stories.”\u003c/p>\n\u003c/blockquote>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Multiple show concepts are under consideration.\u003c/p>\n\u003cp data-para-count=\"294\" data-total-count=\"1895\">In one possible show idea, Obama could moderate conversations on topics that dominated his presidency — health care, voting rights, immigration, foreign policy, climate change — and that have continued to divide a polarized American electorate during President Trump’s time in office.\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">Another program could feature the former first lady on topics, like nutrition, that she championed in the White House. The Obamas could also lend their brand — and their endorsement — to documentaries or fictional programming on Netflix that align with their beliefs and values.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp data-para-count=\"296\" data-total-count=\"2191\">It’s unclear how much the Obamas would be paid. Executives from Apple and Amazon, which have their own streaming services, are said to have expressed interest in talking with the former president about content deals.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“President and Mrs. Obama have always believed in the power of storytelling to inspire,” Eric Schultz, a senior adviser to the former president, told the T\u003cem>imes\u003c/em> Thursday.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">“Throughout their lives, they have lifted up stories of people whose efforts to make a difference are quietly changing the world for the better. As they consider their future personal plans, they continue to explore new ways to help others tell and share their stories,” Schultz said.\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">A Netflix spokesman declined to comment to media organizations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp data-para-count=\"275\" data-total-count=\"854\">Netflix reports that they have more than 117 million subscribers, 55 million of whom are in the U.S. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Obama+In+Talks+To+Produce+Shows+For+Netflix%2C+Report+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the hands of a cynical genius like Billy Wilder or a wily craftsman like Steven Soderbergh, \u003cem>Gringo\u003c/em> might’ve become a satire for the ages, a mordant document that people of the future could study to understand this morally vacuous moment in the life of our republic. Alas, this bloody farce was directed by one Nash Edgerton — a stuntman and prolific music video director, and the big brother of star Joel Edgerton, who can currently be seen in the even-gnarlier spy drama \u003cem>Red Sparrow\u003c/em> in the theater down the hall. The elder Edgerton is a competent storyteller: \u003cem>Gringo’\u003c/em>s Byzantine plot mostly scans, and he keeps its sardonic tone consistent throughout. But just because a movie hits all the notes doesn’t mean it sings.\u003c/p>\n\u003cp>https://youtu.be/AAFRI12Cxb0\u003c/p>\n\u003cp>That’s too bad, because \u003cem>Gringo\u003c/em> has a lot going for it, including some occasionally sharp dialogue (by either Matthew Stone or Anthony Tambakis, who contributed to the bonebreaking and tearjerking Joel Edgerton /Tom Hardy MMA drama \u003cem>Warrior\u003c/em>) and a quartet of funny performances from players not primarily known for bringing the yuks: L’il Edgerton, Charlize Theron in full \u003cem>femme fatale \u003c/em>mode and beardy heavy Sharlto Copley.\u003c/p>\n\u003cp>The best and most surprising of the four is David Oyelowo, the versatile British actor who rose to the occasion to embody Martin Luther King, Jr. in \u003cem>Selma\u003c/em>. Here he plays Harold, a decent but all-too-credulous immigrant from Nigeria who works as a manager in the Chicago pharmaceuticals firm of which Edgerton and Theron are co-CEOs. (They make a habit of office trysts during business hours.) Harold is an honest man who sees the best in everyone, which in this genre means that everyone from his accountant to his bosses to his wife (Thandie Newton, in a truly thankless part) walks all over him. \u003c/p>\n\u003cp>When Harold learns he’ll soon be pushed out in a merger, he decides to extort a severance package of sorts by faking his own kidnapping, \u003cem>Fargo\u003c/em>-style. But just like hapless William H. Macy in that Coen Brothers classic, he’s unknowingly allied himself with dim-bulb crooks whose stupidity makes them \u003cem>more\u003c/em> dangerous, not less. There’s also a subplot involving Harry Treadaway and Amanda Seyfried as a small-time dealer and his pushover girlfriend who take a criminal errand to Mexico City that feels fully disposable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Did I call this thing a satire? With its ready embrace of stereotypes — Oyelowo’s hardworking immigrant, Edgerton’s sleazy Pharma bro, Theron’s backstabbing man-eater, Seyfried’s virtuous hanger-on, plus Carlos Corona as a Beatles-quoting Mexican cartel kingpin known as, um, The Black Panther — \u003cem>Gringo\u003c/em> often borders on pantomime. What redeems it, sort of, is Copley of all people. The South African actor and filmmaker has played trigger-happy psychos or gun-toting beardos in too many so-so films to list. The minor variation this time is that is that his mercenary character — the estranged brother of Edgerton’s swaggering CEO, because sure — has renounced his life of violence and dedicated himself to humanitarian relief work. So when Edgerton calls upon Copley’s Very Particular Set of Skills to try to rescue Harold rather than pony up the ransom money, \u003cem>Gringo\u003c/em> taps into its only genuine vein of suspense: Oyelowo is a fed-up, still-mostly-good man trying desperately to break bad, while Copley is a reformed killer trying to get his new leaf to stick. Whose principles shall prevail?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question of whether good or bad behavior can be transmitted by example is a truly inexhaustible one that has powered enduring works of art and forgettable diversions alike. \u003cem>Gringo\u003c/em> is the latter, a passable in-flight movie that limps home across the border with nothing much to declare. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Good+Man%27s+Moral+Compass+Points+South-Of-The-Border+In+%27Gringo%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the hands of a cynical genius like Billy Wilder or a wily craftsman like Steven Soderbergh, \u003cem>Gringo\u003c/em> might’ve become a satire for the ages, a mordant document that people of the future could study to understand this morally vacuous moment in the life of our republic. Alas, this bloody farce was directed by one Nash Edgerton — a stuntman and prolific music video director, and the big brother of star Joel Edgerton, who can currently be seen in the even-gnarlier spy drama \u003cem>Red Sparrow\u003c/em> in the theater down the hall. The elder Edgerton is a competent storyteller: \u003cem>Gringo’\u003c/em>s Byzantine plot mostly scans, and he keeps its sardonic tone consistent throughout. But just because a movie hits all the notes doesn’t mean it sings.\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/AAFRI12Cxb0'\n title='//www.youtube.com/embed/AAFRI12Cxb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s too bad, because \u003cem>Gringo\u003c/em> has a lot going for it, including some occasionally sharp dialogue (by either Matthew Stone or Anthony Tambakis, who contributed to the bonebreaking and tearjerking Joel Edgerton /Tom Hardy MMA drama \u003cem>Warrior\u003c/em>) and a quartet of funny performances from players not primarily known for bringing the yuks: L’il Edgerton, Charlize Theron in full \u003cem>femme fatale \u003c/em>mode and beardy heavy Sharlto Copley.\u003c/p>\n\u003cp>The best and most surprising of the four is David Oyelowo, the versatile British actor who rose to the occasion to embody Martin Luther King, Jr. in \u003cem>Selma\u003c/em>. Here he plays Harold, a decent but all-too-credulous immigrant from Nigeria who works as a manager in the Chicago pharmaceuticals firm of which Edgerton and Theron are co-CEOs. (They make a habit of office trysts during business hours.) Harold is an honest man who sees the best in everyone, which in this genre means that everyone from his accountant to his bosses to his wife (Thandie Newton, in a truly thankless part) walks all over him. \u003c/p>\n\u003cp>When Harold learns he’ll soon be pushed out in a merger, he decides to extort a severance package of sorts by faking his own kidnapping, \u003cem>Fargo\u003c/em>-style. But just like hapless William H. Macy in that Coen Brothers classic, he’s unknowingly allied himself with dim-bulb crooks whose stupidity makes them \u003cem>more\u003c/em> dangerous, not less. There’s also a subplot involving Harry Treadaway and Amanda Seyfried as a small-time dealer and his pushover girlfriend who take a criminal errand to Mexico City that feels fully disposable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "‘Architecture is a Backdrop for Life,’ Says 2018 Pritzker Winner Balkrishna Doshi | KQED",
"content": "\u003cp>Bal Krishna is the name sometimes given to the young Hindu god Krishna. Balkrishna Doshi was named for him, when he was born in 1927.\u003c/p>\n\u003cp>“They wanted me to remain young,” the 90-year-old architect explains, as he bursts into peals of laughter.\u003c/p>\n\u003cfigure id=\"attachment_13826488\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg\" alt=\"Doshi started studying architecture in 1947, the same year India gained independence.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi started studying architecture in 1947, the same year India gained independence. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi is the newest winner of the Pritzker Architecture Prize, known as the Nobel for architects.\u003c/p>\n\u003cp>Over the course of six decades, he has become famous in his native India as an educator who transformed practices in his field, partly by establishing several schools of architecture and design. He has built more than a hundred buildings that reflect his investment in local materials, social change and the environment. As a student and young architect himself, Doshi worked with two of the great Modernists of the 20th century: Le Corbusier and Louis Kahn.\u003c/p>\n\u003cp>“For me, the best lessons ever given by Le Corbusier was by drawing on my table — he was sitting on the table and drawing with me,” Doshi tells NPR. “So he was showing me how people would move, how they would go, how the birds would fly through the buildings, how you would see nature, landscapes. And when he drew a sketch of a tree, you could see the tree \u003cem>moving\u003c/em>. And I think those experiences have stayed with me, and connected me to my childhood and my family and my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Doshi started studying architecture in 1947, the same year India gained independence. His family built furniture, not buildings, but one of the architect’s earliest inspirations was his grandfather’s house, upon which new levels were repeatedly added, to accommodate three uncles and their families.\u003c/p>\n\u003cp>“I always sensed the space as alive,” Doshi remembers. “Space and light and the kind of movement that gets into the space for me are very, very significant. That’s what generates a dialogue. That’s what generates activities. And that’s where you begin to become part of life. My architecture philosophy is: Architecture is a backdrop for life.”\u003c/p>\n\u003cfigure id=\"attachment_13826486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg\" alt=\"Doshi's design for Bangalore's Indian Institute of Management was inspired by traditional maze-like Indian cities and temples.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Bangalore’s Indian Institute of Management was inspired by traditional maze-like Indian cities and temples. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi’s most significant buildings over the past decades include two housing projects and at least 10 schools of higher education, ranging from the Indian Institute of Management in Lucknow to New Delhi’s National Institute of Fashion Technology.\u003c/p>\n\u003cp>He remembers sitting outside under a tree for some of his childhood classes, so when he designs buildings meant for education, Doshi aims to connect the students with their natural environment. “We are constantly preoccupied with ourselves,” he tells NPR. “And we are never aware of what goes on around us, or what the space is. And for me, [the] experiences I try to create in the work are those where people really begin to feel what is here and inside them, and what brings it out.”\u003c/p>\n\u003cfigure id=\"attachment_13826489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg\" alt=\"Doshi's design for Ahmedabad's Centre for Environmental Planning and Technology dates back to 1966.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Ahmedabad’s Centre for Environmental Planning and Technology dates back to 1966. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While giving the \u003ca href=\"https://www.youtube.com/watch?v=H_kz-KxzExs\" target=\"_blank\" rel=\"noopener\">annual architecture lecture last year\u003c/a> at the Royal Academy of Arts in London, Doshi remarked on the three principles that guide his work: “porosity, paradox and practice.” He also compared his architecture to a celebratory Indian meal, with lots of elements meant to be consumed in any order, rather than sequentially; diners may experience the meal however they please.\u003c/p>\n\u003cp>As an example, Doshi pointed to his own office, Sangath, in the city of Ahmedabad, which he completed in 1980.\u003c/p>\n\u003cp>“You don’t see the place as an office because it doesn’t look like an office, really,” he explains. “There’s a garden. Meandering through, you don’t see anybody. So you wonder whether the office has any people or not. You don’t know where the entrance is. So actually, it’s a surprise to discover it. But in the meantime, you change your attitude. You’ve forgotten the crowd. Then you are listening to the music that’s going on through the small speakers around. Then you go into the office and you are … below ground. I think it’s like a journey. Architecture is a journey — a journey of discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13826490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg\" alt=\"Doshi created Ahmedabad's Institute of Indology building in 1962.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi created Ahmedabad’s Institute of Indology building in 1962. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s exactly what he wants visitors to all of his buildings to experience.\u003c/p>\n\u003cp>“I want them to forget why they came. This is the way to hypnotize them,” the Pritzker winner explains, his voice catching with laughter. “This is such a wonderful thing to do. Why should we take architecture seriously?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Balkrishna Doshi believes that, like life itself, architecture should be experienced with exuberance and wonder, and with an abiding sense of its endless possibilities. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Architecture+Is+A+Backdrop+For+Life%2C%27+Says+2018+Pritzker+Winner+Balkrishna+Doshi&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Indian architect has been awarded the Pritzker Architecture Prize, known as the Nobel for architects. His buildings reflect an investment in local materials, social change and the environment.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bal Krishna is the name sometimes given to the young Hindu god Krishna. Balkrishna Doshi was named for him, when he was born in 1927.\u003c/p>\n\u003cp>“They wanted me to remain young,” the 90-year-old architect explains, as he bursts into peals of laughter.