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"content": "\u003cp>Yoko Ono will, legalities willing, be added as a songwriter to one of the most famous pop songs in the world — and John Lennon’s biggest solo hit — “Imagine.”\u003c/p>\n\u003cp>“Tonight, it is my distinct honor to correct the record some 48 years later,” David Israelite, president and CEO of the National Music Publishers’ Association, said Wednesday night in New York at his organization’s annual event.\u003c/p>\n\u003cp>Just before announcing Ono’s addition, a clip from a BBC interview with John Lennon was played in which he admits her centrality to its creation and his “macho” omission of her from its credits:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘Actually that should be credited as a Lennon-Ono song because a lot of it — the lyric and the concept — came from Yoko. But those days I was a bit more selfish, a bit more macho, and I sort of omitted to mention her contribution. But it was right out of \u003cem>Grapefruit\u003c/em>, her book.\u003c/p>\n\u003cp>” ‘There’s a whole pile of pieces about “Imagine this” and “Imagine that.” … But if it had been Bowie, I would have put “Lennon-Bowie,” you see. If it had been a male, you know. … Harry Nilsson — “Old Dirt Road,” it’s “Lennon-Nilsson.” But when we did [“Imagine”] I just put “Lennon” because, you know, she’s just the wife and you don’t put her name on, right?’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Ono’s and Lennon’s son Sean, who accompanied his wheelchair-bound mother to the ceremony, wrote afterward \u003ca href=\"https://www.facebook.com/seanlennon/photos/a.10151257927369431.485138.5438624430/10155383445214431/?type=3&theater\">in a Facebook post\u003c/a> that it was the proudest day of his life, describing tears welling in his mother’s eyes before Patti Smith sang the song.\u003c/p>\n\u003cp>Of course, as with most things on the business side of music, it’s not as simple as just adding Ono’s name to record sleeves. \u003ca href=\"http://variety.com/2017/biz/news/yoko-ono-to-receive-songwriting-credit-on-john-lennon-imagine-1202466645/\">Variety caught up\u003c/a> with Israelite after his speech, where he “noted there may be some opposition to the move at some point along the way,” in part due to the ripple effect the move would have on distributing payments for “Imagine.” Israelite also said the change had not been finalized at the time of the organization’s ceremony.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ono’s prolific solo output — some, with no trace of irony, featuring a songwriting credit to John Lennon, as the anagrammatic “Joel Nohnn” — records are in the midst of a reissue campaign by the label Secretly Canadian. Last year, the label re-released 1968’s \u003cem>Unfinished Music No. 1: Two Virgins\u003c/em>, \u003cem>Unfinished Music No. 2: Life with the Lions \u003c/em>from 1969, and \u003cem>Plastic Ono Band\u003c/em>. On July 14,\u003cem> Fly\u003c/em>, the rock opera\u003cem> Approximately Infinite Universe\u003c/em> and \u003cem>Feeling The Space\u003c/em> from 1973 are slated for re-release.\u003c/p>\n\u003cp>Watch below to see Lennon, in an interview alongside Ono, describing the melody and lyrics of “Imagine” just ahead of its release in 1971. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EL4to_3p260\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Yoko+Ono+To+Receive+Songwriting+Credit+On+%27Imagine%2C%27+48+Years+Later&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>A noted art collector and philanthropist has sold a major painting for an eye-popping $165 million to raise money for criminal justice reform.\u003c/p>\n\u003cp>Agnes Gund sold Roy Lichtenstein’s 1962 work \u003cem>Masterpiece\u003c/em>, reportedly to billionaire hedge fund manager and art collector Steve Cohen. The sale apparently took place months ago; an \u003ca href=\"http://www.baerfaxt.com/about-\" target=\"_blank\" rel=\"noopener\">art industry newsletter\u003c/a> reported on the transaction \u003ca href=\"http://www.artmarketmonitor.com/2017/01/12/has-roy-lichtensteins-masterpiece-sold/\">in January\u003c/a>, but Gund would not confirm it.\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/11/arts/design/agnes-gund-sells-a-lichtenstein-to-start-criminal-justice-fund.html\" target=\"_blank\" rel=\"noopener\">confirmed\u003c/a> that the sale was real, noting that the painting becomes one of the 15 most expensive pieces of art known to have been sold. And the newspaper \u003ca href=\"https://www.nytimes.com/2017/06/11/arts/design/agnes-gund-sells-a-lichtenstein-to-start-criminal-justice-fund.html\" target=\"_blank\" rel=\"noopener\">revealed\u003c/a> that Gund sold the piece “for a specific purpose: to create a fund that supports criminal justice reform and seeks to reduce mass incarceration in the United States.”\u003c/p>\n\u003cp>Gund is urging other wealthy art collectors to sell prized pieces to support the effort, NPR’s Elizabeth Blair reports.\u003c/p>\n\u003cp>“Gund says $100 million from that sale will go to the new Art For Justice Fund, described as a ‘movement to end mass incarceration,’ ” Elizabeth says. “Other collectors have also promised gifts of art or donations to the fund, which is being managed by Rockefeller Philanthropy Partners and the Ford Foundation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“According to a statement, the fund will support efforts to cut the prison population and strengthen programs to help people when they leave prison,” Elizabeth reports.\u003c/p>\n\u003cp>The\u003cem> Times,\u003c/em> which interviewed Gund, described what inspired the collector to start the initiative:\u003c/p>\n\u003cblockquote>\n\u003cp>“Six of Ms. Gund’s 12 grandchildren are African-American, and she has worried about their future as they’ve matured, particularly in light of shootings of black teenagers like Trayvon Martin in Florida.\u003c/p>\n\u003cp>” ‘I have always had an extreme sensitivity to inequality,’ Ms. Gund said.\u003c/p>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">“She added that she was also deeply affected by Michelle Alexander’s 2010 book, ‘\u003ca href=\"http://www.nytimes.com/2012/03/07/books/michelle-alexanders-new-jim-crow-raises-drug-law-debates.html\" target=\"_blank\" rel=\"noopener\">The New Jim Crow: Mass Incarceration in the Age of Colorblindness,\u003c/a>‘ and by Ava DuVernay’s 2016 documentary, \u003ca href=\"https://www.nytimes.com/2016/10/06/movies/ava-duvernay-13th-on-modern-slavery-in-america.html?_r=0\" target=\"_blank\" rel=\"noopener\">’13th,’ about African-Americans in the prison system.\u003c/a>”\u003c/p>\n\u003c/blockquote>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">“The criminal justice system in its current state — particularly in its treatment of people of color — is unfair and unjust,” Gund said in a statement from the Ford Foundation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">The fund will issue grants to groups and individuals working on issues of criminal justice reform. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Art+Collector+Sells+A+Lichtenstein+For+%24165+Million+To+Fund+Criminal+Justice+Reform&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A noted art collector and philanthropist has sold a major painting for an eye-popping $165 million to raise money for criminal justice reform.\u003c/p>\n\u003cp>Agnes Gund sold Roy Lichtenstein’s 1962 work \u003cem>Masterpiece\u003c/em>, reportedly to billionaire hedge fund manager and art collector Steve Cohen. The sale apparently took place months ago; an \u003ca href=\"http://www.baerfaxt.com/about-\" target=\"_blank\" rel=\"noopener\">art industry newsletter\u003c/a> reported on the transaction \u003ca href=\"http://www.artmarketmonitor.com/2017/01/12/has-roy-lichtensteins-masterpiece-sold/\">in January\u003c/a>, but Gund would not confirm it.\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/11/arts/design/agnes-gund-sells-a-lichtenstein-to-start-criminal-justice-fund.html\" target=\"_blank\" rel=\"noopener\">confirmed\u003c/a> that the sale was real, noting that the painting becomes one of the 15 most expensive pieces of art known to have been sold. And the newspaper \u003ca href=\"https://www.nytimes.com/2017/06/11/arts/design/agnes-gund-sells-a-lichtenstein-to-start-criminal-justice-fund.html\" target=\"_blank\" rel=\"noopener\">revealed\u003c/a> that Gund sold the piece “for a specific purpose: to create a fund that supports criminal justice reform and seeks to reduce mass incarceration in the United States.”\u003c/p>\n\u003cp>Gund is urging other wealthy art collectors to sell prized pieces to support the effort, NPR’s Elizabeth Blair reports.\u003c/p>\n\u003cp>“Gund says $100 million from that sale will go to the new Art For Justice Fund, described as a ‘movement to end mass incarceration,’ ” Elizabeth says. “Other collectors have also promised gifts of art or donations to the fund, which is being managed by Rockefeller Philanthropy Partners and the Ford Foundation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“According to a statement, the fund will support efforts to cut the prison population and strengthen programs to help people when they leave prison,” Elizabeth reports.\u003c/p>\n\u003cp>The\u003cem> Times,\u003c/em> which interviewed Gund, described what inspired the collector to start the initiative:\u003c/p>\n\u003cblockquote>\n\u003cp>“Six of Ms. Gund’s 12 grandchildren are African-American, and she has worried about their future as they’ve matured, particularly in light of shootings of black teenagers like Trayvon Martin in Florida.\u003c/p>\n\u003cp>” ‘I have always had an extreme sensitivity to inequality,’ Ms. Gund said.\u003c/p>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">“She added that she was also deeply affected by Michelle Alexander’s 2010 book, ‘\u003ca href=\"http://www.nytimes.com/2012/03/07/books/michelle-alexanders-new-jim-crow-raises-drug-law-debates.html\" target=\"_blank\" rel=\"noopener\">The New Jim Crow: Mass Incarceration in the Age of Colorblindness,\u003c/a>‘ and by Ava DuVernay’s 2016 documentary, \u003ca href=\"https://www.nytimes.com/2016/10/06/movies/ava-duvernay-13th-on-modern-slavery-in-america.html?_r=0\" target=\"_blank\" rel=\"noopener\">’13th,’ about African-Americans in the prison system.\u003c/a>”\u003c/p>\n\u003c/blockquote>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">“The criminal justice system in its current state — particularly in its treatment of people of color — is unfair and unjust,” Gund said in a statement from the Ford Foundation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">The fund will issue grants to groups and individuals working on issues of criminal justice reform. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Art+Collector+Sells+A+Lichtenstein+For+%24165+Million+To+Fund+Criminal+Justice+Reform&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Delta, BofA Drop Support For 'Julius Caesar' That Looks Too Much Like Trump",
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"content": "\u003cp>Two major corporate sponsors have pulled their support for a New York City production of \u003cem>Julius Caesar. \u003c/em>At issue: The titular role has an unmistakably Trumpian air. And, um, spoiler alert: He gets assassinated.\u003c/p>\n\u003cp>The Julius Caesar in the The Public Theater’s production “has blond hair, a fondness for long ties and a fashionable wife who speaks with a Slavic accent,” as NPR’s Jeff Lunden reports. Conspirators stab him to death on stage, making for some \u003ca href=\"http://www.npr.org/2017/05/31/530799564/kathy-griffin-apologizes-for-disturbing-depiction-of-trumps-head\">Kathy Griffin-like gore\u003c/a>.\u003c/p>\n\u003cp>In the funeral scene, according to a review in the \u003cem>\u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwimv66r67jUAhVGKWMKHfsjC00QFggoMAA&url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F09%2Ftheater%2Freview-julius-caesar-delacorte-theater-donald-trump.html&usg=AFQjCNEzdtUkt6ymWQQjCYbZ8pzPfRu96A&sig2=rJ51KPuoTF5tWmC2b6a_2w\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, “Marc Antony exposes not just Caesar’s sliced-up garment, as Shakespeare indicates, but also his bare, wound-ripped flesh.”\u003c/p>\n\u003cp>Delta and Bank of America both pulled their sponsorship over the production, which has been the target of criticism in recent days from right-leaning outlets such as \u003ca href=\"http://www.breitbart.com/big-hollywood/2017/06/06/trump-stabbed-death-central-park-performance-julius-caesar/\">Breitbart\u003c/a> and \u003ca href=\"http://insider.foxnews.com/2017/06/11/donald-trump-julius-caesar-stabbed-death-women-minorities-shakespeare-central-park\">Fox News\u003c/a>, as well as from President Trump’s son Donald Trump Jr.\u003c/p>\n\u003cp>https://twitter.com/DonaldJTrumpJr/status/873916847191724033\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No matter what your political stance may be, the graphic staging of \u003cem>Julius Caesar\u003c/em> at this summer’s Free Shakespeare in the Park does not reflect Delta Air Lines’ values,” Delta \u003ca href=\"http://deadline.com/2017/06/delta-airlines-ends-sponsorship-of-public-theater-over-trump-like-julius-caesar-assassination-in-central-park-report-1202111395/\">said in a statement\u003c/a> to Deadline Hollywood.