\u003c/p>\n\u003cfigure id=\"attachment_13826488\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg\" alt=\"Doshi started studying architecture in 1947, the same year India gained independence.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/balkrishna-doshi_-courtesy-of-vsf-184c7d784088efcbf5b3024cf8b99adbcae272ee.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi started studying architecture in 1947, the same year India gained independence. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi is the newest winner of the Pritzker Architecture Prize, known as the Nobel for architects.\u003c/p>\n\u003cp>Over the course of six decades, he has become famous in his native India as an educator who transformed practices in his field, partly by establishing several schools of architecture and design. He has built more than a hundred buildings that reflect his investment in local materials, social change and the environment. As a student and young architect himself, Doshi worked with two of the great Modernists of the 20th century: Le Corbusier and Louis Kahn.\u003c/p>\n\u003cp>“For me, the best lessons ever given by Le Corbusier was by drawing on my table — he was sitting on the table and drawing with me,” Doshi tells NPR. “So he was showing me how people would move, how they would go, how the birds would fly through the buildings, how you would see nature, landscapes. And when he drew a sketch of a tree, you could see the tree \u003cem>moving\u003c/em>. And I think those experiences have stayed with me, and connected me to my childhood and my family and my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Doshi started studying architecture in 1947, the same year India gained independence. His family built furniture, not buildings, but one of the architect’s earliest inspirations was his grandfather’s house, upon which new levels were repeatedly added, to accommodate three uncles and their families.\u003c/p>\n\u003cp>“I always sensed the space as alive,” Doshi remembers. “Space and light and the kind of movement that gets into the space for me are very, very significant. That’s what generates a dialogue. That’s what generates activities. And that’s where you begin to become part of life. My architecture philosophy is: Architecture is a backdrop for life.”\u003c/p>\n\u003cfigure id=\"attachment_13826486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg\" alt=\"Doshi's design for Bangalore's Indian Institute of Management was inspired by traditional maze-like Indian cities and temples.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/indian-institute-of-management-bangalore_courtesy-of-vsf_slide-62acbfd2c4c6553abce6f7414d6ac00b01331969.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Bangalore’s Indian Institute of Management was inspired by traditional maze-like Indian cities and temples. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Doshi’s most significant buildings over the past decades include two housing projects and at least 10 schools of higher education, ranging from the Indian Institute of Management in Lucknow to New Delhi’s National Institute of Fashion Technology.\u003c/p>\n\u003cp>He remembers sitting outside under a tree for some of his childhood classes, so when he designs buildings meant for education, Doshi aims to connect the students with their natural environment. “We are constantly preoccupied with ourselves,” he tells NPR. “And we are never aware of what goes on around us, or what the space is. And for me, [the] experiences I try to create in the work are those where people really begin to feel what is here and inside them, and what brings it out.”\u003c/p>\n\u003cfigure id=\"attachment_13826489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg\" alt=\"Doshi's design for Ahmedabad's Centre for Environmental Planning and Technology dates back to 1966.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/centre-for-environmental-planning-and-technology_courtesy-of-vsf_slide-1ab09fedbd994686b340bced6a4fbaf9139207c2.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi’s design for Ahmedabad’s Centre for Environmental Planning and Technology dates back to 1966. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While giving the \u003ca href=\"https://www.youtube.com/watch?v=H_kz-KxzExs\" target=\"_blank\" rel=\"noopener\">annual architecture lecture last year\u003c/a> at the Royal Academy of Arts in London, Doshi remarked on the three principles that guide his work: “porosity, paradox and practice.” He also compared his architecture to a celebratory Indian meal, with lots of elements meant to be consumed in any order, rather than sequentially; diners may experience the meal however they please.\u003c/p>\n\u003cp>As an example, Doshi pointed to his own office, Sangath, in the city of Ahmedabad, which he completed in 1980.\u003c/p>\n\u003cp>“You don’t see the place as an office because it doesn’t look like an office, really,” he explains. “There’s a garden. Meandering through, you don’t see anybody. So you wonder whether the office has any people or not. You don’t know where the entrance is. So actually, it’s a surprise to discover it. But in the meantime, you change your attitude. You’ve forgotten the crowd. Then you are listening to the music that’s going on through the small speakers around. Then you go into the office and you are … below ground. I think it’s like a journey. Architecture is a journey — a journey of discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13826490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg\" alt=\"Doshi created Ahmedabad's Institute of Indology building in 1962.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/institute-of-indology_courtesy-of-vsf_slide-00e7c1c5e8d9147034babd083eaf6dc5de3a2ab7.jpg 1425w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doshi created Ahmedabad’s Institute of Indology building in 1962. \u003ccite>(Courtesy of VSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s exactly what he wants visitors to all of his buildings to experience.\u003c/p>\n\u003cp>“I want them to forget why they came. This is the way to hypnotize them,” the Pritzker winner explains, his voice catching with laughter. “This is such a wonderful thing to do. Why should we take architecture seriously?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Balkrishna Doshi believes that, like life itself, architecture should be experienced with exuberance and wonder, and with an abiding sense of its endless possibilities. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Architecture+Is+A+Backdrop+For+Life%2C%27+Says+2018+Pritzker+Winner+Balkrishna+Doshi&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Deal to Take Over the Weinstein Co. Falls Through",
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"content": "\u003cp>The effort by a group of investors to buy the Weinstein Co., founded by the disgraced Hollywood mogul Harvey Weinstein, has ended.\u003c/p>\n\u003cp>The collapse of the deal was confirmed in a statement issued Tuesday by Maria Contreras-Sweet, a former Obama administration official.\u003c/p>\n\u003cblockquote>\n\u003cp>“All of us have worked in earnest on the transaction to purchase the assets of The Weinstein Company. However, after signing and entering into the confirmatory diligence phase, we have received disappointing information about the viability of completing this transaction.\u003c/p>\n\u003cp>“As a result, we have decided to terminate this transaction.”\u003c/p>\n\u003c/blockquote>\n\u003cp>A source familiar with the deal told NPR that the “disappointing information” was the revelation of another $50 million-plus of debt, in addition to that previously known by the investors. Another source close to the negotiations said it was a combination of the new information and the worry that more debt could be uncovered later that killed the deal.\u003c/p>\n\u003cp>Contreras-Sweet had headed the Small Business Administration under President Barack Obama. She led a group of investors backed by billionaire Ron Burkle.\u003c/p>\n\u003cp>As the Two-Way \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/01/590091949/investor-group-has-deal-to-buy-weinstein-co-start-new-movie-studio\">reported\u003c/a>, the investor group had hoped to salvage the New York-based Weinstein Co. after it announced in late February that it would file for bankruptcy in the wake of a storm of allegations of sexual misconduct, including rape, against Harvey Weinstein.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The company also was hit by a civil rights lawsuit filed by New York Attorney General Eric Schneiderman alleging that it broke state laws against sexual harassment and discrimination.\u003c/p>\n\u003cp>“We’ll be disappointed if the parties cannot work out their differences and close the deal. Our lawsuit against the Weinstein Company, Bob Weinstein, and Harvey Weinstein remains active and our investigation is ongoing,” said Schneiderman’s press secretary Amy Spitalnick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Contreras-Sweet thanked Schneiderman, Burkle and other investors involved in the now-collapsed deal. She also left open the possibility of pursuing company assets in bankruptcy proceedings.\u003c/p>\n\u003cblockquote>\n\u003cp>“I believe that our vision to create a women-led film studio is still the correct course of action. To that end, we will consider acquiring assets that may become available in the event of bankruptcy proceedings, as well as other opportunities that may become available in the entertainment industry.\u003c/p>\n\u003cp>“I remain committed to working to advance women’s business ownership in all sectors and to inspire girls to envision their futures as leaders of important companies.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Deal+To+Take+Over+The+Weinstein+Co.+Falls+Through&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The effort by a group of investors to buy the Weinstein Co., founded by the disgraced Hollywood mogul Harvey Weinstein, has ended.\u003c/p>\n\u003cp>The collapse of the deal was confirmed in a statement issued Tuesday by Maria Contreras-Sweet, a former Obama administration official.\u003c/p>\n\u003cblockquote>\n\u003cp>“All of us have worked in earnest on the transaction to purchase the assets of The Weinstein Company. However, after signing and entering into the confirmatory diligence phase, we have received disappointing information about the viability of completing this transaction.\u003c/p>\n\u003cp>“As a result, we have decided to terminate this transaction.”\u003c/p>\n\u003c/blockquote>\n\u003cp>A source familiar with the deal told NPR that the “disappointing information” was the revelation of another $50 million-plus of debt, in addition to that previously known by the investors. Another source close to the negotiations said it was a combination of the new information and the worry that more debt could be uncovered later that killed the deal.\u003c/p>\n\u003cp>Contreras-Sweet had headed the Small Business Administration under President Barack Obama. She led a group of investors backed by billionaire Ron Burkle.\u003c/p>\n\u003cp>As the Two-Way \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/01/590091949/investor-group-has-deal-to-buy-weinstein-co-start-new-movie-studio\">reported\u003c/a>, the investor group had hoped to salvage the New York-based Weinstein Co. after it announced in late February that it would file for bankruptcy in the wake of a storm of allegations of sexual misconduct, including rape, against Harvey Weinstein.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The company also was hit by a civil rights lawsuit filed by New York Attorney General Eric Schneiderman alleging that it broke state laws against sexual harassment and discrimination.\u003c/p>\n\u003cp>“We’ll be disappointed if the parties cannot work out their differences and close the deal. Our lawsuit against the Weinstein Company, Bob Weinstein, and Harvey Weinstein remains active and our investigation is ongoing,” said Schneiderman’s press secretary Amy Spitalnick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Contreras-Sweet thanked Schneiderman, Burkle and other investors involved in the now-collapsed deal. She also left open the possibility of pursuing company assets in bankruptcy proceedings.\u003c/p>\n\u003cblockquote>\n\u003cp>“I believe that our vision to create a women-led film studio is still the correct course of action. To that end, we will consider acquiring assets that may become available in the event of bankruptcy proceedings, as well as other opportunities that may become available in the entertainment industry.\u003c/p>\n\u003cp>“I remain committed to working to advance women’s business ownership in all sectors and to inspire girls to envision their futures as leaders of important companies.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Deal+To+Take+Over+The+Weinstein+Co.+Falls+Through&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 'Wrinkle In Time' Movie Began as a Fifth-Grader's Dream",
"headTitle": "The ‘Wrinkle In Time’ Movie Began as a Fifth-Grader’s Dream | KQED",
"content": "\u003cp>To create the fantastical, otherworldly story in \u003cem>A Wrinkle In Time\u003c/em>, the cast and crew traveled to the mountains of New Zealand and to a sequoia forest in Northern California. They also created elaborate sets on a soundstage in Santa Clarita, north of Los Angeles, which is where director Ava DuVernay was behind the camera over a year ago.\u003c/p>\n\u003cp>She was shooting the climactic action sequence of the science fantasy movie. Actors Storm Reid and Chris Pine ran though a complicated set that would later be digitally rendered to represent a tesseract — a portal through space and time, by way of a fifth dimension.\u003c/p>\n\u003cp>When DuVernay became the first African-American woman to direct a movie with a budget over $100 million, it was her job to help create new worlds. That included hiring a diverse cast and crew.\u003c/p>\n\u003cp>“I’m proud of what this crew looks like,” DuVernay says. “It looks like the real world. Different kinds of people, colors, creeds, cultures of people. I cast it with what came to my mind, what came to my imagination, what came to my heart.”\u003c/p>\n\u003cp>DuVernay imagined the hero of the story — Meg Murry — as a biracial teen with curly hair and glasses. She leaves her home (filmed in Compton, Calif., DuVernay’s hometown) and travels through time and space looking for her father, a scientist who has mysteriously disappeared.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meg’s father is portrayed by Chris Pine, the blond and blue-eyed actor who played \u003cem>Star Trek\u003c/em>‘s Captain Kirk and \u003cem>Wonder Woman\u003c/em>‘s boyfriend. Meg herself is played by 14-year-old Storm Reid, who made her debut in the Oscar-winning film \u003cem>Twelve Years A Slave\u003c/em>. Here’s how she explains her role:\u003c/p>\n\u003cp>“Meg is a lost teenager, as in trying to find herself,” Reid says. “And she’s just getting in a lot of trouble. She is worried about her dad, and her dad’s been missing for the past four years, and not knowing if her dad really did get lost in the universe or if her dad left her.”\u003c/p>\n\u003cp>In her search, Meg goes on an interplanetary adventure with her precocious little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller). They’re guided by three mysterious celestial beings — Mrs. Whatsit, Mrs. Who, and Mrs. Which — played by Reese Witherspoon, Mindy Kaling and Oprah Winfrey, respectively.\u003c/p>\n\u003cp>It’s Mrs. Which who tells Meg that she’s the only one who can save her father from an evil in the universe. “Be a warrior,” she urges.\u003c/p>\n\u003cfigure id=\"attachment_13826428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg\" alt=\"L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney's 'A Wrinkle In Time.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney’s ‘A Wrinkle In Time.’ \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get to the origin of this film, you have to wrinkle time back to the early 1960s, when Madeleine L’Engle finished a young adult novel inspired by quantum physics. It opens with the familiar line: “It was a dark and stormy night.”\u003c/p>\n\u003cp>She was rejected by dozens of publishers who said the themes were too complicated for kids. But Farrar, Straus and Giroux took a chance, publishing\u003cem> A Wrinkle In Time\u003c/em> in 1962. The following year, the sci-fi book with a female hero won a prestigious Newbery Award for children’s literature.\u003c/p>\n\u003cp>And it caught the imagination of a Los Angeles fifth grader named Catherine Hand. She says she’d been sent to her school library for talking too much in class.\u003c/p>\n\u003cp>“And this librarian comes over to me and says, ‘I have a book I think that you would like,'” Hand says. “‘It’s about a little girl just like you.'”\u003c/p>\n\u003cp>That night, she sat down with the book. The Santa Ana winds were blowing through the open window of her bedroom.\u003c/p>\n\u003cp>“It was a dark and stormy night,” Hand says. “And I read the book. I loved it. And I started a letter to Walt Disney to tell him about this book and have me star as Meg. And I was a little shy in sending him the letter, so I kind of put it to the side.”\u003c/p>\n\u003cp>Walt Disney died a year later.\u003c/p>\n\u003cp>“And I knew of nobody who made movies for children other than Walt Disney,” Hand says. “So I made a promise to myself that I would grow up and make the movie.”\u003c/p>\n\u003cp>Fast forward through time and space to 1979: Catherine Hand is in her 20s and is an executive assistant to writer-producer Norman Lear — creator of hit 1970s TV shows such as \u003cem>All In The Family\u003c/em> and \u003cem>The Jeffersons\u003c/em>. Hand says she convinced him to ask for the movie rights to her favorite book. Then she met up with Madeleine L’Engle at the restaurant on top of the World Trade Center.\u003c/p>\n\u003cp>“I was so nervous,” Hand says. “I mean, to me, she had been the goddess in my life. She had painted the picture of the universe that was so real to me. And we’re sitting at lunch and she leans over and she says, ‘You know, there really is such a thing as a tesseract.’ And I thought: Oh my god! I’m sitting here with Mrs. Whatsit!”\u003c/p>\n\u003cp>L’Engle gave her blessing — and the movie rights — to Lear’s company. But Lear’s first choice as director, Stanley Kubrick, passed on the project.\u003c/p>\n\u003cp>“And I went through many, many different writers, many different screenplays. I worked on it for about 10 years with Norman. And then his option was up. And by that time, I had become extremely close to Madeleine. And so basically she said, ‘Well, OK, you go set it up someplace else, and I won’t sign anything unless you’re the producer.'”\u003c/p>\n\u003cp>Hand went on to become vice president of Embassy Pictures and development director for Francis Ford Coppola’s American Zoetrope production company. She also worked in politics, helping launch the liberal advocacy group People for the American Way. And for decades, she continued to pursue \u003cem>A Wrinkle In Time\u003c/em> as a movie.\u003c/p>\n\u003cp>Finally, in 2003, Hand executive-produced a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1890065\">made-for-TV version\u003c/a> by Miramax and ABC Films. But Hand says she and L’Engle, who died in 2007, felt the final product fell flat.\u003c/p>\n\u003cp>“She was disappointed with that and so was I,” she says. “We had so many constraints. And number one was budget. At the end of the day, you take a look at it and go: Wait a minute, was that my childhood dream? No it’s not. So it took another 14 years to get here.”\u003c/p>\n\u003cp>So 54 years after she first read the book, Hand is now one of the producers for Disney’s new $100 million dollar film.\u003c/p>\n\u003cp>“It’s a very emotional story,” she says. “It’s about growing up. You know, what is good, what is evil, what is family, what is love — amidst a cosmic backdrop of a grand adventure. I used to say it was it was a cross between \u003cem>The Wizard Of Oz\u003c/em> and \u003cem>Star Wars\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13826433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg\" alt=\"'A Wrinkle In Time' follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O'Keefe (Levi Miller) in their adventures through space and time.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Wrinkle In Time’ follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller) in their adventures through space and time. \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back on set, director Ava DuVernay says L’Engle had a lot to say about society.\u003c/p>\n\u003cp>“You know, the battle of light and dark, the moral battles that are happening with the characters in the film, certainly figure into what folks might be thinking about right now — politically, culturally, economically,” she says. “It existed for the author at the time that she wrote it … and certainly we haven’t combatted those issues now. So this material still resonates today.”\u003c/p>\n\u003cp>Over the years, some people have objected to the book’s themes. \u003cem>A Wrinkle In Time\u003c/em> remains one of the most frequently banned American books.\u003c/p>\n\u003cp>“That’s why this book is awesome,” DuVernay says. “It was a banned book. That’s my favorite thing about this project. It’s like on the top 10 banned book list, and that just makes me say: Yes! Let’s do it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>DuVernay says this is the right moment to tell a story about fighting darkness with light. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+%27Wrinkle+In+Time%27+Movie+Began+As+A+Fifth-Grader%27s+Dream&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To create the fantastical, otherworldly story in \u003cem>A Wrinkle In Time\u003c/em>, the cast and crew traveled to the mountains of New Zealand and to a sequoia forest in Northern California. They also created elaborate sets on a soundstage in Santa Clarita, north of Los Angeles, which is where director Ava DuVernay was behind the camera over a year ago.\u003c/p>\n\u003cp>She was shooting the climactic action sequence of the science fantasy movie. Actors Storm Reid and Chris Pine ran though a complicated set that would later be digitally rendered to represent a tesseract — a portal through space and time, by way of a fifth dimension.\u003c/p>\n\u003cp>When DuVernay became the first African-American woman to direct a movie with a budget over $100 million, it was her job to help create new worlds. That included hiring a diverse cast and crew.\u003c/p>\n\u003cp>“I’m proud of what this crew looks like,” DuVernay says. “It looks like the real world. Different kinds of people, colors, creeds, cultures of people. I cast it with what came to my mind, what came to my imagination, what came to my heart.”\u003c/p>\n\u003cp>DuVernay imagined the hero of the story — Meg Murry — as a biracial teen with curly hair and glasses. She leaves her home (filmed in Compton, Calif., DuVernay’s hometown) and travels through time and space looking for her father, a scientist who has mysteriously disappeared.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meg’s father is portrayed by Chris Pine, the blond and blue-eyed actor who played \u003cem>Star Trek\u003c/em>‘s Captain Kirk and \u003cem>Wonder Woman\u003c/em>‘s boyfriend. Meg herself is played by 14-year-old Storm Reid, who made her debut in the Oscar-winning film \u003cem>Twelve Years A Slave\u003c/em>. Here’s how she explains her role:\u003c/p>\n\u003cp>“Meg is a lost teenager, as in trying to find herself,” Reid says. “And she’s just getting in a lot of trouble. She is worried about her dad, and her dad’s been missing for the past four years, and not knowing if her dad really did get lost in the universe or if her dad left her.”\u003c/p>\n\u003cp>In her search, Meg goes on an interplanetary adventure with her precocious little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller). They’re guided by three mysterious celestial beings — Mrs. Whatsit, Mrs. Who, and Mrs. Which — played by Reese Witherspoon, Mindy Kaling and Oprah Winfrey, respectively.\u003c/p>\n\u003cp>It’s Mrs. Which who tells Meg that she’s the only one who can save her father from an evil in the universe. “Be a warrior,” she urges.\u003c/p>\n\u003cfigure id=\"attachment_13826428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg\" alt=\"L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney's 'A Wrinkle In Time.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitcelestial_wide-8fa2c7c94834eb34e21e8a730ca179dff3c8e736.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Mindy Kaling is Mrs. Who, Oprah Winfrey is Mrs. Which and Reese Witherspoon is Mrs. Whatsit in Disney’s ‘A Wrinkle In Time.’ \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get to the origin of this film, you have to wrinkle time back to the early 1960s, when Madeleine L’Engle finished a young adult novel inspired by quantum physics. It opens with the familiar line: “It was a dark and stormy night.”\u003c/p>\n\u003cp>She was rejected by dozens of publishers who said the themes were too complicated for kids. But Farrar, Straus and Giroux took a chance, publishing\u003cem> A Wrinkle In Time\u003c/em> in 1962. The following year, the sci-fi book with a female hero won a prestigious Newbery Award for children’s literature.\u003c/p>\n\u003cp>And it caught the imagination of a Los Angeles fifth grader named Catherine Hand. She says she’d been sent to her school library for talking too much in class.\u003c/p>\n\u003cp>“And this librarian comes over to me and says, ‘I have a book I think that you would like,'” Hand says. “‘It’s about a little girl just like you.'”\u003c/p>\n\u003cp>That night, she sat down with the book. The Santa Ana winds were blowing through the open window of her bedroom.\u003c/p>\n\u003cp>“It was a dark and stormy night,” Hand says. “And I read the book. I loved it. And I started a letter to Walt Disney to tell him about this book and have me star as Meg. And I was a little shy in sending him the letter, so I kind of put it to the side.”\u003c/p>\n\u003cp>Walt Disney died a year later.\u003c/p>\n\u003cp>“And I knew of nobody who made movies for children other than Walt Disney,” Hand says. “So I made a promise to myself that I would grow up and make the movie.”\u003c/p>\n\u003cp>Fast forward through time and space to 1979: Catherine Hand is in her 20s and is an executive assistant to writer-producer Norman Lear — creator of hit 1970s TV shows such as \u003cem>All In The Family\u003c/em> and \u003cem>The Jeffersons\u003c/em>. Hand says she convinced him to ask for the movie rights to her favorite book. Then she met up with Madeleine L’Engle at the restaurant on top of the World Trade Center.\u003c/p>\n\u003cp>“I was so nervous,” Hand says. “I mean, to me, she had been the goddess in my life. She had painted the picture of the universe that was so real to me. And we’re sitting at lunch and she leans over and she says, ‘You know, there really is such a thing as a tesseract.’ And I thought: Oh my god! I’m sitting here with Mrs. Whatsit!”\u003c/p>\n\u003cp>L’Engle gave her blessing — and the movie rights — to Lear’s company. But Lear’s first choice as director, Stanley Kubrick, passed on the project.\u003c/p>\n\u003cp>“And I went through many, many different writers, many different screenplays. I worked on it for about 10 years with Norman. And then his option was up. And by that time, I had become extremely close to Madeleine. And so basically she said, ‘Well, OK, you go set it up someplace else, and I won’t sign anything unless you’re the producer.'”\u003c/p>\n\u003cp>Hand went on to become vice president of Embassy Pictures and development director for Francis Ford Coppola’s American Zoetrope production company. She also worked in politics, helping launch the liberal advocacy group People for the American Way. And for decades, she continued to pursue \u003cem>A Wrinkle In Time\u003c/em> as a movie.\u003c/p>\n\u003cp>Finally, in 2003, Hand executive-produced a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1890065\">made-for-TV version\u003c/a> by Miramax and ABC Films. But Hand says she and L’Engle, who died in 2007, felt the final product fell flat.\u003c/p>\n\u003cp>“She was disappointed with that and so was I,” she says. “We had so many constraints. And number one was budget. At the end of the day, you take a look at it and go: Wait a minute, was that my childhood dream? No it’s not. So it took another 14 years to get here.”\u003c/p>\n\u003cp>So 54 years after she first read the book, Hand is now one of the producers for Disney’s new $100 million dollar film.\u003c/p>\n\u003cp>“It’s a very emotional story,” she says. “It’s about growing up. You know, what is good, what is evil, what is family, what is love — amidst a cosmic backdrop of a grand adventure. I used to say it was it was a cross between \u003cem>The Wizard Of Oz\u003c/em> and \u003cem>Star Wars\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13826433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg\" alt=\"'A Wrinkle In Time' follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O'Keefe (Levi Miller) in their adventures through space and time.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/awitthree_wide-17bde0b17567d34d20da7a3c43d01772905c45ef.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘A Wrinkle In Time’ follows Meg Murry (Storm Reid), her little brother Charles Wallace Murry (Deric McCabe) and her best friend Calvin O’Keefe (Levi Miller) in their adventures through space and time. \u003ccite>(Atsushi Nishijima/Disney Enterprises, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back on set, director Ava DuVernay says L’Engle had a lot to say about society.\u003c/p>\n\u003cp>“You know, the battle of light and dark, the moral battles that are happening with the characters in the film, certainly figure into what folks might be thinking about right now — politically, culturally, economically,” she says. “It existed for the author at the time that she wrote it … and certainly we haven’t combatted those issues now. So this material still resonates today.”\u003c/p>\n\u003cp>Over the years, some people have objected to the book’s themes. \u003cem>A Wrinkle In Time\u003c/em> remains one of the most frequently banned American books.\u003c/p>\n\u003cp>“That’s why this book is awesome,” DuVernay says. “It was a banned book. That’s my favorite thing about this project. It’s like on the top 10 banned book list, and that just makes me say: Yes! Let’s do it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>DuVernay says this is the right moment to tell a story about fighting darkness with light. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+%27Wrinkle+In+Time%27+Movie+Began+As+A+Fifth-Grader%27s+Dream&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Writer Sherman Alexie last week \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\" target=\"_blank\" rel=\"noopener\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. Without providing details, Alexie said “there are women telling the truth,” and apologized to the people he has hurt. Now, some of those women have come forward to speak to NPR about their experiences with him.\u003c/p>\n\u003cp>Alexie may not be a household name, but he is one of the country’s best known Native American poets and writers, with a charismatic personality and a large following. He won the National Book Award in 2007 for his young adult novel \u003cem>The Absolutely True Diary of a Part Time Indian\u003c/em>, and wrote the screenplay for the film \u003cem>Smoke Signals\u003c/em>, based on one of his stories. So the news about him has rocked the worlds of both Native American and children’s literature.