\u003c/p>\n\u003cp>“Their artistic and creative direction crossed the line on the standards of good taste. We have notified them of our decision to end our sponsorship as the official airline of The Public Theater effective immediately.”\u003c/p>\n\u003cp>Bank of America also terminated support for the production, though it will continue its relationship with the theater. “The Public Theater chose to present \u003cem>Julius Caesar\u003c/em> in a way that was intended to provoke and offend,” the bank said in a statement to Deadline. “Had this intention been made known to us, we would have decided not to sponsor it.”\u003c/p>\n\u003cp>\u003cem>The New York Times’\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/09/theater/review-julius-caesar-delacorte-theater-donald-trump.html\">review\u003c/a> says the play “takes onstage Trump-trolling to a startling new level.”\u003c/p>\n\u003cp>On Sunday, Donald Trump Jr. \u003ca href=\"https://twitter.com/DonaldJTrumpJr/status/873916847191724033?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F11%2Farts%2Fdelta-airline-trump-public-theater-julius-ceasar.html\">tweeted\u003c/a> a link to a Fox News story that described the production this way: “A New York City play appears to depict President Trump being brutally stabbed to death by women and minorities.”\u003c/p>\n\u003cp>Pointing to the play’s complex characters and consequences, the production’s director, Oskar Eustis, \u003ca href=\"https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/SITP/Julius-Caesar/\">wrote\u003c/a> on the theater’s website, “Julius Caesar can be read as a warning parable to those who try to fight for democracy by undemocratic means. To fight the tyrant does not mean imitating him.”\u003c/p>\n\u003cp>It’s not unusual for productions of very old plays to use modern dress and current political references. A 2012 New York production of \u003cem>Julius Caesar\u003c/em> by The Acting Company was set “at our precise historical moment, in Obama’s Washington, D.C. The capital is rocked by ‘Occupy Rome’ protests,” \u003ca href=\"http://www.theamericanconservative.com/shakesblog/obamas-ides-of-march/\">wrote\u003c/a> Noah Hillman in \u003cem>The American Conservative\u003c/em>, noting that this Caesar was “a tall, charismatic African-American politician; he doesn’t look or sound much like Obama (he more closely recalls Michael Jordan), but the audience is unquestionably going to read him as an Obama stand-in nonetheless.”\u003c/p>\n\u003cp>Gregg Henry, who plays Caesar in the Public Theatre production, made the Trump connection overt. “I have great costumes and wigs that show you that this could be Trump. But I’m also trying to bring in the larger knowledge of tyrants,” he \u003ca href=\"https://www.backstage.com/interview/shakespeare-parks-gregg-henry-playing-very-trumpian-julius-caesar/\">told\u003c/a> \u003cem>Backstage\u003c/em>. “Hopefully, I’m able to sort of show what’s happening with this president, tweak this president for kind of what he is in a lot of ways and also show the dangers of dealing with a tyrant or possible tyrant in our country.”\u003c/p>\n\u003cp>As anyone who knows the play can attest, the killing of Caesar is complicated, and the tragedy has no clear protagonist.\u003c/p>\n\u003cp>“This puts the moral burden where I imagine Mr. Eustis wants it: on the audience,” the \u003cem>Times\u003c/em> wrote in its review. “We are asked to consider how far citizens may go in removing a destructive leader, and we are warned about unforeseen consequences. Dressing Caesar as Trump gives that agenda its juice but leaves the production a bit desiccated and incoherent thereafter. To be fair, this is a problem built into the play, which like all of Shakespeare’s tragedies begins with astonishing rhetoric and ends as an abattoir.”\u003c/p>\n\u003cp>But for Eustis, \u003cem>Caesar\u003c/em>’s ambiguity is a defining factor:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Julius Caesar\u003c/em> is about how fragile democracy is. The institutions that we have grown up with, that we have inherited from the struggle of many generations of our ancestors, can be swept away in no time at all. The difficulty in determining the protagonist of \u003cem>Julius Caesar\u003c/em> — there are at least four credible candidates – is not a formal weakness of the play, but rather essential to its structure. When history is happening, when the ground is slipping away under us and all that is solid melts into air, leadership is as transitory and flawed as the times.”\u003c/p>\n\u003cp>…\u003c/p>\n\u003cp>“And in case you were wondering: no, we didn’t write any new lines. It’s all Shakespeare.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The production, which has been in previews since May 23, opens Monday night. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>\u003c/em>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Delta%2C+BofA+Drop+Support+For+%27Julius+Caesar%27+That+Looks+Too+Much+Like+Trump&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two major corporate sponsors have pulled their support for a New York City production of \u003cem>Julius Caesar. \u003c/em>At issue: The titular role has an unmistakably Trumpian air. And, um, spoiler alert: He gets assassinated.\u003c/p>\n\u003cp>The Julius Caesar in the The Public Theater’s production “has blond hair, a fondness for long ties and a fashionable wife who speaks with a Slavic accent,” as NPR’s Jeff Lunden reports. Conspirators stab him to death on stage, making for some \u003ca href=\"http://www.npr.org/2017/05/31/530799564/kathy-griffin-apologizes-for-disturbing-depiction-of-trumps-head\">Kathy Griffin-like gore\u003c/a>.\u003c/p>\n\u003cp>In the funeral scene, according to a review in the \u003cem>\u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwimv66r67jUAhVGKWMKHfsjC00QFggoMAA&url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F09%2Ftheater%2Freview-julius-caesar-delacorte-theater-donald-trump.html&usg=AFQjCNEzdtUkt6ymWQQjCYbZ8pzPfRu96A&sig2=rJ51KPuoTF5tWmC2b6a_2w\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, “Marc Antony exposes not just Caesar’s sliced-up garment, as Shakespeare indicates, but also his bare, wound-ripped flesh.”\u003c/p>\n\u003cp>Delta and Bank of America both pulled their sponsorship over the production, which has been the target of criticism in recent days from right-leaning outlets such as \u003ca href=\"http://www.breitbart.com/big-hollywood/2017/06/06/trump-stabbed-death-central-park-performance-julius-caesar/\">Breitbart\u003c/a> and \u003ca href=\"http://insider.foxnews.com/2017/06/11/donald-trump-julius-caesar-stabbed-death-women-minorities-shakespeare-central-park\">Fox News\u003c/a>, as well as from President Trump’s son Donald Trump Jr.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No matter what your political stance may be, the graphic staging of \u003cem>Julius Caesar\u003c/em> at this summer’s Free Shakespeare in the Park does not reflect Delta Air Lines’ values,” Delta \u003ca href=\"http://deadline.com/2017/06/delta-airlines-ends-sponsorship-of-public-theater-over-trump-like-julius-caesar-assassination-in-central-park-report-1202111395/\">said in a statement\u003c/a> to Deadline Hollywood.\u003c/p>\n\u003cp>“Their artistic and creative direction crossed the line on the standards of good taste. We have notified them of our decision to end our sponsorship as the official airline of The Public Theater effective immediately.”\u003c/p>\n\u003cp>Bank of America also terminated support for the production, though it will continue its relationship with the theater. “The Public Theater chose to present \u003cem>Julius Caesar\u003c/em> in a way that was intended to provoke and offend,” the bank said in a statement to Deadline. “Had this intention been made known to us, we would have decided not to sponsor it.”\u003c/p>\n\u003cp>\u003cem>The New York Times’\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/09/theater/review-julius-caesar-delacorte-theater-donald-trump.html\">review\u003c/a> says the play “takes onstage Trump-trolling to a startling new level.”\u003c/p>\n\u003cp>On Sunday, Donald Trump Jr. \u003ca href=\"https://twitter.com/DonaldJTrumpJr/status/873916847191724033?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F11%2Farts%2Fdelta-airline-trump-public-theater-julius-ceasar.html\">tweeted\u003c/a> a link to a Fox News story that described the production this way: “A New York City play appears to depict President Trump being brutally stabbed to death by women and minorities.”\u003c/p>\n\u003cp>Pointing to the play’s complex characters and consequences, the production’s director, Oskar Eustis, \u003ca href=\"https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/SITP/Julius-Caesar/\">wrote\u003c/a> on the theater’s website, “Julius Caesar can be read as a warning parable to those who try to fight for democracy by undemocratic means. To fight the tyrant does not mean imitating him.”\u003c/p>\n\u003cp>It’s not unusual for productions of very old plays to use modern dress and current political references. A 2012 New York production of \u003cem>Julius Caesar\u003c/em> by The Acting Company was set “at our precise historical moment, in Obama’s Washington, D.C. The capital is rocked by ‘Occupy Rome’ protests,” \u003ca href=\"http://www.theamericanconservative.com/shakesblog/obamas-ides-of-march/\">wrote\u003c/a> Noah Hillman in \u003cem>The American Conservative\u003c/em>, noting that this Caesar was “a tall, charismatic African-American politician; he doesn’t look or sound much like Obama (he more closely recalls Michael Jordan), but the audience is unquestionably going to read him as an Obama stand-in nonetheless.”\u003c/p>\n\u003cp>Gregg Henry, who plays Caesar in the Public Theatre production, made the Trump connection overt. “I have great costumes and wigs that show you that this could be Trump. But I’m also trying to bring in the larger knowledge of tyrants,” he \u003ca href=\"https://www.backstage.com/interview/shakespeare-parks-gregg-henry-playing-very-trumpian-julius-caesar/\">told\u003c/a> \u003cem>Backstage\u003c/em>. “Hopefully, I’m able to sort of show what’s happening with this president, tweak this president for kind of what he is in a lot of ways and also show the dangers of dealing with a tyrant or possible tyrant in our country.”\u003c/p>\n\u003cp>As anyone who knows the play can attest, the killing of Caesar is complicated, and the tragedy has no clear protagonist.\u003c/p>\n\u003cp>“This puts the moral burden where I imagine Mr. Eustis wants it: on the audience,” the \u003cem>Times\u003c/em> wrote in its review. “We are asked to consider how far citizens may go in removing a destructive leader, and we are warned about unforeseen consequences. Dressing Caesar as Trump gives that agenda its juice but leaves the production a bit desiccated and incoherent thereafter. To be fair, this is a problem built into the play, which like all of Shakespeare’s tragedies begins with astonishing rhetoric and ends as an abattoir.”\u003c/p>\n\u003cp>But for Eustis, \u003cem>Caesar\u003c/em>’s ambiguity is a defining factor:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Julius Caesar\u003c/em> is about how fragile democracy is. The institutions that we have grown up with, that we have inherited from the struggle of many generations of our ancestors, can be swept away in no time at all. The difficulty in determining the protagonist of \u003cem>Julius Caesar\u003c/em> — there are at least four credible candidates – is not a formal weakness of the play, but rather essential to its structure. When history is happening, when the ground is slipping away under us and all that is solid melts into air, leadership is as transitory and flawed as the times.”\u003c/p>\n\u003cp>…\u003c/p>\n\u003cp>“And in case you were wondering: no, we didn’t write any new lines. It’s all Shakespeare.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The production, which has been in previews since May 23, opens Monday night. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>\u003c/em>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Delta%2C+BofA+Drop+Support+For+%27Julius+Caesar%27+That+Looks+Too+Much+Like+Trump&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Adam West, the actor behind one of the most beloved and enduring renditions of Batman, died Friday night at the age of 88. For much of the 1960s, West donned the black mask of the caped crusader, playing the role as a plucky, intrepid hero for television.\u003c/p>\n\u003cp>“Adam West passed away peacefully last night after a short but brave battle with leukemia,” his family writes \u003ca href=\"https://www.facebook.com/adamwest/photos/a.402121738023.180342.230082868023/10155457584468024/?type=3\">in a Facebook post\u003c/a>. “He was a beloved father, husband, grandfather, and great-grandfather. There are no words to describe how much we’ll miss him.”\u003c/p>\n\u003cp>\u003cem>This post will be updated.