\u003c/p>\n\u003cp>In those circles, “well, he’s a rock star,” says children’s book author Anne Ursu. After the Harvey Weinstein sexual harassment story broke, Ursu decided to survey women in the children’s book business to see if they too had experienced such problems — just as many media companies, including NPR, have. \u003ca href=\"https://medium.com/@anneursu_10179/sexual-harassment-in-the-childrens-book-industry-3417048ccde2\" target=\"_blank\" rel=\"noopener\">Ursu’s story, which she published in February on the website Medium\u003c/a>, contributed to the whisper of sexual scandal that was already building around some well-known authors — including Alexie. Ursu says some of the most popular kids’ book writers used the power of their celebrity to seduce women.\u003c/p>\n\u003cp>“If you are an aspiring author and you go to a reading of someone who is famous and beloved and whose work you admire, and he suddenly takes an interest in you and your work, and he thinks you’re special, and you start emailing, and he wants to mentor you — and then suddenly it turns out all he wanted to do is have sex with you. Those writers are left utterly devastated.”\u003c/p>\n\u003cp>The rumors about Alexie were already growing louder when, about a week ago, Seattle-based writer Litsa Dremousis began tweeting about him, calling on women to share their stories. NPR — like other news organizations — reached out to her. She told us she’d had an affair with Alexie, but had remained friends with him until the stories about his sexual behavior surfaced. In his statement, Alexie denounced Dremousis. But before that, NPR began interviewing the women she referred to us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a story about power, and abuse of power,” says Jeanine Walker, one of three women who came forward on the record, and whose stories NPR has corroborated with several sources. In all, ten women spoke to NPR about Alexie — who is a married man. Most of the women wanted to remain anonymous, but a clear pattern emerged: The women reported behavior ranging from inappropriate comments both in private and in public, to flirting that veered suddenly into sexual territory, unwanted sexual advances and consensual sexual relations that ended abruptly. The women said Alexie had traded on his literary celebrity to lure them into uncomfortable sexual situations.\u003c/p>\n\u003cp>“Of course, I was really excited, I mean, Sherman Alexie, he’s interested in my poems,” Walker says. She’s a poet and teacher who was managing a Writers in the Schools program in Seattle when she arranged to have Alexie visit a classroom. Afterwards, Alexie said he had checked out her poetry online, and asked her to send him a manuscript.\u003c/p>\n\u003cp>Alexie never got back to her on the poems, but they did become friendly. Walker says it was strictly platonic. One day, they met to play basketball at a court in his office building. Afterwards, Walker went to change her clothes in a restroom in his office. “When I turned around he was right behind me, and just like physically very much in my space. And leaned towards me and said, ‘Can I kiss you?’ I said no and backed away, and he kept moving forward and was like, laughing and smiling and sweaty and whatever, and he said ‘It’s just, we’re playing basketball, you remind me of the girlfriends I had in high school.’ And I just said ‘Well, we’re not in high school, Sherman.'”\u003c/p>\n\u003cp>Alexie later apologized, and Walker says she stayed in touch with him for a while. She sent him her poems again — but never got anything but a quick comment and a promise of more to come. She says Alexie is a big deal in her hometown of Seattle. “And he’s connected to the organization I work for, and if he had never expressed an interest in my poems I probably wouldn’t have pursued spending any time with him. But he did express an interest. And so then when I discover that interest is actually physical, it just felt very wrong.”\u003c/p>\n\u003cp>Erika Wurth was a 22-year-old aspiring writer when she first met Alexie. As a Native American, he was a hero to her, and she hoped he might become a mentor. About a year after their first meeting, he suggested she come to one of his readings in Colorado. She went, and afterwards walked back to his hotel with him — after chatting in the lobby, she started to leave, “and he jumps over the coffee table and begins trying to kiss me,” she says. “And I went into a state of non-reality. I had almost no sexual experience, I couldn’t believe it. And he’s like, ‘Come to my room.'”\u003c/p>\n\u003cp>Wurth did, and ended up on his bed. “He’s kind of taking my clothes off and kissing me,” she remembers. “And I’m kind of like stock still, trying to convince myself this is OK. It’s not working, and eventually I say, because I am kind of scared of this situation, ‘I’m a virgin.’ But it got really weird, because then he’s still trying to work me over, and I’m just stock still, and I think at that point, in my opinion, he realized that if he wanted to have sex with me he would have to violate me, he’d have to rape me. And he did stop.”\u003c/p>\n\u003cp>Wurth says she stayed in touch with Alexie, hoping he would still be her mentor — or at least apologize. Several years later, they had a second sexual encounter which also ended badly. Eventually, he did give her a positive quote for her first book, and a letter of recommendation — which she now thinks was to keep her quiet. Their relationship became contentious, and after a series of angry emails, Wurth decided to cut ties with him, disillusioned by the way he treated her. “Never admitting what he’d done, never apologizing. And I just was like, I don’t ever want to be around this guy again. He’s poisonous. He’s not OK.” \u003c/p>\n\u003cp>Alexie has enormous influence on the careers of Native American writers, and Wurth worries about what he may say about her to others in the business. So does Elissa Washuta. She met Alexie when she was getting ready to publish her first book, and was hoping that he could help her with it. She went out one night with a group of people that included Alexie. She was chatting with him when “seemingly apropos of nothing, Sherman told me that he could have sex with me if he wanted to,” she says. “But he used a stronger word, beginning with F. You know, he had not said it quietly, he had not whispered it. It seemed that the men we were talking to could have heard it. I couldn’t believe that somebody would say something to me like that. This older man who I didn’t know, who was much more powerful than me.”\u003c/p>\n\u003cp>Washuta says that although she was worried that the other men who were with them — all part of the local literary scene — had heard Alexie, she didn’t have the nerve to say anything about it at the time. “I felt I really needed his approval and I needed his help in order to get this book off the ground. And so as uncomfortable as I was, I felt I could laugh off that comment in a way. But I still felt that he had so much power that I should probably not make a fuss about this.”\u003c/p>\n\u003cp>Eventually, Washuta and Alexie became colleagues at the Institute of American Indian Arts. They got along, but she says that once, on a work trip to Santa Fe, he tried to lure her to his hotel room. Later, they had a disagreement over an essay of hers — Alexie implied she had plagiarized his work, and Washuta became fearful that he would ruin her career. When she got another job, she decided to cut her ties to the Institute because Alexie was a powerful member of the faculty. “I think we did some really good work there. And I’m sure they continue to do really good work there. But I’m not a part of it. And that feels so lonely. I’m incredibly sad about it.”\u003c/p>\n\u003cp>As the allegations against Alexie began to surface, the Institute changed the name of its Sherman Alexie Scholarship to the M.F.A. Alumni Scholarship. Alexie has not responded to our multiple efforts to contact him. It is clear from his statement that he is angry at Litsa Dremousis, whose tweets prompted these women to come forward.\u003c/p>\n\u003cp>But if Alexie is angry, so are the women — which is why they’re willing to talk. Their stories are complicated and messy, as much about the power they felt he had over them as they are about sex. And how to change that power dynamic may be where the conversation has to go from here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It+Just+Felt+Very+Wrong%3A%27+Sherman+Alexie%27s+Accusers+Go+On+The+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer Sherman Alexie last week \u003ca href=\"https://assets.documentcloud.org/documents/4391069/Sherman-Alexie-Statement.pdf\" target=\"_blank\" rel=\"noopener\">issued a statement\u003c/a> admitting he “has harmed” others, after rumors and allegations began to circulate about sexual harassment. Without providing details, Alexie said “there are women telling the truth,” and apologized to the people he has hurt. Now, some of those women have come forward to speak to NPR about their experiences with him.\u003c/p>\n\u003cp>Alexie may not be a household name, but he is one of the country’s best known Native American poets and writers, with a charismatic personality and a large following. He won the National Book Award in 2007 for his young adult novel \u003cem>The Absolutely True Diary of a Part Time Indian\u003c/em>, and wrote the screenplay for the film \u003cem>Smoke Signals\u003c/em>, based on one of his stories. So the news about him has rocked the worlds of both Native American and children’s literature.\u003c/p>\n\u003cp>In those circles, “well, he’s a rock star,” says children’s book author Anne Ursu. After the Harvey Weinstein sexual harassment story broke, Ursu decided to survey women in the children’s book business to see if they too had experienced such problems — just as many media companies, including NPR, have. \u003ca href=\"https://medium.com/@anneursu_10179/sexual-harassment-in-the-childrens-book-industry-3417048ccde2\" target=\"_blank\" rel=\"noopener\">Ursu’s story, which she published in February on the website Medium\u003c/a>, contributed to the whisper of sexual scandal that was already building around some well-known authors — including Alexie. Ursu says some of the most popular kids’ book writers used the power of their celebrity to seduce women.\u003c/p>\n\u003cp>“If you are an aspiring author and you go to a reading of someone who is famous and beloved and whose work you admire, and he suddenly takes an interest in you and your work, and he thinks you’re special, and you start emailing, and he wants to mentor you — and then suddenly it turns out all he wanted to do is have sex with you. Those writers are left utterly devastated.”\u003c/p>\n\u003cp>The rumors about Alexie were already growing louder when, about a week ago, Seattle-based writer Litsa Dremousis began tweeting about him, calling on women to share their stories. NPR — like other news organizations — reached out to her. She told us she’d had an affair with Alexie, but had remained friends with him until the stories about his sexual behavior surfaced. In his statement, Alexie denounced Dremousis. But before that, NPR began interviewing the women she referred to us.\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 story about power, and abuse of power,” says Jeanine Walker, one of three women who came forward on the record, and whose stories NPR has corroborated with several sources. In all, ten women spoke to NPR about Alexie — who is a married man. Most of the women wanted to remain anonymous, but a clear pattern emerged: The women reported behavior ranging from inappropriate comments both in private and in public, to flirting that veered suddenly into sexual territory, unwanted sexual advances and consensual sexual relations that ended abruptly. The women said Alexie had traded on his literary celebrity to lure them into uncomfortable sexual situations.\u003c/p>\n\u003cp>“Of course, I was really excited, I mean, Sherman Alexie, he’s interested in my poems,” Walker says. She’s a poet and teacher who was managing a Writers in the Schools program in Seattle when she arranged to have Alexie visit a classroom. Afterwards, Alexie said he had checked out her poetry online, and asked her to send him a manuscript.\u003c/p>\n\u003cp>Alexie never got back to her on the poems, but they did become friendly. Walker says it was strictly platonic. One day, they met to play basketball at a court in his office building. Afterwards, Walker went to change her clothes in a restroom in his office. “When I turned around he was right behind me, and just like physically very much in my space. And leaned towards me and said, ‘Can I kiss you?’ I said no and backed away, and he kept moving forward and was like, laughing and smiling and sweaty and whatever, and he said ‘It’s just, we’re playing basketball, you remind me of the girlfriends I had in high school.’ And I just said ‘Well, we’re not in high school, Sherman.'”\u003c/p>\n\u003cp>Alexie later apologized, and Walker says she stayed in touch with him for a while. She sent him her poems again — but never got anything but a quick comment and a promise of more to come. She says Alexie is a big deal in her hometown of Seattle. “And he’s connected to the organization I work for, and if he had never expressed an interest in my poems I probably wouldn’t have pursued spending any time with him. But he did express an interest. And so then when I discover that interest is actually physical, it just felt very wrong.”\u003c/p>\n\u003cp>Erika Wurth was a 22-year-old aspiring writer when she first met Alexie. As a Native American, he was a hero to her, and she hoped he might become a mentor. About a year after their first meeting, he suggested she come to one of his readings in Colorado. She went, and afterwards walked back to his hotel with him — after chatting in the lobby, she started to leave, “and he jumps over the coffee table and begins trying to kiss me,” she says. “And I went into a state of non-reality. I had almost no sexual experience, I couldn’t believe it. And he’s like, ‘Come to my room.'”\u003c/p>\n\u003cp>Wurth did, and ended up on his bed. “He’s kind of taking my clothes off and kissing me,” she remembers. “And I’m kind of like stock still, trying to convince myself this is OK. It’s not working, and eventually I say, because I am kind of scared of this situation, ‘I’m a virgin.’ But it got really weird, because then he’s still trying to work me over, and I’m just stock still, and I think at that point, in my opinion, he realized that if he wanted to have sex with me he would have to violate me, he’d have to rape me. And he did stop.”\u003c/p>\n\u003cp>Wurth says she stayed in touch with Alexie, hoping he would still be her mentor — or at least apologize. Several years later, they had a second sexual encounter which also ended badly. Eventually, he did give her a positive quote for her first book, and a letter of recommendation — which she now thinks was to keep her quiet. Their relationship became contentious, and after a series of angry emails, Wurth decided to cut ties with him, disillusioned by the way he treated her. “Never admitting what he’d done, never apologizing. And I just was like, I don’t ever want to be around this guy again. He’s poisonous. He’s not OK.” \u003c/p>\n\u003cp>Alexie has enormous influence on the careers of Native American writers, and Wurth worries about what he may say about her to others in the business. So does Elissa Washuta. She met Alexie when she was getting ready to publish her first book, and was hoping that he could help her with it. She went out one night with a group of people that included Alexie. She was chatting with him when “seemingly apropos of nothing, Sherman told me that he could have sex with me if he wanted to,” she says. “But he used a stronger word, beginning with F. You know, he had not said it quietly, he had not whispered it. It seemed that the men we were talking to could have heard it. I couldn’t believe that somebody would say something to me like that. This older man who I didn’t know, who was much more powerful than me.”\u003c/p>\n\u003cp>Washuta says that although she was worried that the other men who were with them — all part of the local literary scene — had heard Alexie, she didn’t have the nerve to say anything about it at the time. “I felt I really needed his approval and I needed his help in order to get this book off the ground. And so as uncomfortable as I was, I felt I could laugh off that comment in a way. But I still felt that he had so much power that I should probably not make a fuss about this.”\u003c/p>\n\u003cp>Eventually, Washuta and Alexie became colleagues at the Institute of American Indian Arts. They got along, but she says that once, on a work trip to Santa Fe, he tried to lure her to his hotel room. Later, they had a disagreement over an essay of hers — Alexie implied she had plagiarized his work, and Washuta became fearful that he would ruin her career. When she got another job, she decided to cut her ties to the Institute because Alexie was a powerful member of the faculty. “I think we did some really good work there. And I’m sure they continue to do really good work there. But I’m not a part of it. And that feels so lonely. I’m incredibly sad about it.”\u003c/p>\n\u003cp>As the allegations against Alexie began to surface, the Institute changed the name of its Sherman Alexie Scholarship to the M.F.A. Alumni Scholarship. Alexie has not responded to our multiple efforts to contact him. It is clear from his statement that he is angry at Litsa Dremousis, whose tweets prompted these women to come forward.\u003c/p>\n\u003cp>But if Alexie is angry, so are the women — which is why they’re willing to talk. Their stories are complicated and messy, as much about the power they felt he had over them as they are about sex. And how to change that power dynamic may be where the conversation has to go from here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It+Just+Felt+Very+Wrong%3A%27+Sherman+Alexie%27s+Accusers+Go+On+The+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Russ Solomon, the founder of the enormously influential and widely beloved Tower Records chain, has died at age 92.\u003c/p>\n\u003cp>His son, Michael Solomon, \u003ca href=\"http://www.sacbee.com/latest-news/article203542104.html\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Sacramento Bee\u003c/em>\u003c/a> on Monday that his father died of an apparent heart attack on Sunday evening while watching the Oscar awards ceremony and enjoying a glass of whiskey.\u003c/p>\n\u003cp>Solomon started his record store as an offshoot of his father’s drugstore before building it into a separate retailer. At its peak as a mecca for music lovers, Tower boasted stores and licensees across the U.S., with its signature yellow-and-red signs also blazing in London, Buenos Aires and Tokyo. Music fans and musicians alike made pilgrimages to Tower’s stores. As Bruce Springsteen said in \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=JCPYCIzSw_o\" target=\"_blank\" rel=\"noopener\">All Things Must Pass\u003c/a>\u003c/em>, director Colin Hanks’ 2015 documentary about the chain, “If you came into town, you went to Tower Records.”\u003c/p>\n\u003cp>Its successes spurred the expansion of other music mega-retailers like HMV and Virgin. Each of its stores had a unique retail profile, often tied to its geographical location: the store in Nashville, for example, offered a huge selection of country music, while the Tower next to Lincoln Center in New York City boasted an unparalleled stock of classical titles.\u003c/p>\n\u003cp>But in 2006, Tower declared bankruptcy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chain’s decline was a long time in its making: Solomon and his team didn’t anticipate how fast the revolution from physical products to digital downloads was going to come. File-sharing sites like Napster were proliferating. Big-box stores like Target, Wal-Mart and Best Buy were selling high-volume, popular CDs at sizable discounts. Tower couldn’t afford to match the big-box stores’ sale prices, and Solomon couldn’t persuade the record labels to lower their prices, or to get them to start selling CD singles rather than full albums.\u003c/p>\n\u003cp>In the meantime, Tower racked up debt to the tune of $110 million, in hopes of driving even more international expansion. Eventually, however, the company couldn’t outpace its troubles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even after Tower’s collapse, Russ Solomon still heard the siren song of those album bins. Along with his second wife, Patti Drosins, he opened a storefront called R5 Records in Sacramento in 2008; it lasted for two years before \u003ca href=\"https://sacramentopress.com/2010/05/12/russ-solomons-r5-records-to-close/\">closing\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tower+Records+Founder+Russ+Solomon+Has+Died+At+Age+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Russ Solomon, the founder of the enormously influential and widely beloved Tower Records chain, has died at age 92.\u003c/p>\n\u003cp>His son, Michael Solomon, \u003ca href=\"http://www.sacbee.com/latest-news/article203542104.html\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Sacramento Bee\u003c/em>\u003c/a> on Monday that his father died of an apparent heart attack on Sunday evening while watching the Oscar awards ceremony and enjoying a glass of whiskey.\u003c/p>\n\u003cp>Solomon started his record store as an offshoot of his father’s drugstore before building it into a separate retailer. At its peak as a mecca for music lovers, Tower boasted stores and licensees across the U.S., with its signature yellow-and-red signs also blazing in London, Buenos Aires and Tokyo. Music fans and musicians alike made pilgrimages to Tower’s stores. As Bruce Springsteen said in \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=JCPYCIzSw_o\" target=\"_blank\" rel=\"noopener\">All Things Must Pass\u003c/a>\u003c/em>, director Colin Hanks’ 2015 documentary about the chain, “If you came into town, you went to Tower Records.”\u003c/p>\n\u003cp>Its successes spurred the expansion of other music mega-retailers like HMV and Virgin. Each of its stores had a unique retail profile, often tied to its geographical location: the store in Nashville, for example, offered a huge selection of country music, while the Tower next to Lincoln Center in New York City boasted an unparalleled stock of classical titles.\u003c/p>\n\u003cp>But in 2006, Tower declared bankruptcy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chain’s decline was a long time in its making: Solomon and his team didn’t anticipate how fast the revolution from physical products to digital downloads was going to come. File-sharing sites like Napster were proliferating. Big-box stores like Target, Wal-Mart and Best Buy were selling high-volume, popular CDs at sizable discounts. Tower couldn’t afford to match the big-box stores’ sale prices, and Solomon couldn’t persuade the record labels to lower their prices, or to get them to start selling CD singles rather than full albums.\u003c/p>\n\u003cp>In the meantime, Tower racked up debt to the tune of $110 million, in hopes of driving even more international expansion. Eventually, however, the company couldn’t outpace its troubles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even after Tower’s collapse, Russ Solomon still heard the siren song of those album bins. Along with his second wife, Patti Drosins, he opened a storefront called R5 Records in Sacramento in 2008; it lasted for two years before \u003ca href=\"https://sacramentopress.com/2010/05/12/russ-solomons-r5-records-to-close/\">closing\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tower+Records+Founder+Russ+Solomon+Has+Died+At+Age+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sexual Assault Claim Against Conductor is Credible, Boston Symphony Says",
"headTitle": "Sexual Assault Claim Against Conductor is Credible, Boston Symphony Says | KQED",
"content": "\u003cp>On Friday, the Boston Symphony Orchestra announced that an independent investigation into a sexual assault claim made against conductor Charles Dutoit by one of its former interns has found the woman’s claim credible.\u003c/p>\n\u003cp>The accusation that triggered the BSO investigation came from a woman named Fiona Allan, who at the time of the alleged assault in 1997 was working as an intern at the orchestra’s summer home at Tanglewood in Lenox, Mass., when Dutoit was appearing with the symphony as a guest conductor.\u003c/p>\n\u003cp>Allan made her allegation public last December in the comments section of writer Norman Lebrecht’s classical music blog, “Slipped Disc.” Allan, who is now artistic director and chief executive of the Birmingham Hippodrome theater in the U.K., made her assertion after Lebrecht \u003ca href=\"http://slippedisc.com/2017/12/breaking-four-women-say-charles-dutoit-sexually-assaulted-them/\" target=\"_blank\" rel=\"noopener\">posted\u003c/a> about an Associated Press \u003ca href=\"https://www.usatoday.com/story/life/people/2017/12/21/famed-conductor-charles-dutoit-accused-sexual-misconduct/972882001/\" target=\"_blank\" rel=\"noopener\">report\u003c/a> about four women who had come forward with accusations against Dutoit.\u003c/p>\n\u003cp>At the time that she wrote on Lebrecht’s blog, Allan claimed that after Dutoit allegedly assaulted her in his Tanglewood dressing room, where she had been sent to drop off papers, she tried to report him to BSO management. She continued, “I alerted the orchestra manager, who told me (too late…) that they usually advised women not to enter his dressing room unaccompanied, as there had been previous complaints. So they knew what was going on… I have never felt angrier or less protected by an organisation. They continued to employ him, whilst knowing he harassed women.”\u003c/p>\n\u003cp>Since the initial AP report chronicling allegations against the conductor, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2018/01/11/577378738/londons-royal-philharmonic-ends-its-relationship-with-conductor-charles-dutoit\" target=\"_blank\" rel=\"noopener\">ten women\u003c/a>, including Allan, have accused Dutoit of sexual misconduct in incidents spanning 1985 to 2010, including one allegation of rape.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Allan was a BSO employee at the time she says she was assaulted, the BSO launched an independent investigation into her allegation. In its \u003ca href=\"http://bso.http.internapcdn.net/bso/images/press-releases/bso/17-18/Dutoit_Investigation_Description.pdf\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released today, the orchestra said that the investigator found Allan’s allegations “credible,” and that three other women with whom she spoke also “credibly described incidents in the 1980s and 1990s in which they too were victims of sexual misconduct by Mr. Dutoit.”\u003c/p>\n\u003cp>The orchestra says that it will not reveal information about the incidents involving the three other women, in order to protect their identities.\u003c/p>\n\u003cp>However, the BSO investigator also found that neither Allan nor the three other women made complaints about Dutoit’s behavior to the BSO, and that there were no indications that management was aware of allegations of misconduct involving Dutoit prior to Allan coming forward.\u003c/p>\n\u003cp>Dutoit has denied the allegations. In December, he issued a statement that said in part: “Whilst informal physical contact is commonplace in the arts world as a mutual gesture of friendship, the serious accusations made involving coercion and forced physical contact have absolutely no basis in truth.”\u003c/p>\n\u003cp>The BSO ended its relationship with Dutoit in December, following the AP report. Based on the investigator’s newly released findings, the orchestra says that it has also revoked an honorary title, the Koussevitzky Artist, which the BSO granted to Dutoit in 2016.\u003c/p>\n\u003cp>After the ten women came forward to accuse the Swiss-born Dutoit, other major orchestras around the world shed their affiliations to him, including the symphony orchestras of New York, Philadelphia, Chicago, San Francisco, Cleveland and Sydney, Australia.\u003c/p>\n\u003cp>This is the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/02/590282661/new-details-emerge-in-abuse-allegations-against-conductor-james-levine\" target=\"_blank\" rel=\"noopener\">second statement\u003c/a> regarding sexual misconduct and a conductor which the orchestra has released in a single day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier, the orchestra issued a separate statement to NPR regarding its relationship with conductor and pianist James Levine, who held the title of music director of the BSO from 2004 to 2011. Levine is currently facing multiple allegations of sexual, physical and emotional abuse in a period spanning the 1960s to 1980s. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sexual+Assault+Claim+Against+Conductor+Dutoit+Is+Credible%2C+Boston+Symphony+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, the Boston Symphony Orchestra announced that an independent investigation into a sexual assault claim made against conductor Charles Dutoit by one of its former interns has found the woman’s claim credible.\u003c/p>\n\u003cp>The accusation that triggered the BSO investigation came from a woman named Fiona Allan, who at the time of the alleged assault in 1997 was working as an intern at the orchestra’s summer home at Tanglewood in Lenox, Mass., when Dutoit was appearing with the symphony as a guest conductor.\u003c/p>\n\u003cp>Allan made her allegation public last December in the comments section of writer Norman Lebrecht’s classical music blog, “Slipped Disc.” Allan, who is now artistic director and chief executive of the Birmingham Hippodrome theater in the U.K., made her assertion after Lebrecht \u003ca href=\"http://slippedisc.com/2017/12/breaking-four-women-say-charles-dutoit-sexually-assaulted-them/\" target=\"_blank\" rel=\"noopener\">posted\u003c/a> about an Associated Press \u003ca href=\"https://www.usatoday.com/story/life/people/2017/12/21/famed-conductor-charles-dutoit-accused-sexual-misconduct/972882001/\" target=\"_blank\" rel=\"noopener\">report\u003c/a> about four women who had come forward with accusations against Dutoit.\u003c/p>\n\u003cp>At the time that she wrote on Lebrecht’s blog, Allan claimed that after Dutoit allegedly assaulted her in his Tanglewood dressing room, where she had been sent to drop off papers, she tried to report him to BSO management. She continued, “I alerted the orchestra manager, who told me (too late…) that they usually advised women not to enter his dressing room unaccompanied, as there had been previous complaints. So they knew what was going on… I have never felt angrier or less protected by an organisation. They continued to employ him, whilst knowing he harassed women.”\u003c/p>\n\u003cp>Since the initial AP report chronicling allegations against the conductor, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2018/01/11/577378738/londons-royal-philharmonic-ends-its-relationship-with-conductor-charles-dutoit\" target=\"_blank\" rel=\"noopener\">ten women\u003c/a>, including Allan, have accused Dutoit of sexual misconduct in incidents spanning 1985 to 2010, including one allegation of rape.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Allan was a BSO employee at the time she says she was assaulted, the BSO launched an independent investigation into her allegation. In its \u003ca href=\"http://bso.http.internapcdn.net/bso/images/press-releases/bso/17-18/Dutoit_Investigation_Description.pdf\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released today, the orchestra said that the investigator found Allan’s allegations “credible,” and that three other women with whom she spoke also “credibly described incidents in the 1980s and 1990s in which they too were victims of sexual misconduct by Mr. Dutoit.”\u003c/p>\n\u003cp>The orchestra says that it will not reveal information about the incidents involving the three other women, in order to protect their identities.\u003c/p>\n\u003cp>However, the BSO investigator also found that neither Allan nor the three other women made complaints about Dutoit’s behavior to the BSO, and that there were no indications that management was aware of allegations of misconduct involving Dutoit prior to Allan coming forward.\u003c/p>\n\u003cp>Dutoit has denied the allegations. In December, he issued a statement that said in part: “Whilst informal physical contact is commonplace in the arts world as a mutual gesture of friendship, the serious accusations made involving coercion and forced physical contact have absolutely no basis in truth.”\u003c/p>\n\u003cp>The BSO ended its relationship with Dutoit in December, following the AP report. Based on the investigator’s newly released findings, the orchestra says that it has also revoked an honorary title, the Koussevitzky Artist, which the BSO granted to Dutoit in 2016.\u003c/p>\n\u003cp>After the ten women came forward to accuse the Swiss-born Dutoit, other major orchestras around the world shed their affiliations to him, including the symphony orchestras of New York, Philadelphia, Chicago, San Francisco, Cleveland and Sydney, Australia.\u003c/p>\n\u003cp>This is the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/02/590282661/new-details-emerge-in-abuse-allegations-against-conductor-james-levine\" target=\"_blank\" rel=\"noopener\">second statement\u003c/a> regarding sexual misconduct and a conductor which the orchestra has released in a single day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier, the orchestra issued a separate statement to NPR regarding its relationship with conductor and pianist James Levine, who held the title of music director of the BSO from 2004 to 2011. Levine is currently facing multiple allegations of sexual, physical and emotional abuse in a period spanning the 1960s to 1980s. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sexual+Assault+Claim+Against+Conductor+Dutoit+Is+Credible%2C+Boston+Symphony+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Shape Of Water' Creature Actor Understands the Monsters",