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Adam+West%2C+Who+Played+The+Dark+Knight+At+His+Brightest%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>There’s a classic moment in the romantic thriller \u003cem>Charade\u003c/em>, when Audrey Hepburn says to Cary Grant in exasperation, “Do you know what’s the matter with you? … Nothing.”\u003c/p>\n\u003cp>For decades, the whole world felt the same. Grant’s unrivaled blend of charm, good looks and silliness — he hadn’t a shred of pomposity or elitism — made him a movie star everyone loved. Everyone, that is, except Archie Leach, the actor’s real-life self who wrote that he’d spent years cautiously peering from behind the face of a man known as Cary Grant.\u003c/p>\n\u003cp>The journey from Archie to Cary is the subject of Mark Kidel’s enjoyable documentary, \u003cem>Becoming Cary Grant\u003c/em>. Weaving together the actor’s private home movies, excerpts from his unpublished writings and terrific clips from his Hollywood work, this Showtime film tells the story of an arduous act of self-invention.\u003c/p>\n\u003cp>Archie was born in working-class Bristol, England to a dapper, unreliable father and a hyper-ambitious mother, Elsie, who was ravaged by inner demons. When Archie was 11, he came home one day to find his mother gone — he wouldn’t learn why for 20 years.\u003c/p>\n\u003cp>In short order, the poor kid was shunted off to live with his grandparents. Small wonder that, seeing a performance by a group of acrobats, he was smitten by their free and confident lives. At 14, he joined their troupe — hence his famous physical grace, even in pratfalls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Archie traveled with the company to New York, and when they went home, this dashing 18 year old stayed behind to work in vaudeville and in musical theater.\u003c/p>\n\u003cp>Despite a disastrously hammy first screen test — which Kidel shows us — he eventually found his way to Hollywood. There, a second screen test proved successful enough that he was ordered to change his name. He then became Cary Grant.\u003c/p>\n\u003cp>Even so, it took him several years and 28 movies until, in a brilliant screwball comedy called \u003cem>The Awful Truth\u003c/em>, he discovered how to capture — and radiate — the \u003cem>ease\u003c/em> that we think of as Cary Grant-ness. Once he did, he starred in some of the greatest movies ever, including \u003cem>Holiday\u003c/em>, \u003cem>Only Angels Have Wings\u003c/em>, \u003cem>Bringing Up Baby\u003c/em>, \u003cem>His Girl Friday\u003c/em>, \u003cem>Notorious\u003c/em> and \u003cem>North by Northwest\u003c/em>. I wouldn’t swap those six for the whole careers of Marlon Brando \u003cem>and\u003c/em> James Dean.\u003c/p>\n\u003cp>On screen, Grant always knew how to talk — and listen — to women. Off-screen, he messed up several marriages. Beneath his debonair facade, he was lonely, insecure and haunted by fears of being abandoned. \u003cem>\u003c/em>\u003c/p>\n\u003cp>It wasn’t until his 50s that he began finding peace — when a doctor began giving him LSD. Taking a \u003cem>hundred\u003c/em> trips, Grant confronted his past and learned how his mother’s abandonment had tainted his relationships with all women. He also began glimpsing a road to inner happiness. All of which makes Grant a better advertisement for dropping acid than anything Timothy Leary ever did.\u003c/p>\n\u003cp>Now, it’s not surprising that Grant was torn by personal wounds and a yearning for love. That’s common with stars. Even John Wayne spent his whole life trying, and failing, to win his mother’s affection. But Grant’s story is striking by the breadth of the chasm between his wounded inner self and his seductive persona that was attentive, buoyant and up for anything.\u003c/p>\n\u003cp>The best moments of \u003cem>Becoming Cary Grant\u003c/em> show how the Archie-Cary duality gave him an enthralling elusiveness on-screen. He was a layered actor whose provenance was neither English nor American, whose light touch could veer into darkness and whose work, as critic David Thomson shrewdly tells Kidel, played with the ambiguities of gender. No male star of his stature ever donned so many women’s clothes.\u003c/p>\n\u003cp>In the end, Grant was and remains the supreme incarnation of what I always think of as “The Movies,” a vanished form of collective dream in which people went to the movie palace to sink into a world more glamorous and exciting than their own. In this world, artificial surfaces gave rise to genuine feelings, and stars taught you how to act with grace, style and high spirits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant’s image was possibly the most glorious dream of them all, and as this documentary makes clear, he knew it. When an interviewer once told him, “\u003cem>Everyone\u003c/em> would like to be Cary Grant,” he replied, “\u003cem>I’d\u003c/em> like to be Cary Grant, too.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Archie traveled with the company to New York, and when they went home, this dashing 18 year old stayed behind to work in vaudeville and in musical theater.\u003c/p>\n\u003cp>Despite a disastrously hammy first screen test — which Kidel shows us — he eventually found his way to Hollywood. There, a second screen test proved successful enough that he was ordered to change his name. He then became Cary Grant.\u003c/p>\n\u003cp>Even so, it took him several years and 28 movies until, in a brilliant screwball comedy called \u003cem>The Awful Truth\u003c/em>, he discovered how to capture — and radiate — the \u003cem>ease\u003c/em> that we think of as Cary Grant-ness. Once he did, he starred in some of the greatest movies ever, including \u003cem>Holiday\u003c/em>, \u003cem>Only Angels Have Wings\u003c/em>, \u003cem>Bringing Up Baby\u003c/em>, \u003cem>His Girl Friday\u003c/em>, \u003cem>Notorious\u003c/em> and \u003cem>North by Northwest\u003c/em>. I wouldn’t swap those six for the whole careers of Marlon Brando \u003cem>and\u003c/em> James Dean.\u003c/p>\n\u003cp>On screen, Grant always knew how to talk — and listen — to women. Off-screen, he messed up several marriages. Beneath his debonair facade, he was lonely, insecure and haunted by fears of being abandoned. \u003cem>\u003c/em>\u003c/p>\n\u003cp>It wasn’t until his 50s that he began finding peace — when a doctor began giving him LSD. Taking a \u003cem>hundred\u003c/em> trips, Grant confronted his past and learned how his mother’s abandonment had tainted his relationships with all women. He also began glimpsing a road to inner happiness. All of which makes Grant a better advertisement for dropping acid than anything Timothy Leary ever did.\u003c/p>\n\u003cp>Now, it’s not surprising that Grant was torn by personal wounds and a yearning for love. That’s common with stars. Even John Wayne spent his whole life trying, and failing, to win his mother’s affection. But Grant’s story is striking by the breadth of the chasm between his wounded inner self and his seductive persona that was attentive, buoyant and up for anything.\u003c/p>\n\u003cp>The best moments of \u003cem>Becoming Cary Grant\u003c/em> show how the Archie-Cary duality gave him an enthralling elusiveness on-screen. He was a layered actor whose provenance was neither English nor American, whose light touch could veer into darkness and whose work, as critic David Thomson shrewdly tells Kidel, played with the ambiguities of gender. No male star of his stature ever donned so many women’s clothes.\u003c/p>\n\u003cp>In the end, Grant was and remains the supreme incarnation of what I always think of as “The Movies,” a vanished form of collective dream in which people went to the movie palace to sink into a world more glamorous and exciting than their own. In this world, artificial surfaces gave rise to genuine feelings, and stars taught you how to act with grace, style and high spirits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant’s image was possibly the most glorious dream of them all, and as this documentary makes clear, he knew it. When an interviewer once told him, “\u003cem>Everyone\u003c/em> would like to be Cary Grant,” he replied, “\u003cem>I’d\u003c/em> like to be Cary Grant, too.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Becoming+Cary+Grant%27+Reveals+The+Self-Invention+Of+A+Hollywood+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Site Of Woodstock Added To National Registry Of Historic Places",
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"content": "\u003cp>The Bethel Woods Center for the Arts, the site of the Woodstock music festival in 1969, has been added to the National Register of Historic Places, according to an announcement on \u003ca href=\"http://www.bethelwoodscenter.org\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>. The news was first reported \u003ca href=\"http://hosted.ap.org/dynamic/stories/U/US_WOODSTOCK_NATIONAL_REGISTER?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2017-06-07-00-08-06\" target=\"_blank\" rel=\"noopener\">by the Associated Press\u003c/a>.\u003c/p>\n\u003cp>Bethel Woods, which was a farm when half a million people trekked to upstate New York for the festival that created its legend, includes an 800-acre “campus” with a museum, a 15,000-seat amphitheater, a smaller gallery space and arts conservatory which opened in June 2008 following a $100 million investment. The onetime “Aquarian Exposition” now takes as its mission educating people on the “issues and lessons” of that turbulent decade which was both culminated and dispatched by that mid-August, rain-flecked, three-day celebration of peace and love. (For what it’s worth, the next music event scheduled to take place there is \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/trainoar\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> from Train, O.A.R. and Natasha Bedingfield.)\u003c/p>\n\u003cp>Being placed on the National Register requires meeting a fairly predictable set of \u003ca href=\"https://www.nps.gov/nr/publications/bulletins/nrb15/nrb15_2.htm\" target=\"_blank\" rel=\"noopener\">criteria\u003c/a>, and confers on spaces tax breaks for rehabilitation and special consideration for federal preservation money as well as federal construction projects. (You have to \u003ca href=\"https://www.nps.gov/nr/faq.htm\" target=\"_blank\" rel=\"noopener\">buy your own plaque\u003c/a>, however.)\u003c/p>\n\u003cp>The certification by the National Register comes on the eve of the 50th anniversary of the Summer of Love, the confluence of the hippie movement in San Francisco which cemented the countercultural wave in the minds of more mainstream observers that took place two years prior to Woodstock. (The Summer of Love and Woodstock were both inspired and presaged by the Monterey Pop Festival, held in June 1967, which featured many of the same artists as Woodstock on its lineup: Jimi Hendrix, The Who, The Grateful Dead, Jefferson Airplane and many others.)\u003c/p>\n\u003cp>The Bethel Center’s museum, for its part, is hosting an exhibition, “Love For Sale,” which examines commercialization of that counterculture, already well underway by the time the first chord was played at Woodstock. “The counterculture was now everywhere,” the \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/loveforsale\" target=\"_blank\" rel=\"noopener\">museum writes\u003c/a>, “and Madison Avenue embraced the slogans, motifs, and attitudes of the movement to sell cars, soft drinks, fashion, and lifestyles to Main Street.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That co-option may have been fully predictable, if history was taken as a guide. “What we kids didn’t understand was that we were living in a commercial, commodity culture,” the influential cartoonist R. Crumb, a quiet superstar of the ’60s and creator of many indelible illustrations from the time, wrote in his autobiographical work \u003cem>The R. Crumb Handbook\u003c/em>. “Everything in our environment had been bought and sold. As middle-class Americans, we basically grew up on a movie set. The conscious values that are pushed are only part of the picture. The medium itself plays a much bigger part than anyone realizes: the creation of illusion. We are living surrounded by illusion, by professionally created fairy tales. We barely have contact with the real world.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Site+Of+Woodstock+Added+To+National+Registry+Of+Historic+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bethel Woods Center for the Arts, the site of the Woodstock music festival in 1969, has been added to the National Register of Historic Places, according to an announcement on \u003ca href=\"http://www.bethelwoodscenter.org\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>. The news was first reported \u003ca href=\"http://hosted.ap.org/dynamic/stories/U/US_WOODSTOCK_NATIONAL_REGISTER?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2017-06-07-00-08-06\" target=\"_blank\" rel=\"noopener\">by the Associated Press\u003c/a>.