"headTitle": "‘Shape Of Water’ Creature Actor Understands the Monsters | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/590062505/590063233\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Actor Doug Jones has had a long and prolific career in Hollywood, though many wouldn’t recognize him on the street. That’s because he’s usually masked by latex, silicone and makeup, playing some of Hollywood’s most recognizable monsters – including the so-called Amphibian Man in Guillermo del Toro’s \u003cem>The Shape of Water\u003c/em>. Underneath it all, Jones infuses his characters with real emotion, communicating not with words but with movement and touch.\u003c/p>\n\u003cp>“We think it’s all about words, but it’s not,” he says. “Words can often pollute and deceive, but a glance of the eyes doesn’t lie. Touch doesn’t lie. It’s a whole other dialogue.”\u003c/p>\n\u003cp>Still, Jones has a lot to say, and he’s comfortable talking about his role in the Oscar-nominated film. But when Guillermo del Toro first sat him down and explained that Jones would be playing a monster who’s also the romantic lead, he says his reaction was “utter terror.”\u003c/p>\n\u003cp> “I have not felt that kind of fear ever when being offered a movie. When I look at myself in the mirror, that doesn’t work and then in a fish suit? Boy, wow, on paper, you think ‘this is ridiculous,’ ” he laughs. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie is about a female janitor in a Cold-War era laboratory who falls in love with a humanoid fish creature, but Jones was intrigued by the offer.\u003c/p>\n\u003cp> “Storytime with Guillermo del Toro is ‘light the campfire, get the marshmallows,’ you’re in for a good ride. I was having that moment, you know, chin in hands, tell me more!” \u003c/p>\n\u003cp>By the time del Toro was finished explaining the story, Jones was won over, but he had one big concern about playing an animalistic love interest, especially in the film’s bathtub scenes.\u003c/p>\n\u003cp> “I was concerned that, you know, in a bathtub, that means she’s going to disrobe and get in there with me! So I was going to be playing a scene with a nude woman — well, I hadn’t done that! That’s the good Catholic boy in me.” \u003c/p>\n\u003cp> For del Toro, however, Jones is always prepared to say yes.\u003c/p>\n\u003cp> “I just trust him that much,” the actor says.\u003c/p>\n\u003cfigure id=\"attachment_13826206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg\" alt=\"Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including 'Pan's Labyrinth' and 'The Shape of Water.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including ‘Pan’s Labyrinth’ and ‘The Shape of Water.’ \u003ccite>(Charley Gallay/Getty Images for Vulture Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That trust began on the set of del Toro’s 1997 film \u003cem>Mimic\u003c/em>, in which Jones played a giant, insect-like creature known as Mother Bug. At lunch one day, del Toro sat across the table from Jones.\u003c/p>\n\u003cp>“He says, ‘So tell me everything you’ve been in before,” Jones says. “He wanted to hear about all the monsters I played. He was really, really like a fanboy mixed with a brilliant artist. I’d never met anyone like him, and I loved him immediately.”\u003c/p>\n\u003cp> When the conversation ended, del Toro asked him for a business card. According to the actor, five years later, when it came time to cast Abe Sapien in \u003cem>Hellboy\u003c/em>, the creature artists suggested del Toro call up a guy named Doug Jones. “Doug Jones?” del Toro said, “I know Doug Jones,” and pulled the business card out of his wallet.\u003c/p>\n\u003cp> “\u003cem>Hellboy\u003c/em> was where we connected on a longer, ongoing basis,” Jones says. “That’s where we developed our shorthand as actor-director.” \u003c/p>\n\u003cp>That shorthand is a mixture of a deep knowledge of each other’s style of acting and directing. Jones is a visual, physical learner, so sometimes del Toro will give him a hand gesture and a sound to communicate how to play a character. Sometimes, the director will refer to a monster or film they both know. \u003c/p>\n\u003cp>Their shorthand has helped make Jones one of del Toro’s go-to creature actors. Through the years, Jones has featured in several of the director’s films, including \u003cem>Pan’s Labyrinth\u003c/em>, in which he portrayed both the faun and the Pale Man, a terrifying monster with eyes in its hands. \u003c/p>\n\u003cp>Jones has played almost every monster imaginable in more than 30 years as an actor; the problem, though, is that they can all start to seem the same. \u003c/p>\n\u003cp>He approaches each character with one question: “How do I make this one different from everything else that I’ve played?” \u003c/p>\n\u003cp>To do that, he says he has to find what he calls “the silent voice,” the way each one carries itself. For \u003cem>The Shape of Water\u003c/em>, del Toro wanted him to be animalistic, but royal and regal. \u003c/p>\n\u003cp>To find the body language of each character, Jones goes to a dance studio by himself, the kind with wall-to-wall mirrors.\u003c/p>\n\u003cp> “I will walk back and forth and find its walk, find its home stance. Where does he come back to? What’s his posture? And your posture can be informed by so many things — the shoulders, the neck, the middle of your back, the hips, the knees. Everything plays into that stand.”\u003c/p>\n\u003cp> Jones then builds off that to figure out how the character moves, how it might run, crawl, lunge or anything the script calls for it to do. When he tests with makeup and costume, though, things often change.\u003c/p>\n\u003cp> “Something I worked out in my T-shirt and shorts in the dance studio now has big horns that make my head really wide so a tilt of the head is extremely dramatic and more pronounced.” \u003c/p>\n\u003cp>It all comes together when he’s on set and in front of the camera, surrounded by cast and crew. On those days, he says, he’s fairly helpless because of the makeup or suits he has to wear.\u003c/p>\n\u003cp> “Often, my hands are in webbed fingers or talons so I can’t pull out a phone and look at that. I can’t even get a snack off the craft services table for myself.”\u003c/p>\n\u003cp>Jones says he was the kind of kid who was perfectly happy sitting and staring out the window for hours with his own thoughts. He doesn’t get stir-crazy or claustrophobic, and for him, the physical discomfort is just part of the job.\u003c/p>\n\u003cfigure id=\"attachment_13826210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Doug-Jones-800x533.jpg\" alt=\"Doug Jones speaks onstage at AARP's 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Jones speaks onstage at AARP’s 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> “The further you get from human, the harder it’s going to be,” he says. “When you’re trying to survive a day, and you hear the word ‘action,’ you have to forget that you’re in pain, forget that you’re sweating into your own eyeballs behind your mask and just click into ‘This is a natural beast that came from whatever fantasy or nature. It’s not a guy in a suit.’ ”\u003c/p>\n\u003cp>And Jones isn’t just a guy in a suit. It seems like he was made to play these creatures. \u003c/p>\n\u003cp>He’s a little more than 6 feet 3 inches tall with long limbs and fingers. Jones started miming while he was in college at Ball State University, and he’s also a contortionist – valuable skills in Hollywood’s creature effects industry. \u003c/p>\n\u003cp>Jones didn’t set out to build a career playing monsters, though. Growing up in Indiana with three older brothers, he says he was a “goofy kid,” the child everyone teased or made fun of. To survive, he developed a sense of humor. He watched a lot of sitcoms, like \u003cem>I Love Lucy\u003c/em>, \u003cem>The Dick Van Dyke Show\u003c/em> and \u003cem>The Andy Griffith Show\u003c/em>. \u003c/p>\n\u003cp>When he arrived in Los Angeles in 1985, he was “seeking fame and fortune as a goofy character actor” on a sitcom, he says. His first agent, however, had other ideas and kept sending him to audition for roles with pratfalls and heavy makeup. Jones’ first paid gig, and the one that made him eligible for membership with the Screen Actors Guild, was as a dancing mummy in an old Southwest Airlines commercial.\u003c/p>\n\u003cp> “I was blindsided by the monster creature side of things. I didn’t really know that that was a career option. I had seen those early movies in my childhood, the ones with monsters in them, but I never put two and two together that there was an actor under there and that it is a career option.”\u003c/p>\n\u003cp> Jones is 57 now, and he says that as he ages, he’s become interested in more human roles that don’t require several hours of makeup and uncomfortable costumes. In recent years, he’s played a middle-aged door-to-door book salesman in the 2009 indie \u003cem>Jerry\u003c/em> and a butler in \u003cem>The Ultimate Legacy\u003c/em>, a Hallmark Channel movie.\u003c/p>\n\u003cp> “I got to wear a three-piece suit, a bow tie and a watch chain. That was it! It was fantastic,” he laughs. “And 10 minutes for some powder and some hair-swishing and you’re done! It was great.”\u003c/p>\n\u003cp> Jones says creature roles now have to sing to him – and Amphibian Man in \u003cem>The Shape of Water\u003c/em> sang to him.\u003c/p>\n\u003cp>“For me, this movie is about love being possible no matter how flawed and ugly we think we are,” he says. And that spoke to the awkward, goofy kid he once was.\u003c/p>\n\u003cp>“When you’re a kid going through those awkward monster years, when you feel like you are the creature in the room that nobody understands and you look different from anyone else and love will not be possible for you, when you feel that way, you also feel like you’re the only one who has ever felt that way,” he says. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“But I’m glad. I’m thankful that I had the experience of feeling like a monster because when I play monsters now, I understand them. I can relate to them.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shape+Of+Water%27+Creature+Actor+Doug+Jones+Understands+The+Monsters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/02/20180222_atc_creature_actor_doug_jones_shares_how_he_transforms_into_movie_monsters.mp3?orgId=1&topicId=1137&d=294&story=590062505&ft=nprml&f=590062505",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/590062505/590063233\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Actor Doug Jones has had a long and prolific career in Hollywood, though many wouldn’t recognize him on the street. That’s because he’s usually masked by latex, silicone and makeup, playing some of Hollywood’s most recognizable monsters – including the so-called Amphibian Man in Guillermo del Toro’s \u003cem>The Shape of Water\u003c/em>. Underneath it all, Jones infuses his characters with real emotion, communicating not with words but with movement and touch.\u003c/p>\n\u003cp>“We think it’s all about words, but it’s not,” he says. “Words can often pollute and deceive, but a glance of the eyes doesn’t lie. Touch doesn’t lie. It’s a whole other dialogue.”\u003c/p>\n\u003cp>Still, Jones has a lot to say, and he’s comfortable talking about his role in the Oscar-nominated film. But when Guillermo del Toro first sat him down and explained that Jones would be playing a monster who’s also the romantic lead, he says his reaction was “utter terror.”\u003c/p>\n\u003cp> “I have not felt that kind of fear ever when being offered a movie. When I look at myself in the mirror, that doesn’t work and then in a fish suit? Boy, wow, on paper, you think ‘this is ridiculous,’ ” he laughs. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie is about a female janitor in a Cold-War era laboratory who falls in love with a humanoid fish creature, but Jones was intrigued by the offer.\u003c/p>\n\u003cp> “Storytime with Guillermo del Toro is ‘light the campfire, get the marshmallows,’ you’re in for a good ride. I was having that moment, you know, chin in hands, tell me more!” \u003c/p>\n\u003cp>By the time del Toro was finished explaining the story, Jones was won over, but he had one big concern about playing an animalistic love interest, especially in the film’s bathtub scenes.\u003c/p>\n\u003cp> “I was concerned that, you know, in a bathtub, that means she’s going to disrobe and get in there with me! So I was going to be playing a scene with a nude woman — well, I hadn’t done that! That’s the good Catholic boy in me.” \u003c/p>\n\u003cp> For del Toro, however, Jones is always prepared to say yes.\u003c/p>\n\u003cp> “I just trust him that much,” the actor says.\u003c/p>\n\u003cfigure id=\"attachment_13826206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg\" alt=\"Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including 'Pan's Labyrinth' and 'The Shape of Water.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-876091792-c8b2de72fe52b46da804a721e7ae08f20c53c25d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Doug Jones, left, and director Guilermo del Toro attend the Vulture Festival LA Presented by AT&T in November. The two have worked together on a number of movies, including ‘Pan’s Labyrinth’ and ‘The Shape of Water.’ \u003ccite>(Charley Gallay/Getty Images for Vulture Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That trust began on the set of del Toro’s 1997 film \u003cem>Mimic\u003c/em>, in which Jones played a giant, insect-like creature known as Mother Bug. At lunch one day, del Toro sat across the table from Jones.