\u003c/p>\n\u003cp>Bethel Woods, which was a farm when half a million people trekked to upstate New York for the festival that created its legend, includes an 800-acre “campus” with a museum, a 15,000-seat amphitheater, a smaller gallery space and arts conservatory which opened in June 2008 following a $100 million investment. The onetime “Aquarian Exposition” now takes as its mission educating people on the “issues and lessons” of that turbulent decade which was both culminated and dispatched by that mid-August, rain-flecked, three-day celebration of peace and love. (For what it’s worth, the next music event scheduled to take place there is \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/trainoar\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> from Train, O.A.R. and Natasha Bedingfield.)\u003c/p>\n\u003cp>Being placed on the National Register requires meeting a fairly predictable set of \u003ca href=\"https://www.nps.gov/nr/publications/bulletins/nrb15/nrb15_2.htm\" target=\"_blank\" rel=\"noopener\">criteria\u003c/a>, and confers on spaces tax breaks for rehabilitation and special consideration for federal preservation money as well as federal construction projects. (You have to \u003ca href=\"https://www.nps.gov/nr/faq.htm\" target=\"_blank\" rel=\"noopener\">buy your own plaque\u003c/a>, however.)\u003c/p>\n\u003cp>The certification by the National Register comes on the eve of the 50th anniversary of the Summer of Love, the confluence of the hippie movement in San Francisco which cemented the countercultural wave in the minds of more mainstream observers that took place two years prior to Woodstock. (The Summer of Love and Woodstock were both inspired and presaged by the Monterey Pop Festival, held in June 1967, which featured many of the same artists as Woodstock on its lineup: Jimi Hendrix, The Who, The Grateful Dead, Jefferson Airplane and many others.)\u003c/p>\n\u003cp>The Bethel Center’s museum, for its part, is hosting an exhibition, “Love For Sale,” which examines commercialization of that counterculture, already well underway by the time the first chord was played at Woodstock. “The counterculture was now everywhere,” the \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/loveforsale\" target=\"_blank\" rel=\"noopener\">museum writes\u003c/a>, “and Madison Avenue embraced the slogans, motifs, and attitudes of the movement to sell cars, soft drinks, fashion, and lifestyles to Main Street.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That co-option may have been fully predictable, if history was taken as a guide. “What we kids didn’t understand was that we were living in a commercial, commodity culture,” the influential cartoonist R. Crumb, a quiet superstar of the ’60s and creator of many indelible illustrations from the time, wrote in his autobiographical work \u003cem>The R. Crumb Handbook\u003c/em>. “Everything in our environment had been bought and sold. As middle-class Americans, we basically grew up on a movie set. The conscious values that are pushed are only part of the picture. The medium itself plays a much bigger part than anyone realizes: the creation of illusion. We are living surrounded by illusion, by professionally created fairy tales. We barely have contact with the real world.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Site+Of+Woodstock+Added+To+National+Registry+Of+Historic+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "H.P. Lovecraft's Monster is Wrapping Family Game Night Up in Tentacles",
"headTitle": "H.P. Lovecraft’s Monster is Wrapping Family Game Night Up in Tentacles | KQED",
"content": "\u003cp>H.P. Lovecraft, the early 1900s horror writer, is best known for his creation of the deity Cthulhu — a monster of great power who sleeps in the Pacific Ocean in the sunken city of R’lyeh.\u003c/p>\n\u003cp>Now, almost 100 years after its conception, Cthulhu is making a creepy comeback via a new crop of board games.\u003c/p>\n\u003cp>Lovecraft created Cthulhu, which is typically pronounced Ka-thu-lu, in his 1920s short story “\u003ca href=\"http://www.hplovecraft.com/writings/texts/fiction/cc.aspx\" target=\"_blank\" rel=\"noopener\">The Call of Cthulhu\u003c/a>.” In illustrations, the monster’s depiction has taken on a look similar to a mixture of the Kraken, the dragon from Shrek and Xenomorphs from \u003cem>Alien,\u003c/em> but with really great biceps.\u003c/p>\n\u003cp>In 1987, one of the first Lovecraft-themed board games, \u003ca href=\"https://www.fantasyflightgames.com/en/products/arkham-horror/\" target=\"_blank\" rel=\"noopener\">Arkham Horror\u003c/a>, popped up and became wildly popular. Between then and 1997, there was an average of less than one Lovecraft-themed game published each year — and that number didn’t budge until everything seemed to explode in 2014. That year and every year since, there have been over a dozen Lovecraft-themed board games released.\u003c/p>\n\u003cp>And in 2017, the most anticipated board game this year, \u003ca href=\"https://boardgamegeek.com/geeklist/217265/20-most-anticipated-games-2017-nominations-are-clo\" target=\"_blank\" rel=\"noopener\">according to Board Game Geek\u003c/a>, is a Cthulhu Wars expansion. Three of the other titles on the 20-game list are also takes on Lovecraft’s world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s impressive about this phenomenon is that after coming into pop culture, Cthulhu has taken over more than just board games: with \u003ca href=\"http://www.imdb.com/list/ls071029311/\" target=\"_blank\" rel=\"noopener\">movies\u003c/a>, \u003ca href=\"http://www.goodreads.com/genres/cthulhu-mythos\" target=\"_blank\" rel=\"noopener\">books\u003c/a>, a \u003ca href=\"https://cthulhuforamerica.com/\" target=\"_blank\" rel=\"noopener\">bid for the 2020 presidential election\u003c/a> (it gathered a couple of votes in \u003ca href=\"http://www.huffingtonpost.com/entry/cthulhu-for-president_us_574fba9ee4b0ed593f134933\" target=\"_blank\" rel=\"noopener\">2016\u003c/a>). You can even get a \u003ca href=\"https://itunes.apple.com/us/app/cthulhu-virtual-pet/id1042479814?mt=8\" target=\"_blank\" rel=\"noopener\">Cthulhu virtual pet\u003c/a> for your phone.\u003c/p>\n\u003cp>Chris Reardon, a fan of Lovecraft’s work and player of Lovecraft-themed games, is happy the author is emerging into the public light.\u003c/p>\n\u003cp>“I really like Lovecraft-themed board games because they are cooperative games,” Reardon says. And the “addition of his characters and his theme add a cool extra layer.”\u003c/p>\n\u003cp>He says Lovecraft would have loved seeing his works coming back and being collaborated on, because he collaborated with people a lot as a writer.\u003c/p>\n\u003cp>Justin Johns, who works for \u003ca href=\"http://www.labyrinthgameshop.com/\" target=\"_blank\" rel=\"noopener\">Labyrinth Games and Puzzles\u003c/a> in Washington, D.C., has enjoyed his fair share of Lovecraft-themed board games. He said he became a fan of the games after reading some of Lovecraft’s work on a whim.\u003c/p>\n\u003cp>“I feel like [Lovecraft-themed games] have been a lot more prevalent in the last three or four years,” Johns says. “I do think there has been an uptick in the theme and interest in Cthulhu stuff. I think Lovecraft has always been around and is sort of a background to a lot of modern horror ideas — the idea that there are big scary things that man is not meant to know.”\u003c/p>\n\u003cp>But why the uptick, seemingly out of the blue (where Cthulhu resides) almost a century after its conception?\u003c/p>\n\u003cp>First, it could be the licensing issue. Some of Lovecraft’s works became public domain within the past decade, so it takes a lot less work for board game creators to use Cthulhu.\u003c/p>\n\u003cp>Second, crowdfunding sites became a haven to fund board game creators’ passion projects. The \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars?ref=nav_search\" target=\"_blank\" rel=\"noopener\">Cthulhu Wars Kickstarter\u003c/a> raised over $1.4 million. A \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars-onslaught-two?ref=nav_search\" target=\"_blank\" rel=\"noopener\">second printing\u003c/a> raised an additional $1 million.\u003c/p>\n\u003cp>But lots of things are public domain and don’t have nearly the uptick in consumer attention, and the increase in Lovecraft games funded on Kickstarter lines up with that of \u003ca href=\"https://fivethirtyeight.com/features/crowdfunding-is-driving-a-196-million-board-game-renaissance/\" target=\"_blank\" rel=\"noopener\">all board games\u003c/a> from the crowdfunding sites.\u003c/p>\n\u003cp>Many fans \u003ca href=\"https://www.reddit.com/r/boardgames/comments/4uhpgm/is_there_a_lovecraftian_board_games_revival/?st=j34xiogv&sh=38a7311f\" target=\"_blank\" rel=\"noopener\">argue\u003c/a> that it’s less of a revival and more of a bandwagon. As with zombies and pirates, once creators saw they could make money off the theme, they jumped on board.\u003c/p>\n\u003cp>Donovan Loucks, who is in charge of the H.P. Lovecraft \u003ca href=\"http://www.hplovecraft.com/\" target=\"_blank\" rel=\"noopener\">online archive\u003c/a>, speculated that game creators saw that some Lovecraft games were becoming popular, and once the licensing was released, realized they should take advantage of that market.\u003c/p>\n\u003cp>“I think it prompted a lot of people to say, ‘Hey, we can do Lovecraft too,’ ” says Loucks, who is also an avid board game fan.\u003c/p>\n\u003cp>One possible reason, Johns says, is that board games with cooperative play styles have increased in popularity and most games with a Lovecraft theme are just that — a group of players try to take down the big bad monster and save the world. It’s the players against the board.\u003c/p>\n\u003cp>“I think it’s really interesting to see all the different ways that people are interpreting the ideas of this big scary thing and all the different ways that it’s influenced different writing and games,” Johns says. “Even movies like the \u003cem>Alien\u003c/em> movies, this big scary thing, they go off into the unknown and they’re changed and killed by this unknown character. It echoes throughout the rest of our popular culture.”\u003c/p>\n\u003cp>What is actually different about Lovecraft is that in recent years, he underwent some \u003ca href=\"http://www.salon.com/2014/09/11/its_ok_to_admit_that_h_p_lovecraft_was_racist/\" target=\"_blank\" rel=\"noopener\">pretty intense\u003c/a>, \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/08/hp-lovecraft-125/401471/\" target=\"_blank\" rel=\"noopener\">public scrutiny\u003c/a> about racist letters to a friend depicting opinions on his Jewish, black, Italian, Portuguese and Asian peers. Lovecraft wrote that the “extra-legal measures such as lynching and intimidation” were “ingenious,” among other pretty deplorable quotes.\u003c/p>\n\u003cp>But these letters brought attention to Lovecraft’s work.\u003c/p>\n\u003cp>“Any press is good press, in a sense,” Loucks says. “Because of this, people are becoming more aware of him.”\u003c/p>\n\u003cp>Loucks says Lovecraft fans don’t really like Lovecraft the man, and some don’t even like his writing, which is much more detailed than that of other writers of his time. But the fans do love the creatures and monsters he created. So the thought in the Lovecraft community is that perhaps the bad press for his personal opinions brought his work to light, and intrigued people. Then, with it being in the public domain, they were free to use his work to create some of their own — in the form of board games.\u003c/p>\n\u003cp>Whatever the reason for Lovecraft’s rise to fame, one thing is certain: We are in the middle of a board game renaissance, and the deity of choice is Cthulhu.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Christianna Silva is an NPR Digital News intern.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=H.P.+Lovecraft%27s+Monster+Is+Wrapping+Family+Game+Night+Up+In+Tentacles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "A century after the horror writer created Cthulhu, board game creators and players have resurrected the deep sea monster and brought it into pop culture. Why is this beast making a comeback?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>H.P. Lovecraft, the early 1900s horror writer, is best known for his creation of the deity Cthulhu — a monster of great power who sleeps in the Pacific Ocean in the sunken city of R’lyeh.\u003c/p>\n\u003cp>Now, almost 100 years after its conception, Cthulhu is making a creepy comeback via a new crop of board games.\u003c/p>\n\u003cp>Lovecraft created Cthulhu, which is typically pronounced Ka-thu-lu, in his 1920s short story “\u003ca href=\"http://www.hplovecraft.com/writings/texts/fiction/cc.aspx\" target=\"_blank\" rel=\"noopener\">The Call of Cthulhu\u003c/a>.” In illustrations, the monster’s depiction has taken on a look similar to a mixture of the Kraken, the dragon from Shrek and Xenomorphs from \u003cem>Alien,\u003c/em> but with really great biceps.\u003c/p>\n\u003cp>In 1987, one of the first Lovecraft-themed board games, \u003ca href=\"https://www.fantasyflightgames.com/en/products/arkham-horror/\" target=\"_blank\" rel=\"noopener\">Arkham Horror\u003c/a>, popped up and became wildly popular. Between then and 1997, there was an average of less than one Lovecraft-themed game published each year — and that number didn’t budge until everything seemed to explode in 2014. That year and every year since, there have been over a dozen Lovecraft-themed board games released.\u003c/p>\n\u003cp>And in 2017, the most anticipated board game this year, \u003ca href=\"https://boardgamegeek.com/geeklist/217265/20-most-anticipated-games-2017-nominations-are-clo\" target=\"_blank\" rel=\"noopener\">according to Board Game Geek\u003c/a>, is a Cthulhu Wars expansion. Three of the other titles on the 20-game list are also takes on Lovecraft’s world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s impressive about this phenomenon is that after coming into pop culture, Cthulhu has taken over more than just board games: with \u003ca href=\"http://www.imdb.com/list/ls071029311/\" target=\"_blank\" rel=\"noopener\">movies\u003c/a>, \u003ca href=\"http://www.goodreads.com/genres/cthulhu-mythos\" target=\"_blank\" rel=\"noopener\">books\u003c/a>, a \u003ca href=\"https://cthulhuforamerica.com/\" target=\"_blank\" rel=\"noopener\">bid for the 2020 presidential election\u003c/a> (it gathered a couple of votes in \u003ca href=\"http://www.huffingtonpost.com/entry/cthulhu-for-president_us_574fba9ee4b0ed593f134933\" target=\"_blank\" rel=\"noopener\">2016\u003c/a>). You can even get a \u003ca href=\"https://itunes.apple.com/us/app/cthulhu-virtual-pet/id1042479814?mt=8\" target=\"_blank\" rel=\"noopener\">Cthulhu virtual pet\u003c/a> for your phone.\u003c/p>\n\u003cp>Chris Reardon, a fan of Lovecraft’s work and player of Lovecraft-themed games, is happy the author is emerging into the public light.\u003c/p>\n\u003cp>“I really like Lovecraft-themed board games because they are cooperative games,” Reardon says. And the “addition of his characters and his theme add a cool extra layer.”\u003c/p>\n\u003cp>He says Lovecraft would have loved seeing his works coming back and being collaborated on, because he collaborated with people a lot as a writer.\u003c/p>\n\u003cp>Justin Johns, who works for \u003ca href=\"http://www.labyrinthgameshop.com/\" target=\"_blank\" rel=\"noopener\">Labyrinth Games and Puzzles\u003c/a> in Washington, D.C., has enjoyed his fair share of Lovecraft-themed board games. He said he became a fan of the games after reading some of Lovecraft’s work on a whim.\u003c/p>\n\u003cp>“I feel like [Lovecraft-themed games] have been a lot more prevalent in the last three or four years,” Johns says. “I do think there has been an uptick in the theme and interest in Cthulhu stuff. I think Lovecraft has always been around and is sort of a background to a lot of modern horror ideas — the idea that there are big scary things that man is not meant to know.”\u003c/p>\n\u003cp>But why the uptick, seemingly out of the blue (where Cthulhu resides) almost a century after its conception?\u003c/p>\n\u003cp>First, it could be the licensing issue. Some of Lovecraft’s works became public domain within the past decade, so it takes a lot less work for board game creators to use Cthulhu.\u003c/p>\n\u003cp>Second, crowdfunding sites became a haven to fund board game creators’ passion projects. The \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars?ref=nav_search\" target=\"_blank\" rel=\"noopener\">Cthulhu Wars Kickstarter\u003c/a> raised over $1.4 million. A \u003ca href=\"https://www.kickstarter.com/projects/1816687860/cthulhu-wars-onslaught-two?ref=nav_search\" target=\"_blank\" rel=\"noopener\">second printing\u003c/a> raised an additional $1 million.\u003c/p>\n\u003cp>But lots of things are public domain and don’t have nearly the uptick in consumer attention, and the increase in Lovecraft games funded on Kickstarter lines up with that of \u003ca href=\"https://fivethirtyeight.com/features/crowdfunding-is-driving-a-196-million-board-game-renaissance/\" target=\"_blank\" rel=\"noopener\">all board games\u003c/a> from the crowdfunding sites.\u003c/p>\n\u003cp>Many fans \u003ca href=\"https://www.reddit.com/r/boardgames/comments/4uhpgm/is_there_a_lovecraftian_board_games_revival/?st=j34xiogv&sh=38a7311f\" target=\"_blank\" rel=\"noopener\">argue\u003c/a> that it’s less of a revival and more of a bandwagon. As with zombies and pirates, once creators saw they could make money off the theme, they jumped on board.\u003c/p>\n\u003cp>Donovan Loucks, who is in charge of the H.P. Lovecraft \u003ca href=\"http://www.hplovecraft.com/\" target=\"_blank\" rel=\"noopener\">online archive\u003c/a>, speculated that game creators saw that some Lovecraft games were becoming popular, and once the licensing was released, realized they should take advantage of that market.\u003c/p>\n\u003cp>“I think it prompted a lot of people to say, ‘Hey, we can do Lovecraft too,’ ” says Loucks, who is also an avid board game fan.\u003c/p>\n\u003cp>One possible reason, Johns says, is that board games with cooperative play styles have increased in popularity and most games with a Lovecraft theme are just that — a group of players try to take down the big bad monster and save the world. It’s the players against the board.\u003c/p>\n\u003cp>“I think it’s really interesting to see all the different ways that people are interpreting the ideas of this big scary thing and all the different ways that it’s influenced different writing and games,” Johns says. “Even movies like the \u003cem>Alien\u003c/em> movies, this big scary thing, they go off into the unknown and they’re changed and killed by this unknown character. It echoes throughout the rest of our popular culture.”\u003c/p>\n\u003cp>What is actually different about Lovecraft is that in recent years, he underwent some \u003ca href=\"http://www.salon.com/2014/09/11/its_ok_to_admit_that_h_p_lovecraft_was_racist/\" target=\"_blank\" rel=\"noopener\">pretty intense\u003c/a>, \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/08/hp-lovecraft-125/401471/\" target=\"_blank\" rel=\"noopener\">public scrutiny\u003c/a> about racist letters to a friend depicting opinions on his Jewish, black, Italian, Portuguese and Asian peers. Lovecraft wrote that the “extra-legal measures such as lynching and intimidation” were “ingenious,” among other pretty deplorable quotes.\u003c/p>\n\u003cp>But these letters brought attention to Lovecraft’s work.\u003c/p>\n\u003cp>“Any press is good press, in a sense,” Loucks says. “Because of this, people are becoming more aware of him.”\u003c/p>\n\u003cp>Loucks says Lovecraft fans don’t really like Lovecraft the man, and some don’t even like his writing, which is much more detailed than that of other writers of his time. But the fans do love the creatures and monsters he created. So the thought in the Lovecraft community is that perhaps the bad press for his personal opinions brought his work to light, and intrigued people. Then, with it being in the public domain, they were free to use his work to create some of their own — in the form of board games.\u003c/p>\n\u003cp>Whatever the reason for Lovecraft’s rise to fame, one thing is certain: We are in the middle of a board game renaissance, and the deity of choice is Cthulhu.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Christianna Silva is an NPR Digital News intern.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=H.P.+Lovecraft%27s+Monster+Is+Wrapping+Family+Game+Night+Up+In+Tentacles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bill Cosby's Accuser Takes the Stand in Sexual Assault Trial",
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"content": "\u003cp>Andrea Constand has said Bill Cosby drugged and assaulted her in 2004 while she was working for Temple University’s women’s basketball team. On Tuesday, in a Pennsylvania courtroom, she told her story publicly for the first time.\u003c/p>\n\u003cp>“In my head, I was trying to get my hands to move or my legs to move, but I was frozen,” Constand said, \u003ca href=\"https://apnews.com/5b019ff898da48d2a2bbbc2f1afeb321\" target=\"_blank\" rel=\"noopener\">according to The Associated Press\u003c/a>. “I wasn’t able to fight in any way. … I wanted it to stop.”\u003c/p>\n\u003cp>Cosby, the 79-year-old comedian, is charged with sexually assaulting Constand in his home outside Philadelphia. According to the wire service, Constand was “calm and collected” while she testified and looked at the jury as she described the assault:\u003c/p>\n\u003cblockquote>\n\u003cp>“She said Cosby gave her pills he claimed were a natural remedy to ease her stress about a looming career change. ‘They’re your friends. They’ll take the edge off,’ she quoted him as saying.\u003c/p>\n\u003cp>“She told the jury she started feeling woozy after about 20 minutes, with blurred vision, slurred words and legs that felt like rubber. Cosby then [assaulted her], she said.\u003c/p>\n\u003cp>“She said she was unable to push him away or tell him to stop.\u003c/p>\n\u003cp>“Afterward, Constand said, ‘I felt really humiliated and I felt really confused.’\u003c/p>\n\u003cp>“Cosby, sitting across the room at the defense table, leaned in to listen, whispered to his lawyer and, at times, shook his head.”\u003c/p>\n\u003c/blockquote>\n\u003cp>According to WHYY reporter Laura Benshoff, \u003ca href=\"http://www.npr.org/2017/06/06/531794410/andrea-constand-testifies-in-bill-cosby-sexual-assault-trial\" target=\"_blank\" rel=\"noopener\">who spoke with\u003c/a> NPR’s \u003cem>All Things Considered\u003c/em>, Constand described meeting Cosby at a Temple basketball game, where he inquired about some facilities in the women’s locker room. Cosby became a mentor to Constand, and he would sometimes invite her to dinner at his house either alone or with others.\u003c/p>\n\u003cp>Benshoff says Constand testified that on a previous occasion, Cosby tried to unzip her pants, but she rejected the advance and said, “I’m not here for that. I don’t want that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The defense has highlighted phone records showing that Constand called Cosby 53 times after she says he assaulted her, the AP reports. Constand said the calls mostly concerned the women’s basketball team.\u003c/p>\n\u003cp>“It had more to do with business than it did with me personally,” she said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/05/22/529467030/jury-selection-to-begin-in-bill-cosbys-criminal-trial\" target=\"_blank\" rel=\"noopener\">More than 50 women\u003c/a> have said Cosby assaulted them, but the statute of limitations has run out in nearly all cases. Only in Constand’s case has Cosby been charged.\u003c/p>\n\u003cp>Cosby \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-bill-cosby-1494946826-htmlstory.html\" target=\"_blank\" rel=\"noopener\">said in a recent interview\u003c/a> that he won’t testify.\u003c/p>\n\u003cp>The mostly white jury is composed of seven men and five women, \u003ca href=\"http://www.npr.org/2017/06/05/531629239/bill-cosbys-sexual-assault-trial-begins-in-suburban-philadelphia-courtroom\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> WHYY’s Bobby Allyn. On Monday, the first day of the trial, prosecutor Kristen Feden asked jurors not to let memories of Cosby as a TV actor and comedian cloud their judgment of what happened to Constand 13 years ago.\u003c/p>\n\u003cp>The defense attorney, on the other hand, asked jurors to “be the juror you would be if this was your own grandfather,” Allyn reports, and pointed to apparent inconsistencies in Constand’s statements to suggest that she couldn’t be trusted.\u003c/p>\n\u003cp>In Monday’s testimony, a woman identified as “Victim No. 6” described being drugged and sexually molested by Cosby. Allyn reports that the woman was subjected to a tough cross-examination by Cosby’s attorney, who attempted to show that her memory was incorrect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The judge in the case has \u003ca href=\"http://www.npr.org/2017/06/04/531444438/no-cameras-no-phones-you-cant-watch-bill-cosbys-high-profile-trial\">forbidden cameras in the courtroom\u003c/a>, and reporters must turn off their phones throughout the proceedings. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Bill+Cosby%27s+Accuser+Takes+The+Stand+In+Sexual+Assault+Trial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrea Constand has said Bill Cosby drugged and assaulted her in 2004 while she was working for Temple University’s women’s basketball team. On Tuesday, in a Pennsylvania courtroom, she told her story publicly for the first time.\u003c/p>\n\u003cp>“In my head, I was trying to get my hands to move or my legs to move, but I was frozen,” Constand said, \u003ca href=\"https://apnews.com/5b019ff898da48d2a2bbbc2f1afeb321\" target=\"_blank\" rel=\"noopener\">according to The Associated Press\u003c/a>. “I wasn’t able to fight in any way. … I wanted it to stop.”\u003c/p>\n\u003cp>Cosby, the 79-year-old comedian, is charged with sexually assaulting Constand in his home outside Philadelphia. According to the wire service, Constand was “calm and collected” while she testified and looked at the jury as she described the assault:\u003c/p>\n\u003cblockquote>\n\u003cp>“She said Cosby gave her pills he claimed were a natural remedy to ease her stress about a looming career change. ‘They’re your friends. They’ll take the edge off,’ she quoted him as saying.\u003c/p>\n\u003cp>“She told the jury she started feeling woozy after about 20 minutes, with blurred vision, slurred words and legs that felt like rubber. Cosby then [assaulted her], she said.\u003c/p>\n\u003cp>“She said she was unable to push him away or tell him to stop.\u003c/p>\n\u003cp>“Afterward, Constand said, ‘I felt really humiliated and I felt really confused.’