\u003c/p>\n\u003cp>“He says, ‘So tell me everything you’ve been in before,” Jones says. “He wanted to hear about all the monsters I played. He was really, really like a fanboy mixed with a brilliant artist. I’d never met anyone like him, and I loved him immediately.”\u003c/p>\n\u003cp> When the conversation ended, del Toro asked him for a business card. According to the actor, five years later, when it came time to cast Abe Sapien in \u003cem>Hellboy\u003c/em>, the creature artists suggested del Toro call up a guy named Doug Jones. “Doug Jones?” del Toro said, “I know Doug Jones,” and pulled the business card out of his wallet.\u003c/p>\n\u003cp> “\u003cem>Hellboy\u003c/em> was where we connected on a longer, ongoing basis,” Jones says. “That’s where we developed our shorthand as actor-director.” \u003c/p>\n\u003cp>That shorthand is a mixture of a deep knowledge of each other’s style of acting and directing. Jones is a visual, physical learner, so sometimes del Toro will give him a hand gesture and a sound to communicate how to play a character. Sometimes, the director will refer to a monster or film they both know. \u003c/p>\n\u003cp>Their shorthand has helped make Jones one of del Toro’s go-to creature actors. Through the years, Jones has featured in several of the director’s films, including \u003cem>Pan’s Labyrinth\u003c/em>, in which he portrayed both the faun and the Pale Man, a terrifying monster with eyes in its hands. \u003c/p>\n\u003cp>Jones has played almost every monster imaginable in more than 30 years as an actor; the problem, though, is that they can all start to seem the same. \u003c/p>\n\u003cp>He approaches each character with one question: “How do I make this one different from everything else that I’ve played?” \u003c/p>\n\u003cp>To do that, he says he has to find what he calls “the silent voice,” the way each one carries itself. For \u003cem>The Shape of Water\u003c/em>, del Toro wanted him to be animalistic, but royal and regal. \u003c/p>\n\u003cp>To find the body language of each character, Jones goes to a dance studio by himself, the kind with wall-to-wall mirrors.\u003c/p>\n\u003cp> “I will walk back and forth and find its walk, find its home stance. Where does he come back to? What’s his posture? And your posture can be informed by so many things — the shoulders, the neck, the middle of your back, the hips, the knees. Everything plays into that stand.”\u003c/p>\n\u003cp> Jones then builds off that to figure out how the character moves, how it might run, crawl, lunge or anything the script calls for it to do. When he tests with makeup and costume, though, things often change.\u003c/p>\n\u003cp> “Something I worked out in my T-shirt and shorts in the dance studio now has big horns that make my head really wide so a tilt of the head is extremely dramatic and more pronounced.” \u003c/p>\n\u003cp>It all comes together when he’s on set and in front of the camera, surrounded by cast and crew. On those days, he says, he’s fairly helpless because of the makeup or suits he has to wear.\u003c/p>\n\u003cp> “Often, my hands are in webbed fingers or talons so I can’t pull out a phone and look at that. I can’t even get a snack off the craft services table for myself.”\u003c/p>\n\u003cp>Jones says he was the kind of kid who was perfectly happy sitting and staring out the window for hours with his own thoughts. He doesn’t get stir-crazy or claustrophobic, and for him, the physical discomfort is just part of the job.\u003c/p>\n\u003cfigure id=\"attachment_13826210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Doug-Jones-800x533.jpg\" alt=\"Doug Jones speaks onstage at AARP's 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Doug-Jones-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Jones speaks onstage at AARP’s 17th Annual Movies For Grownups Awards at the Beverly Wilshire Four Seasons Hotel on February 5, 2018 in Beverly Hills, California. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> “The further you get from human, the harder it’s going to be,” he says. “When you’re trying to survive a day, and you hear the word ‘action,’ you have to forget that you’re in pain, forget that you’re sweating into your own eyeballs behind your mask and just click into ‘This is a natural beast that came from whatever fantasy or nature. It’s not a guy in a suit.’ ”\u003c/p>\n\u003cp>And Jones isn’t just a guy in a suit. It seems like he was made to play these creatures. \u003c/p>\n\u003cp>He’s a little more than 6 feet 3 inches tall with long limbs and fingers. Jones started miming while he was in college at Ball State University, and he’s also a contortionist – valuable skills in Hollywood’s creature effects industry. \u003c/p>\n\u003cp>Jones didn’t set out to build a career playing monsters, though. Growing up in Indiana with three older brothers, he says he was a “goofy kid,” the child everyone teased or made fun of. To survive, he developed a sense of humor. He watched a lot of sitcoms, like \u003cem>I Love Lucy\u003c/em>, \u003cem>The Dick Van Dyke Show\u003c/em> and \u003cem>The Andy Griffith Show\u003c/em>. \u003c/p>\n\u003cp>When he arrived in Los Angeles in 1985, he was “seeking fame and fortune as a goofy character actor” on a sitcom, he says. His first agent, however, had other ideas and kept sending him to audition for roles with pratfalls and heavy makeup. Jones’ first paid gig, and the one that made him eligible for membership with the Screen Actors Guild, was as a dancing mummy in an old Southwest Airlines commercial.\u003c/p>\n\u003cp> “I was blindsided by the monster creature side of things. I didn’t really know that that was a career option. I had seen those early movies in my childhood, the ones with monsters in them, but I never put two and two together that there was an actor under there and that it is a career option.”\u003c/p>\n\u003cp> Jones is 57 now, and he says that as he ages, he’s become interested in more human roles that don’t require several hours of makeup and uncomfortable costumes. In recent years, he’s played a middle-aged door-to-door book salesman in the 2009 indie \u003cem>Jerry\u003c/em> and a butler in \u003cem>The Ultimate Legacy\u003c/em>, a Hallmark Channel movie.\u003c/p>\n\u003cp> “I got to wear a three-piece suit, a bow tie and a watch chain. That was it! It was fantastic,” he laughs. “And 10 minutes for some powder and some hair-swishing and you’re done! It was great.”\u003c/p>\n\u003cp> Jones says creature roles now have to sing to him – and Amphibian Man in \u003cem>The Shape of Water\u003c/em> sang to him.\u003c/p>\n\u003cp>“For me, this movie is about love being possible no matter how flawed and ugly we think we are,” he says. And that spoke to the awkward, goofy kid he once was.\u003c/p>\n\u003cp>“When you’re a kid going through those awkward monster years, when you feel like you are the creature in the room that nobody understands and you look different from anyone else and love will not be possible for you, when you feel that way, you also feel like you’re the only one who has ever felt that way,” he says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But I’m glad. I’m thankful that I had the experience of feeling like a monster because when I play monsters now, I understand them. I can relate to them.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shape+Of+Water%27+Creature+Actor+Doug+Jones+Understands+The+Monsters&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Investors Possibly Buying Weinstein Co. to Turn into Women-Run Studio",
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"content": "\u003cp>Less than a week after the Weinstein Co. seemed destined for bankruptcy, a deal emerged for an investment group to buy assets from the troubled firm in order to launch a new movie studio that will be led by women.\u003c/p>\n\u003cp>The deal, between the Weinstein Co. and a group backed by billionaire Ron Burkle and led by Maria Contreras-Sweet, who was in charge of the Small Business Administration under President Barack Obama, is said to be worth more than $500 million, according to Reuters.\u003c/p>\n\u003cp>Contreras-Sweet released a statement that said her group planned to use the Weinstein assets to start a company “led by a board of directors made up of a majority of independent women,” which would “save about 150 jobs, protect the small businesses who are owed money and create a victims’ compensation fund that would supplement existing insurance coverage for those who have been harmed.”\u003c/p>\n\u003cp>The Weinstein Co. board of directors released a statement announcing the agreement, thanking the investment group, and saying, “We consider this to be a positive outcome under what have been incredibly difficult circumstances.\u003c/p>\n\u003cp>Rocky negotiations had gone on for weeks between the investment group and the Weinstein Co., which has been in turmoil over accusations against \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/31/561058927/producers-guild-bans-harvey-weinstein-for-life\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> of sexual misconduct, including rape, by \u003ca href=\"http://www.bbc.com/news/entertainment-arts-41580010\">more than 50 women\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Feb. 26, the Weinstein Co. said it would file for bankruptcy, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/26/588791946/weinstein-company-will-file-for-bankruptcy-after-sale-talks-collapse\" target=\"_blank\" rel=\"noopener\">NPR’s Laurel Wamsley reported\u003c/a>, after talks between the two sides broke down over disagreements \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\">about interim funding\u003c/a>, among other things.\u003c/p>\n\u003cp>And two weeks ago, New York Attorney General Eric Schneiderman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/11/584973941/harvey-weinstein-his-brother-and-their-company-hit-with-civil-rights-lawsuit\" target=\"_blank\" rel=\"noopener\">filed\u003c/a> a civil rights lawsuit against the Weinstein Co., stating that the studio “repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation, and discrimination.”\u003c/p>\n\u003cp>The attorney general said the amount of money allocated for victims of sexual assault and harassment was too small in the early sale proposals, but a source familiar with Thursday’s deal said the buyers upped that amount to between $80-$90 million.\u003c/p>\n\u003cp>As the sale agreement was announced, Schneiderman released a statement saying the new owners have committed to “a well-funded victims compensation fund” and to implementing “HR policies that will protect all employees, and will not unjustly reward bad actors.”\u003c/p>\n\u003cp>Another sticking point was the role of top Weinstein executive David Glasser.\u003c/p>\n\u003cp>The investors originally wanted to make Glasser the COO of the new company but Schneiderman considered him an enabler of Weinstein, and therefore wanted him out of the new business. The Weinstein Co. fired Glasser two weeks ago, and the source said Thursday’s agreement also has him officially out of the new company.\u003c/p>\n\u003cp>“This next step represents the best possible pathway to support victims and protect employees,” Conteras-Sweet said on Thursday. “We are grateful to our investors who have believed in this process and in the compelling value of a female-led company.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A new name for the potential company has not been selected, \u003ca href=\"http://variety.com/2018/biz/news/weinstein-co-ron-burkle-maria-contreras-sweet-1202694056/\">reports Variety\u003c/a>, though at one point the investors were said to be leaning toward “Wonder Hill.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Investor+Group+Has+Deal+To+Buy+Weinstein+Co.%2C+Start+New+Movie+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than a week after the Weinstein Co. seemed destined for bankruptcy, a deal emerged for an investment group to buy assets from the troubled firm in order to launch a new movie studio that will be led by women.\u003c/p>\n\u003cp>The deal, between the Weinstein Co. and a group backed by billionaire Ron Burkle and led by Maria Contreras-Sweet, who was in charge of the Small Business Administration under President Barack Obama, is said to be worth more than $500 million, according to Reuters.\u003c/p>\n\u003cp>Contreras-Sweet released a statement that said her group planned to use the Weinstein assets to start a company “led by a board of directors made up of a majority of independent women,” which would “save about 150 jobs, protect the small businesses who are owed money and create a victims’ compensation fund that would supplement existing insurance coverage for those who have been harmed.”\u003c/p>\n\u003cp>The Weinstein Co. board of directors released a statement announcing the agreement, thanking the investment group, and saying, “We consider this to be a positive outcome under what have been incredibly difficult circumstances.\u003c/p>\n\u003cp>Rocky negotiations had gone on for weeks between the investment group and the Weinstein Co., which has been in turmoil over accusations against \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/31/561058927/producers-guild-bans-harvey-weinstein-for-life\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> of sexual misconduct, including rape, by \u003ca href=\"http://www.bbc.com/news/entertainment-arts-41580010\">more than 50 women\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Feb. 26, the Weinstein Co. said it would file for bankruptcy, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/26/588791946/weinstein-company-will-file-for-bankruptcy-after-sale-talks-collapse\" target=\"_blank\" rel=\"noopener\">NPR’s Laurel Wamsley reported\u003c/a>, after talks between the two sides broke down over disagreements \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\">about interim funding\u003c/a>, among other things.\u003c/p>\n\u003cp>And two weeks ago, New York Attorney General Eric Schneiderman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/11/584973941/harvey-weinstein-his-brother-and-their-company-hit-with-civil-rights-lawsuit\" target=\"_blank\" rel=\"noopener\">filed\u003c/a> a civil rights lawsuit against the Weinstein Co., stating that the studio “repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation, and discrimination.”\u003c/p>\n\u003cp>The attorney general said the amount of money allocated for victims of sexual assault and harassment was too small in the early sale proposals, but a source familiar with Thursday’s deal said the buyers upped that amount to between $80-$90 million.\u003c/p>\n\u003cp>As the sale agreement was announced, Schneiderman released a statement saying the new owners have committed to “a well-funded victims compensation fund” and to implementing “HR policies that will protect all employees, and will not unjustly reward bad actors.”\u003c/p>\n\u003cp>Another sticking point was the role of top Weinstein executive David Glasser.\u003c/p>\n\u003cp>The investors originally wanted to make Glasser the COO of the new company but Schneiderman considered him an enabler of Weinstein, and therefore wanted him out of the new business. The Weinstein Co. fired Glasser two weeks ago, and the source said Thursday’s agreement also has him officially out of the new company.\u003c/p>\n\u003cp>“This next step represents the best possible pathway to support victims and protect employees,” Conteras-Sweet said on Thursday. “We are grateful to our investors who have believed in this process and in the compelling value of a female-led company.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A new name for the potential company has not been selected, \u003ca href=\"http://variety.com/2018/biz/news/weinstein-co-ron-burkle-maria-contreras-sweet-1202694056/\">reports Variety\u003c/a>, though at one point the investors were said to be leaning toward “Wonder Hill.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Investor+Group+Has+Deal+To+Buy+Weinstein+Co.