\u003c/p>\n\u003cp>“Cosby, sitting across the room at the defense table, leaned in to listen, whispered to his lawyer and, at times, shook his head.”\u003c/p>\n\u003c/blockquote>\n\u003cp>According to WHYY reporter Laura Benshoff, \u003ca href=\"http://www.npr.org/2017/06/06/531794410/andrea-constand-testifies-in-bill-cosby-sexual-assault-trial\" target=\"_blank\" rel=\"noopener\">who spoke with\u003c/a> NPR’s \u003cem>All Things Considered\u003c/em>, Constand described meeting Cosby at a Temple basketball game, where he inquired about some facilities in the women’s locker room. Cosby became a mentor to Constand, and he would sometimes invite her to dinner at his house either alone or with others.\u003c/p>\n\u003cp>Benshoff says Constand testified that on a previous occasion, Cosby tried to unzip her pants, but she rejected the advance and said, “I’m not here for that. I don’t want that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The defense has highlighted phone records showing that Constand called Cosby 53 times after she says he assaulted her, the AP reports. Constand said the calls mostly concerned the women’s basketball team.\u003c/p>\n\u003cp>“It had more to do with business than it did with me personally,” she said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/05/22/529467030/jury-selection-to-begin-in-bill-cosbys-criminal-trial\" target=\"_blank\" rel=\"noopener\">More than 50 women\u003c/a> have said Cosby assaulted them, but the statute of limitations has run out in nearly all cases. Only in Constand’s case has Cosby been charged.\u003c/p>\n\u003cp>Cosby \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-bill-cosby-1494946826-htmlstory.html\" target=\"_blank\" rel=\"noopener\">said in a recent interview\u003c/a> that he won’t testify.\u003c/p>\n\u003cp>The mostly white jury is composed of seven men and five women, \u003ca href=\"http://www.npr.org/2017/06/05/531629239/bill-cosbys-sexual-assault-trial-begins-in-suburban-philadelphia-courtroom\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> WHYY’s Bobby Allyn. On Monday, the first day of the trial, prosecutor Kristen Feden asked jurors not to let memories of Cosby as a TV actor and comedian cloud their judgment of what happened to Constand 13 years ago.\u003c/p>\n\u003cp>The defense attorney, on the other hand, asked jurors to “be the juror you would be if this was your own grandfather,” Allyn reports, and pointed to apparent inconsistencies in Constand’s statements to suggest that she couldn’t be trusted.\u003c/p>\n\u003cp>In Monday’s testimony, a woman identified as “Victim No. 6” described being drugged and sexually molested by Cosby. Allyn reports that the woman was subjected to a tough cross-examination by Cosby’s attorney, who attempted to show that her memory was incorrect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The judge in the case has \u003ca href=\"http://www.npr.org/2017/06/04/531444438/no-cameras-no-phones-you-cant-watch-bill-cosbys-high-profile-trial\">forbidden cameras in the courtroom\u003c/a>, and reporters must turn off their phones throughout the proceedings. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Bill+Cosby%27s+Accuser+Takes+The+Stand+In+Sexual+Assault+Trial&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Wonder Woman\u003c/em> was a box office smash on its opening weekend, raking in more than $100 million domestically — a new record for a movie directed by a woman.\u003c/p>\n\u003cp>Deadline \u003ca href=\"https://deadline.com/2017/06/wonder-woman-captain-underpants-weekend-box-office-opening-1202106462/\" target=\"_blank\" rel=\"noopener\">reported Monday\u003c/a> that the final tally for the film was $103.1 million, even higher than the initial Sunday estimates.\u003c/p>\n\u003cp>That handily defeats the previous record for a movie directed by a woman — $85.1 million for Sam Taylor-Johnson’s \u003cem>Fifty Shades of Grey.\u003c/em>\u003c/p>\n\u003cp>And it compares well to similar movies — that is, superhero flicks that aren’t sequels or ensemble films. While it’s not as big as the opening weekend for \u003cem>Man of Steel\u003c/em> or \u003cem>Deadpool,\u003c/em> it easily surpasses \u003cem>Doctor Strange\u003c/em> and the first \u003cem>Iron Man,\u003c/em> \u003cem>Thor\u003c/em> and \u003cem>Captain America\u003c/em> movies.\u003c/p>\n\u003cp>Sales overseas were impressive too, as NPR movie critic Bob Mondello notes. The film has made $223 million internationally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s robust earnings are a big win for DC Comics, which has often struggled to match the success of Marvel properties at the box office.\u003c/p>\n\u003cp>And, of course, it’s a triumph for Patty Jenkins — the first woman to ever direct a big-budget superhero movie.\u003c/p>\n\u003cp>In fact, she’s only the second woman to single-handedly direct \u003cem>any\u003c/em>\u003cem> \u003c/em>Hollywood\u003cem> \u003c/em>live-action movie with a production budget over $100 million. The first was Kathryn Bigelow with \u003cem>K-19: The Widowmaker\u003c/em>, in 2002, \u003ca href=\"http://www.hollywoodreporter.com/heat-vision/wonder-woman-is-a-milestone-but-shouldnt-be-1010023\" target=\"_blank\" rel=\"noopener\">according to the Hollywood Reporter.\u003c/a> (There won’t be another 15-year gap before the next one: Ava DuVernay and Niki Caro are both \u003ca href=\"https://www.theverge.com/2017/2/15/14622646/mulan-niki-caro-female-director-disney\" target=\"_blank\" rel=\"noopener\">working on major projects.\u003c/a>)\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> is Jenkins’ second feature, after \u003cem>Monster,\u003c/em> and she’s spent more than a decade working to make the movie happen. She \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">told CBS\u003c/a> that when her dream project became reality, it brought a sudden sense of pressure:\u003c/p>\n\u003cp>“The surreality of, ‘I can’t believe we’re getting to make \u003cem>Wonder Woman\u003c/em>,’ and also, ‘Oh my God, we have to make the greatest \u003cem>Wonder Woman\u003c/em> of all time!’ ” \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">she said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The director in me wants this film that I made to succeed. But the person who’s not me at all, who lives inside of me … has heard people say for many years, ‘Ah, nobody would go see a female superhero film, women don’t like action,’ all those things. That part of me is watching, saying, ‘Ah, let’s prove them wrong.’ ” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27Wonder+Woman%27+Smashes+Domestic+Box+Office+Record+For+Female+Directors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Wonder Woman\u003c/em> was a box office smash on its opening weekend, raking in more than $100 million domestically — a new record for a movie directed by a woman.\u003c/p>\n\u003cp>Deadline \u003ca href=\"https://deadline.com/2017/06/wonder-woman-captain-underpants-weekend-box-office-opening-1202106462/\" target=\"_blank\" rel=\"noopener\">reported Monday\u003c/a> that the final tally for the film was $103.1 million, even higher than the initial Sunday estimates.\u003c/p>\n\u003cp>That handily defeats the previous record for a movie directed by a woman — $85.1 million for Sam Taylor-Johnson’s \u003cem>Fifty Shades of Grey.\u003c/em>\u003c/p>\n\u003cp>And it compares well to similar movies — that is, superhero flicks that aren’t sequels or ensemble films. While it’s not as big as the opening weekend for \u003cem>Man of Steel\u003c/em> or \u003cem>Deadpool,\u003c/em> it easily surpasses \u003cem>Doctor Strange\u003c/em> and the first \u003cem>Iron Man,\u003c/em> \u003cem>Thor\u003c/em> and \u003cem>Captain America\u003c/em> movies.\u003c/p>\n\u003cp>Sales overseas were impressive too, as NPR movie critic Bob Mondello notes. The film has made $223 million internationally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s robust earnings are a big win for DC Comics, which has often struggled to match the success of Marvel properties at the box office.\u003c/p>\n\u003cp>And, of course, it’s a triumph for Patty Jenkins — the first woman to ever direct a big-budget superhero movie.\u003c/p>\n\u003cp>In fact, she’s only the second woman to single-handedly direct \u003cem>any\u003c/em>\u003cem> \u003c/em>Hollywood\u003cem> \u003c/em>live-action movie with a production budget over $100 million. The first was Kathryn Bigelow with \u003cem>K-19: The Widowmaker\u003c/em>, in 2002, \u003ca href=\"http://www.hollywoodreporter.com/heat-vision/wonder-woman-is-a-milestone-but-shouldnt-be-1010023\" target=\"_blank\" rel=\"noopener\">according to the Hollywood Reporter.\u003c/a> (There won’t be another 15-year gap before the next one: Ava DuVernay and Niki Caro are both \u003ca href=\"https://www.theverge.com/2017/2/15/14622646/mulan-niki-caro-female-director-disney\" target=\"_blank\" rel=\"noopener\">working on major projects.\u003c/a>)\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> is Jenkins’ second feature, after \u003cem>Monster,\u003c/em> and she’s spent more than a decade working to make the movie happen. She \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">told CBS\u003c/a> that when her dream project became reality, it brought a sudden sense of pressure:\u003c/p>\n\u003cp>“The surreality of, ‘I can’t believe we’re getting to make \u003cem>Wonder Woman\u003c/em>,’ and also, ‘Oh my God, we have to make the greatest \u003cem>Wonder Woman\u003c/em> of all time!’ ” \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">she said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The director in me wants this film that I made to succeed. But the person who’s not me at all, who lives inside of me … has heard people say for many years, ‘Ah, nobody would go see a female superhero film, women don’t like action,’ all those things. That part of me is watching, saying, ‘Ah, let’s prove them wrong.’ ” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=%27Wonder+Woman%27+Smashes+Domestic+Box+Office+Record+For+Female+Directors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Worthy Big-Screen Treatment Of A Long-Neglected 'Wonder Woman'",
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"content": "\u003cp>Princess Diana of Themyscira was sculpted from clay by her mother, Queen Hippolyta, brought to life by Aphrodite and bequeathed her superhuman powers by the Greek gods. Over the 75 years she has been kept off the big screen, her fitful appearances on the small screen, most notably in the Lynda Carter TV series and on animated shows like \u003cem>Super Friends\u003c/em> and \u003cem>Justice League\u003c/em>, have made it easy to forget that Wonder Woman is not one of us. She wasn’t bitten by a radioactive spider or transformed by some environmental cataclysm and instead was born a demigod, above and apart from the flaws and frailties of humankind.\u003c/p>\n\u003cp>Of the many things the new \u003cem>Wonder Woman\u003c/em> gets right, the first and most important is a triumph of scale, of emphasizing the alien immensity of Princess Diana before she mingles with humans and accepts her civilian alter ego, Diana Prince. In that respect, director Patty Jenkins has successfully modeled the classicism of the original 1978 \u003cem>Superman\u003c/em>, which also builds up the alien mythos of its hero before Clark Kent turns up in nerd glasses and identifies more closely with the denizens of his adopted planet.\u003c/p>\n\u003cp>https://youtu.be/VSB4wGIdDwo\u003c/p>\n\u003cp>It’s not unfair to say that Jenkins has gone the conservative route, adopting a risk-averse strategy that is closer to the tightly managed Marvel Cinematic Universe than that of Wonder Woman’s DC Comics. With its World War I adventure plot, in fact, \u003cem>Wonder Woman \u003c/em>could be tagged a gender-reversed \u003cem>Captain America: The First Avenger\u003c/em>. But the conservative choice also happens to be the right one, and the film has the scale and storytelling clarity to sell the mythology and give Princess Diana the stature her many titles suggest. Here, she is a figure of remarkable totemic power.\u003c/p>\n\u003cp>The most critical stretch of the film — and the best — comes at the beginning, when Diana (Gal Gadot) is growing up among the other Amazon women on Themyscira, an island cloaked by an invisible shield to protect its inhabitants from Ares, the god of war. Over the objections of Queen Hippolyta (Connie Nielsen), Diana starts training with her aunt, General Antiope (Robin Wright), for the epic battle they’re all certain will eventually reach their shores. For as long as it remains untouched, the island is an appealing feminine utopia of benevolent values and esprit de corps, a powerful contrast to the fractious world outside its magical borders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That innocence is lost when Steve Trevor (Chris Pine), a U.S. fighter pilot, crash-lands on Themyscira and brings the war with him. After she and her fellow warriors fend off Steve’s German attackers, Diana takes an interest in him — he is the first man she has ever met, after all — and in the call to end World War I, which she is certain is Ares’ handiwork. Packing her bulletproof bracelets, her golden “Lasso of Truth” and a “God-Killer” sword with which to slay Ares, Diana ships off to London with Steve, joining his covert mission to dismantle a weapons program headed by a power-mad general (Danny Huston) and a chemist named Doctor Poison (Elena Anaya).\u003c/p>\n\u003cp>Before sending her off into war, \u003cem>Wonder Woman\u003c/em> takes advantage of the fish-out-of-water comedy of Diana leaving her tranquil island paradise for the soot-choked gray of industrialized London, where women don’t enjoy the freedoms to which she is accustomed. Gadot’s physical presence as Wonder Woman was established in \u003cem>Batman v Superman: Dawn of Justice\u003c/em>, but she handles the Diana Prince side with equal dexterity, whether puzzling over the excessive formalities of early 20th century womanhood or trading banter with Steve and his abashed comrades. Diana’s near-invulnerability to human dictates gives her the freedom to dismiss their social mores, which can be played as alternately funny and empowering.\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> loses some of its edge when the uniqueness of her origin story and her acclimation to people and a new environment gives way to more familiar effects-driven conflict. The original comic had Steve and Diana fighting Nazis, and while the shift back to World War I is a sensible choice, given the overwhelming nature of Nazi iconography, it occasionally flattens the film into rote action-adventure. Once the showdown with Ares finally materializes, Jenkins can’t solve the common problem that god-versus-god matchups tend to result in two characters tightening their faces and shooting beams of light at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even in its weaker moments, \u003cem>Wonder Woman \u003c/em>honors the scale of a superhero who stands alongside Superman and Batman in the DC lexicon but has never had a vehicle worthy of her. Jenkins and Gadot do the hard work of properly establishing her stature on screen for the first time. She can go anywhere from here.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Princess Diana of Themyscira was sculpted from clay by her mother, Queen Hippolyta, brought to life by Aphrodite and bequeathed her superhuman powers by the Greek gods. Over the 75 years she has been kept off the big screen, her fitful appearances on the small screen, most notably in the Lynda Carter TV series and on animated shows like \u003cem>Super Friends\u003c/em> and \u003cem>Justice League\u003c/em>, have made it easy to forget that Wonder Woman is not one of us. She wasn’t bitten by a radioactive spider or transformed by some environmental cataclysm and instead was born a demigod, above and apart from the flaws and frailties of humankind.\u003c/p>\n\u003cp>Of the many things the new \u003cem>Wonder Woman\u003c/em> gets right, the first and most important is a triumph of scale, of emphasizing the alien immensity of Princess Diana before she mingles with humans and accepts her civilian alter ego, Diana Prince. In that respect, director Patty Jenkins has successfully modeled the classicism of the original 1978 \u003cem>Superman\u003c/em>, which also builds up the alien mythos of its hero before Clark Kent turns up in nerd glasses and identifies more closely with the denizens of his adopted planet.\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/VSB4wGIdDwo'\n title='//www.youtube.com/embed/VSB4wGIdDwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not unfair to say that Jenkins has gone the conservative route, adopting a risk-averse strategy that is closer to the tightly managed Marvel Cinematic Universe than that of Wonder Woman’s DC Comics. With its World War I adventure plot, in fact, \u003cem>Wonder Woman \u003c/em>could be tagged a gender-reversed \u003cem>Captain America: The First Avenger\u003c/em>. But the conservative choice also happens to be the right one, and the film has the scale and storytelling clarity to sell the mythology and give Princess Diana the stature her many titles suggest. Here, she is a figure of remarkable totemic power.\u003c/p>\n\u003cp>The most critical stretch of the film — and the best — comes at the beginning, when Diana (Gal Gadot) is growing up among the other Amazon women on Themyscira, an island cloaked by an invisible shield to protect its inhabitants from Ares, the god of war. Over the objections of Queen Hippolyta (Connie Nielsen), Diana starts training with her aunt, General Antiope (Robin Wright), for the epic battle they’re all certain will eventually reach their shores. For as long as it remains untouched, the island is an appealing feminine utopia of benevolent values and esprit de corps, a powerful contrast to the fractious world outside its magical borders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That innocence is lost when Steve Trevor (Chris Pine), a U.S. fighter pilot, crash-lands on Themyscira and brings the war with him. After she and her fellow warriors fend off Steve’s German attackers, Diana takes an interest in him — he is the first man she has ever met, after all — and in the call to end World War I, which she is certain is Ares’ handiwork. Packing her bulletproof bracelets, her golden “Lasso of Truth” and a “God-Killer” sword with which to slay Ares, Diana ships off to London with Steve, joining his covert mission to dismantle a weapons program headed by a power-mad general (Danny Huston) and a chemist named Doctor Poison (Elena Anaya).\u003c/p>\n\u003cp>Before sending her off into war, \u003cem>Wonder Woman\u003c/em> takes advantage of the fish-out-of-water comedy of Diana leaving her tranquil island paradise for the soot-choked gray of industrialized London, where women don’t enjoy the freedoms to which she is accustomed. Gadot’s physical presence as Wonder Woman was established in \u003cem>Batman v Superman: Dawn of Justice\u003c/em>, but she handles the Diana Prince side with equal dexterity, whether puzzling over the excessive formalities of early 20th century womanhood or trading banter with Steve and his abashed comrades. Diana’s near-invulnerability to human dictates gives her the freedom to dismiss their social mores, which can be played as alternately funny and empowering.\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> loses some of its edge when the uniqueness of her origin story and her acclimation to people and a new environment gives way to more familiar effects-driven conflict. The original comic had Steve and Diana fighting Nazis, and while the shift back to World War I is a sensible choice, given the overwhelming nature of Nazi iconography, it occasionally flattens the film into rote action-adventure. Once the showdown with Ares finally materializes, Jenkins can’t solve the common problem that god-versus-god matchups tend to result in two characters tightening their faces and shooting beams of light at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even in its weaker moments, \u003cem>Wonder Woman \u003c/em>honors the scale of a superhero who stands alongside Superman and Batman in the DC lexicon but has never had a vehicle worthy of her. Jenkins and Gadot do the hard work of properly establishing her stature on screen for the first time. She can go anywhere from here.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Remember That Time When Wonder Woman Was a U.N. Ambassador? | KQED",
"content": "\u003cp>Wonder Woman is certainly basking in accolades these days.\u003c/p>\n\u003cp>The new movie starring Gal Gadot is being widely praised for finally giving the world a big-screen female superhero who — to quote just a few of the glowing reviews — is both “awesomely fierce” and “surprisingly funny,” “sexually aware without being sexualized” and a refreshing throwback to the days of “uncomplicated role models … fighting for peace and justice.”\u003c/p>\n\u003cp>All of which got us thinking about our coverage last fall of Wonder Woman’s short-lived tenure as the United Nation’s honorary ambassador for the empowerment of women of girls.\u003c/p>\n\u003cp>Remember that episode? Back then her reviews were decidedly more mixed.\u003c/p>\n\u003cp>The idea was to make the character of Wonder Woman the face of a U.N. social media campaign to promote women’s rights via tweets and Facebook callouts. Women’s rights advocates exploded in outrage, and nearly 45,000 people signed a petition against the decision.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s an insult, frankly,” said \u003ca href=\"http://www.sps.nyu.edu/content/scps/faculty/faculty-profile.html?id=15655&name=Anne%20Marie-Goetz\" target=\"_blank\" rel=\"noopener\">Anne Marie Goetz\u003c/a> at the time. Goetz, a professor of global affairs at New York University and a former adviser on peace and security issues to the United Nations agency, U.N. Women, said a big issue was the timing.\u003c/p>\n\u003cfigure id=\"attachment_13350614\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg\" alt=\"Wonder Woman on the cover of Sensation Comics\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13350614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d.jpg 949w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wonder Woman on the cover of Sensation Comics\u003c/figcaption>\u003c/figure>\n\u003cp>The Wonder Woman campaign rollout — a collaboration with Warner Bros. and DC Comics, which owns the rights to the character — was intended to celebrate both the character’s 75th birthday and the upcoming movie featuring Gadot. The actress even attended the appointment ceremony at the U.N.’s New York headquarters, along with Lynda Carter, who portrayed the superhero in the 1970s television show. But the announcement also came on the heels of a disappointing, yearlong grass-roots effort to get the U.N. to choose its first female secretary-general.\u003c/p>\n\u003cp>“This was months and months of campaigning by feminist organizations around the world for a woman to be selected,” said Goetz.\u003c/p>\n\u003cp>Seven women — including a prime minister and other highly qualified individuals — were in the running, an unprecedented number. Ultimately the Security Council went with a man — Antonio Guterres. So at the time, the selection of Wonder Woman to represent women’s issues for the U.N. came off to Goetz and others as a sort of demeaning consolation prize.\u003c/p>\n\u003cp>“It’s frivolous, it’s fatuous and it reduces an extremely serious human rights problem experienced by half of the world to a cartoon,” she said.\u003c/p>\n\u003cp>And not just any cartoon, added Goetz. Wonder Woman in her view was tantamount to a Barbie/Playboy pinup. Like most female comic action figures, she has big breasts bursting out of a skimpy outfit and an impossibly tiny waist.\u003c/p>\n\u003cp>“The message to girls is that you are expected to meet a male standard in which your significance is reduced to your role as a sexual object,” said Goetz.\u003c/p>\n\u003cp>Maher Nasser, the U.N. official who essentially brokered Wonder Woman’s appointment, responded at the time that he and other U.N. colleagues had considered those concerns.\u003c/p>\n\u003cp>“I mean we have had these discussions, of course, with our partners,” said Nasser, who directs the Outreach Division of the U.N.’s Department of Public Information, which handles partnerships with celebrities and entertainment figures.\u003c/p>\n\u003cp>And Nasser noted that his team worked closely with artists at DC Comics to tone down the image that was used in the U.N. campaign.\u003c/p>\n\u003cp>“The campaign art that we are working with … doesn’t have that caricature image of the wrong stereotype of what a woman should look like,” he said.\u003c/p>\n\u003cp>For instance they only showed Wonder Woman from the waist up. And they gave her a cape draped round her neck and shoulders, making her bust less prominent.\u003c/p>\n\u003cp>Nasser also said the social media campaign was all about emphasizing Wonder Woman’s girl power credentials, what he called “the essence of the character.”\u003c/p>\n\u003cp>“The focus [of the U.N.] was on her feminist background, being the first female superhero in a world of male superheroes and that basically she always fought for fairness, justice and peace,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13350615\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg\" alt=\"Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, 'Ms.' magazine put her on the cover\" width=\"434\" height=\"325\" class=\"size-full wp-image-13350615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-375x281.jpg 375w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, ‘Ms.’ magazine put her on the cover\u003c/figcaption>\u003c/figure>\n\u003cp>Nasser said he expected the campaign to last well into 2017. But less than two months later, with little fanfare, U.N. officials announced that Wonder Woman’s U.N. career was coming to a close, adding that, actually, they had always intended it to be brief.\u003c/p>\n\u003cp>Jill Lepore, a professor at Harvard University who wrote a book, \u003ca href=\"https://www.amazon.com/Secret-History-Wonder-Woman/dp/0804173400\" target=\"_blank\" rel=\"noopener\">The Secret History of Wonder Woman\u003c/a>\u003cem>,\u003c/em>\u003cem> \u003c/em>about the comic book character’s creation, said disputes like this have long dogged Wonder Woman.