%2C+Start+New+Movie+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Library of Congress hosted a very special guest at story time this week:\u003c/p>\n\u003cp>Dolly Parton.\u003c/p>\n\u003cp>The country music legend is also a champion of early childhood literacy, through her Imagination Library. Every month, the nonprofit program mails a free book to more than a million children — from infants to preschoolers.\u003c/p>\n\u003cp>Parton visited the Library of Congress on Tuesday to celebrate a major milestone in the Imagination Library’s history: delivery of its 100 millionth book. Not bad for a program Parton founded more than two decades ago as a small, local effort to help kids in her native Sevier County, Tennessee.\u003c/p>\n\u003cp>“We never thought it would be this big,” she told NPR in a quiet, wood-paneled room off the library’s Great Hall. “I just wanted to do something great for my dad and for my home county and, at the most, maybe a couple of counties over. But then it just took wings of its own, and I guess it was meant to be.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parton’s inspiration for the Imagination Library was deeply personal: her father, Robert Lee Parton. Like many people of his generation, he began working at a young age to help support his family.\u003c/p>\n\u003cp>“My dad didn’t get the chance to go to school. And Daddy couldn’t read and write, and that was kind of crippling to him,” Parton said. “He was such a smart man, though. He just had such good common sense. They call it horse sense in the country.”\u003c/p>\n\u003cp>“But Daddy thought it was just something he couldn’t learn after he was grown, so he never tried to learn to read and write. And that was just kind of embarrassing to him,” she continued. “But I didn’t want Daddy to feel embarrassed.”\u003c/p>\n\u003cp>Parton was determined to give the children of Sevier County something her father never had: early access to books. She started the Imagination Library in 1995, and involved her father, too. He was able to see the program take off before he died in 2000.\u003c/p>\n\u003cp>“He got to hear the kids call me ‘The Book Lady.’ He got a big kick out of that,” she said. “But he took great pride and felt like he’d helped do something special.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZHNCLyvqoQw\u003c/p>\n\u003cp>From its modest roots in eastern Tennessee, the Imagination Library has grown to reach children in all 50 states and the District of Columbia, as well as Canada, Australia and the United Kingdom.\u003c/p>\n\u003cp>The program is \u003ca href=\"https://www.npr.org/sections/ed/2017/11/06/552885008/baby-you-ve-got-mail-free-books-boost-early-literacy\">available in communities where a local partner has teamed up with the Imagination Library\u003c/a>. Those partners could be nonprofits, state agencies or a public library system, for instance. Any child from birth to 5 — before they head off to kindergarten — is eligible. Local partners pay about $25 per child per year, an amount that covers the cost of the book and shipping.\u003c/p>\n\u003cp>A panel of educators and reading specialists picks books that are developmentally appropriate for each year of a child’s life.\u003c/p>\n\u003cp>In Washington, D.C., on a recent evening, Uretta Todd and her 4-year-old son, August, read \u003cem>Old Bear and His Cub\u003c/em>, one of the books they’ve received from the D.C. Public Library’s partnership with the Imagination Library, Books from Birth.\u003c/p>\n\u003cp>Todd says her son loves getting his book in the mail every month: It’s personal, it has his name on it, and it comes straight to their home.\u003c/p>\n\u003cp>She also loves the range of books.\u003c/p>\n\u003cp>“It exposes us to books we wouldn’t have necessarily picked out,” she says. Some examples include a bilingual English-Spanish version of \u003cem>Just One More\u003c/em> or Dolly Parton’s children’s book, \u003cem>I Am A Rainbow\u003c/em>, which uses colors to help kids talk about their feelings.\u003c/p>\n\u003cp>Across the country, in Anchorage, Alaska, 5-year-old Jack Price just graduated from the Imagination Library program.\u003c/p>\n\u003cp>“I have read to my son almost every day of his life,” says his mother, Natasha Price, who signed up for the Imagination Library in the hospital when her son was born.\u003c/p>\n\u003cp>Price says she appreciates how the books come with suggestions for parents on how to engage with the words beyond the page, with questions and activities.\u003c/p>\n\u003cp>“Maybe it’s been a long day and I can’t really think of the right questions to ask, and they have these really great prompts at the back of every book,” she says.\u003c/p>\n\u003cp>Getting the books each month became “a really wonderful custom in our family,” she says. “It was sad when we got our last book, which was about being ready for kindergarten, because we wouldn’t get any more books in the mail.”\u003c/p>\n\u003cp>Now that Jack has started kindergarten, Price says she sees “a direct correlation between reading to him every day and his reading comprehension skills.”\u003c/p>\n\u003cp>And the science backs her up. The human brain develops rapidly during the first few years of life. And studies have found that reading out loud to a child not only promotes literacy and a love of reading, but also has \u003ca href=\"http://pediatrics.aappublications.org/content/136/3/466\">lasting cognitive and educational benefits\u003c/a>.\u003c/p>\n\u003cp>It also helps children build knowledge and expand their horizons, Dolly Parton said.\u003c/p>\n\u003cp>“If you can read, even if you can’t afford education, you can go on and learn about anything you want to know. There’s a book on everything,” she said. “So I just think that it’s important for kids to be encouraged to read, to dream and to plan for a better life and better future.”\u003c/p>\n\u003cp>And Parton’s ambitions for the Imagination Library don’t stop with 100 million books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re going for a billion, maybe, in my lifetime,” she said, with a delightful Dolly laugh. “I’m a big dreamer, you know.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dolly+Parton+Gives+The+Gift+Of+Literacy%3A+A+Library+Of+100+Million+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Library of Congress hosted a very special guest at story time this week:\u003c/p>\n\u003cp>Dolly Parton.\u003c/p>\n\u003cp>The country music legend is also a champion of early childhood literacy, through her Imagination Library. Every month, the nonprofit program mails a free book to more than a million children — from infants to preschoolers.\u003c/p>\n\u003cp>Parton visited the Library of Congress on Tuesday to celebrate a major milestone in the Imagination Library’s history: delivery of its 100 millionth book. Not bad for a program Parton founded more than two decades ago as a small, local effort to help kids in her native Sevier County, Tennessee.\u003c/p>\n\u003cp>“We never thought it would be this big,” she told NPR in a quiet, wood-paneled room off the library’s Great Hall. “I just wanted to do something great for my dad and for my home county and, at the most, maybe a couple of counties over. But then it just took wings of its own, and I guess it was meant to be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Parton’s inspiration for the Imagination Library was deeply personal: her father, Robert Lee Parton. Like many people of his generation, he began working at a young age to help support his family.\u003c/p>\n\u003cp>“My dad didn’t get the chance to go to school. And Daddy couldn’t read and write, and that was kind of crippling to him,” Parton said. “He was such a smart man, though. He just had such good common sense. They call it horse sense in the country.”\u003c/p>\n\u003cp>“But Daddy thought it was just something he couldn’t learn after he was grown, so he never tried to learn to read and write. And that was just kind of embarrassing to him,” she continued. “But I didn’t want Daddy to feel embarrassed.”\u003c/p>\n\u003cp>Parton was determined to give the children of Sevier County something her father never had: early access to books. She started the Imagination Library in 1995, and involved her father, too. He was able to see the program take off before he died in 2000.\u003c/p>\n\u003cp>“He got to hear the kids call me ‘The Book Lady.’ He got a big kick out of that,” she said. “But he took great pride and felt like he’d helped do something special.”\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/ZHNCLyvqoQw'\n title='//www.youtube.com/embed/ZHNCLyvqoQw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From its modest roots in eastern Tennessee, the Imagination Library has grown to reach children in all 50 states and the District of Columbia, as well as Canada, Australia and the United Kingdom.\u003c/p>\n\u003cp>The program is \u003ca href=\"https://www.npr.org/sections/ed/2017/11/06/552885008/baby-you-ve-got-mail-free-books-boost-early-literacy\">available in communities where a local partner has teamed up with the Imagination Library\u003c/a>. Those partners could be nonprofits, state agencies or a public library system, for instance. Any child from birth to 5 — before they head off to kindergarten — is eligible. Local partners pay about $25 per child per year, an amount that covers the cost of the book and shipping.\u003c/p>\n\u003cp>A panel of educators and reading specialists picks books that are developmentally appropriate for each year of a child’s life.\u003c/p>\n\u003cp>In Washington, D.C., on a recent evening, Uretta Todd and her 4-year-old son, August, read \u003cem>Old Bear and His Cub\u003c/em>, one of the books they’ve received from the D.C. Public Library’s partnership with the Imagination Library, Books from Birth.\u003c/p>\n\u003cp>Todd says her son loves getting his book in the mail every month: It’s personal, it has his name on it, and it comes straight to their home.\u003c/p>\n\u003cp>She also loves the range of books.\u003c/p>\n\u003cp>“It exposes us to books we wouldn’t have necessarily picked out,” she says. Some examples include a bilingual English-Spanish version of \u003cem>Just One More\u003c/em> or Dolly Parton’s children’s book, \u003cem>I Am A Rainbow\u003c/em>, which uses colors to help kids talk about their feelings.\u003c/p>\n\u003cp>Across the country, in Anchorage, Alaska, 5-year-old Jack Price just graduated from the Imagination Library program.\u003c/p>\n\u003cp>“I have read to my son almost every day of his life,” says his mother, Natasha Price, who signed up for the Imagination Library in the hospital when her son was born.\u003c/p>\n\u003cp>Price says she appreciates how the books come with suggestions for parents on how to engage with the words beyond the page, with questions and activities.\u003c/p>\n\u003cp>“Maybe it’s been a long day and I can’t really think of the right questions to ask, and they have these really great prompts at the back of every book,” she says.\u003c/p>\n\u003cp>Getting the books each month became “a really wonderful custom in our family,” she says. “It was sad when we got our last book, which was about being ready for kindergarten, because we wouldn’t get any more books in the mail.”\u003c/p>\n\u003cp>Now that Jack has started kindergarten, Price says she sees “a direct correlation between reading to him every day and his reading comprehension skills.”\u003c/p>\n\u003cp>And the science backs her up. The human brain develops rapidly during the first few years of life. And studies have found that reading out loud to a child not only promotes literacy and a love of reading, but also has \u003ca href=\"http://pediatrics.aappublications.org/content/136/3/466\">lasting cognitive and educational benefits\u003c/a>.\u003c/p>\n\u003cp>It also helps children build knowledge and expand their horizons, Dolly Parton said.\u003c/p>\n\u003cp>“If you can read, even if you can’t afford education, you can go on and learn about anything you want to know. There’s a book on everything,” she said. “So I just think that it’s important for kids to be encouraged to read, to dream and to plan for a better life and better future.”\u003c/p>\n\u003cp>And Parton’s ambitions for the Imagination Library don’t stop with 100 million books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re going for a billion, maybe, in my lifetime,” she said, with a delightful Dolly laugh. “I’m a big dreamer, you know.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dolly+Parton+Gives+The+Gift+Of+Literacy%3A+A+Library+Of+100+Million+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Missing Child, A Dying Marriage And A 'Loveless' Society",
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"content": "\u003cp>Director Andrey Zvyagintsev’s \u003cem>Loveless \u003c/em>— Russia’s submission to this year’s Academy Awards, and one of the five movies up for best foreign language film come Oscar night — begins with two parents screaming at each other about their upcoming divorce.\u003c/p>\n\u003cp>They’re trying to sell their apartment, and it quickly becomes clear that their relationship is so toxic they’d probably sell their kid, too, if they could get away with it. Neither of them wants to take care of 12-year-old Aloysha (Matvey Novikov), who’s sobbing quietly in the shower as they argue.\u003c/p>\n\u003cp>They don’t see that. We do.\u003c/p>\n\u003cp>https://youtu.be/6h5GuecUU-Q\u003c/p>\n\u003cp>Once the shouting’s over, the parents go on with their now-separate lives: Each has a new partner, and their divergent choices suggest just how doomed their marriage was. Dad (Aleksey Rozin) has already shacked up with his pregnant, very traditional Russian girlfriend. Mom (Maryana Spivak) is living what you might call a capitalism-on-steroids life with a rich, older businessman — dining in expensive restaurants, frolicking in his sleek penthouse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When she gets home that night, she goes to bed without checking on Alyosha; the next morning, seeing his bed empty, she assumes that he’s already left for school. Turns out he’s long gone.\u003c/p>\n\u003cp>The police show up, but prove useless. They point the family to a network of volunteers, and soon they’re combing forests and an abandoned, decaying Soviet-era complex that looks like something out of \u003cem>Mad Max\u003c/em>.\u003c/p>\n\u003cp>By this point in most movies, Mom and Dad would be working together out of necessity. But that’s not the story \u003cem>Loveless \u003c/em>wants to tell.\u003c/p>\n\u003cp>Director Zvyagintsev, who co-wrote the film, is intent on showing how calamity doesn’t necessarily unite people — it can push them further apart. As he did in his 2014 film \u003cem>Leviathan\u003c/em>, about a land-grab in a small town, he tells what seems to be an intimate story while calling attention to the social forces affecting it: A government bureaucracy that gets in the way when it should be helping; religion hampering; technology misleading; loyalties obstructing.\u003c/p>\n\u003cp>It’s no accident that a character in \u003cem>Loveless \u003c/em>is seen in a track suit emblazoned with the word RUSSIA in large block letters, while running-in-place on a treadmill: Effort expended, with no actual progress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the parents trek from hospitals to morgues in search of the child they’d once talked of abandoning to an orphanage, news blares in the background about disruptions in Ukraine. What chance, wonders this bleak, devastating film, has any child in a society so loveless?\u003c/p>\n\n",
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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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"radiolab": {
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},
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"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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