\u003c/p>\n\u003cp>On one hand, said Lepore, the character has solid feminist roots. She was invented in 1941 by William Moulton Marston, a Harvard-trained Ph.D. psychologist-cum-advice columnist for \u003cem>Family Circle\u003c/em> magazine. Marston had been brought on board by the company that eventually became DC Comics to help deal with a public relations problem.\u003c/p>\n\u003cp>The company’s first two superheroes, created in the late 1930s, had become controversial. “Superman looked a bit like a fascist — he’s an ubermensch. Batman carried a gun and was quite violent,” explained Lepore.\u003c/p>\n\u003cp>It had gotten to the point where various religious and parental groups had banned the comics.\u003c/p>\n\u003cp>According to Lapore, “Marston said, ‘You know, you need a female superhero because she will embody the nurturing values of womanhood. She will be about peace not war.'”\u003c/p>\n\u003cp>The character he set about creating drew largely on a real-life woman Marston knew personally and greatly admired: Margaret Sanger, the co-founder of Planned Parenthood.\u003c/p>\n\u003cp>In the comic book — and now in the new movie — Wonder Woman is a princess of the Amazons of Greek mythology, living on an island where there are no men. That story, said Lepore, “comes not from science fiction but from feminist utopian fiction” popular with Sanger and other early feminists of the progressive era. (The cartoon then introduced the character of a U.S. Army officer, Capt. Steve Trevor, who crash lands on the island. Wonder Woman rescues him and then resolves to go with him to America to fight for democracy and equal rights.)\u003c/p>\n\u003cp>Marston had an ambitious vision for his new character, laid out in a remarkable press release, distributed soon after her debut. He stated: “The only hope for civilization is the greater freedom, development and equality of women in all fields of human activity. He added, “Frankly, Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world.”\u003c/p>\n\u003cp>Yet even in those earliest years Wonder Woman embodied contradictions. It wasn’t just the risqué outfits. Marston insisted that in every episode Wonder Woman had to be tied up or otherwise bound by the villain.\u003c/p>\n\u003cp>In part, said Lepore, this was a nod to the iconography of the suffragettes of the early 1900s, who often wore chains on marches seeking the right to vote. But it also became clear from letters to DC Comics that Wonder Woman’s largely male audience found this aspect of her story titillating.\u003c/p>\n\u003cp>And last fall, that bondage theme — at a time when women are under threat from extremist violence around the world — was just one more reason activists like Goetz were uncomfortable with the idea of Wonder Woman as a U.N. ambassador.\u003c/p>\n\u003cp>Wonder Woman nonetheless remained a darling of feminists through the 1970s — she was on the first cover of \u003cem>Ms.\u003c/em> magazine. But by the end of that decade she had started to symbolize a split within the feminist movement.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“A lot of people started to say, ‘Why is she the symbol of women’s power? She’s just so obviously made for men to look at and ogle,'” said Lepore. So it’s no surprise that she continues to raise conflicting feelings to this day. “Part of the richness of this character is that there are many layers to understanding her. Wonder Woman is always going to have a mixed legacy.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Remember+That+Time+When+Wonder+Woman+Was+A+U.N.+Ambassador%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wonder Woman is certainly basking in accolades these days.\u003c/p>\n\u003cp>The new movie starring Gal Gadot is being widely praised for finally giving the world a big-screen female superhero who — to quote just a few of the glowing reviews — is both “awesomely fierce” and “surprisingly funny,” “sexually aware without being sexualized” and a refreshing throwback to the days of “uncomplicated role models … fighting for peace and justice.”\u003c/p>\n\u003cp>All of which got us thinking about our coverage last fall of Wonder Woman’s short-lived tenure as the United Nation’s honorary ambassador for the empowerment of women of girls.\u003c/p>\n\u003cp>Remember that episode? Back then her reviews were decidedly more mixed.\u003c/p>\n\u003cp>The idea was to make the character of Wonder Woman the face of a U.N. social media campaign to promote women’s rights via tweets and Facebook callouts. Women’s rights advocates exploded in outrage, and nearly 45,000 people signed a petition against the decision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s an insult, frankly,” said \u003ca href=\"http://www.sps.nyu.edu/content/scps/faculty/faculty-profile.html?id=15655&name=Anne%20Marie-Goetz\" target=\"_blank\" rel=\"noopener\">Anne Marie Goetz\u003c/a> at the time. Goetz, a professor of global affairs at New York University and a former adviser on peace and security issues to the United Nations agency, U.N. Women, said a big issue was the timing.\u003c/p>\n\u003cfigure id=\"attachment_13350614\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg\" alt=\"Wonder Woman on the cover of Sensation Comics\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13350614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1942-sensational-comics-099eadbc17b0da03dcb14a5f1d468b41c53f967d.jpg 949w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wonder Woman on the cover of Sensation Comics\u003c/figcaption>\u003c/figure>\n\u003cp>The Wonder Woman campaign rollout — a collaboration with Warner Bros. and DC Comics, which owns the rights to the character — was intended to celebrate both the character’s 75th birthday and the upcoming movie featuring Gadot. The actress even attended the appointment ceremony at the U.N.’s New York headquarters, along with Lynda Carter, who portrayed the superhero in the 1970s television show. But the announcement also came on the heels of a disappointing, yearlong grass-roots effort to get the U.N. to choose its first female secretary-general.\u003c/p>\n\u003cp>“This was months and months of campaigning by feminist organizations around the world for a woman to be selected,” said Goetz.\u003c/p>\n\u003cp>Seven women — including a prime minister and other highly qualified individuals — were in the running, an unprecedented number. Ultimately the Security Council went with a man — Antonio Guterres. So at the time, the selection of Wonder Woman to represent women’s issues for the U.N. came off to Goetz and others as a sort of demeaning consolation prize.\u003c/p>\n\u003cp>“It’s frivolous, it’s fatuous and it reduces an extremely serious human rights problem experienced by half of the world to a cartoon,” she said.\u003c/p>\n\u003cp>And not just any cartoon, added Goetz. Wonder Woman in her view was tantamount to a Barbie/Playboy pinup. Like most female comic action figures, she has big breasts bursting out of a skimpy outfit and an impossibly tiny waist.\u003c/p>\n\u003cp>“The message to girls is that you are expected to meet a male standard in which your significance is reduced to your role as a sexual object,” said Goetz.\u003c/p>\n\u003cp>Maher Nasser, the U.N. official who essentially brokered Wonder Woman’s appointment, responded at the time that he and other U.N. colleagues had considered those concerns.\u003c/p>\n\u003cp>“I mean we have had these discussions, of course, with our partners,” said Nasser, who directs the Outreach Division of the U.N.’s Department of Public Information, which handles partnerships with celebrities and entertainment figures.\u003c/p>\n\u003cp>And Nasser noted that his team worked closely with artists at DC Comics to tone down the image that was used in the U.N. campaign.\u003c/p>\n\u003cp>“The campaign art that we are working with … doesn’t have that caricature image of the wrong stereotype of what a woman should look like,” he said.\u003c/p>\n\u003cp>For instance they only showed Wonder Woman from the waist up. And they gave her a cape draped round her neck and shoulders, making her bust less prominent.\u003c/p>\n\u003cp>Nasser also said the social media campaign was all about emphasizing Wonder Woman’s girl power credentials, what he called “the essence of the character.”\u003c/p>\n\u003cp>“The focus [of the U.N.] was on her feminist background, being the first female superhero in a world of male superheroes and that basically she always fought for fairness, justice and peace,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13350615\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg\" alt=\"Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, 'Ms.' magazine put her on the cover\" width=\"434\" height=\"325\" class=\"size-full wp-image-13350615\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/1972-ms-magazine-f90223dc9bdf3eb3b64c537c6bf6f16bbc2ebb20-375x281.jpg 375w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Many feminists of the 1970s, including Gloria Steinem, grew up reading Wonder Woman and considered her an inspiration. In 1972, ‘Ms.’ magazine put her on the cover\u003c/figcaption>\u003c/figure>\n\u003cp>Nasser said he expected the campaign to last well into 2017. But less than two months later, with little fanfare, U.N. officials announced that Wonder Woman’s U.N. career was coming to a close, adding that, actually, they had always intended it to be brief.\u003c/p>\n\u003cp>Jill Lepore, a professor at Harvard University who wrote a book, \u003ca href=\"https://www.amazon.com/Secret-History-Wonder-Woman/dp/0804173400\" target=\"_blank\" rel=\"noopener\">The Secret History of Wonder Woman\u003c/a>\u003cem>,\u003c/em>\u003cem> \u003c/em>about the comic book character’s creation, said disputes like this have long dogged Wonder Woman.\u003c/p>\n\u003cp>On one hand, said Lepore, the character has solid feminist roots. She was invented in 1941 by William Moulton Marston, a Harvard-trained Ph.D. psychologist-cum-advice columnist for \u003cem>Family Circle\u003c/em> magazine. Marston had been brought on board by the company that eventually became DC Comics to help deal with a public relations problem.\u003c/p>\n\u003cp>The company’s first two superheroes, created in the late 1930s, had become controversial. “Superman looked a bit like a fascist — he’s an ubermensch. Batman carried a gun and was quite violent,” explained Lepore.\u003c/p>\n\u003cp>It had gotten to the point where various religious and parental groups had banned the comics.\u003c/p>\n\u003cp>According to Lapore, “Marston said, ‘You know, you need a female superhero because she will embody the nurturing values of womanhood. She will be about peace not war.'”\u003c/p>\n\u003cp>The character he set about creating drew largely on a real-life woman Marston knew personally and greatly admired: Margaret Sanger, the co-founder of Planned Parenthood.\u003c/p>\n\u003cp>In the comic book — and now in the new movie — Wonder Woman is a princess of the Amazons of Greek mythology, living on an island where there are no men. That story, said Lepore, “comes not from science fiction but from feminist utopian fiction” popular with Sanger and other early feminists of the progressive era. (The cartoon then introduced the character of a U.S. Army officer, Capt. Steve Trevor, who crash lands on the island. Wonder Woman rescues him and then resolves to go with him to America to fight for democracy and equal rights.)\u003c/p>\n\u003cp>Marston had an ambitious vision for his new character, laid out in a remarkable press release, distributed soon after her debut. He stated: “The only hope for civilization is the greater freedom, development and equality of women in all fields of human activity. He added, “Frankly, Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world.”\u003c/p>\n\u003cp>Yet even in those earliest years Wonder Woman embodied contradictions. It wasn’t just the risqué outfits. Marston insisted that in every episode Wonder Woman had to be tied up or otherwise bound by the villain.\u003c/p>\n\u003cp>In part, said Lepore, this was a nod to the iconography of the suffragettes of the early 1900s, who often wore chains on marches seeking the right to vote. But it also became clear from letters to DC Comics that Wonder Woman’s largely male audience found this aspect of her story titillating.\u003c/p>\n\u003cp>And last fall, that bondage theme — at a time when women are under threat from extremist violence around the world — was just one more reason activists like Goetz were uncomfortable with the idea of Wonder Woman as a U.N. ambassador.\u003c/p>\n\u003cp>Wonder Woman nonetheless remained a darling of feminists through the 1970s — she was on the first cover of \u003cem>Ms.\u003c/em> magazine. But by the end of that decade she had started to symbolize a split within the feminist movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"tagline": "Art is where you find it",
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"soldout": {
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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