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"title": "1966 Vs. 1971: When 'Rock 'n' Roll' Became 'Rock,' and What We Lost",
"headTitle": "1966 Vs. 1971: When ‘Rock ‘n’ Roll’ Became ‘Rock,’ and What We Lost | KQED",
"content": "\u003cp>In 2009, musician and historian Elijah Wald published an overview of American pop from the 1890s to the 1960s he called \u003cem>How the Beatles Destroyed Rock ‘n’ Roll\u003c/em>. The title was a bomb-throwing feint — as \u003ca href=\"http://daily.redbullmusicacademy.com/2015/08/elijah-wald-interview\" target=\"_blank\" rel=\"noopener\">Wald told me in an interview\u003c/a>, he knew that title would get much more attention than a drier one such as “American Pop From Sousa to Soul” — and as if on cue, one reviewer after another lined up to wave away its thesis. “[I]s rock dead because of [the Beatles]?” \u003ca href=\"http://articles.latimes.com/2009/jun/11/entertainment/et-book11/2\" target=\"_blank\" rel=\"noopener\">harrumphed the \u003cem>Los Angeles Times\u003c/em>\u003c/a>. “You don’t need to be a critic to know the answer to that question.”\u003c/p>\n\u003cp>Only Wald didn’t say that \u003cem>rock \u003c/em>was destroyed, but that \u003cem>rock and roll \u003c/em>was — and the difference is not merely academic. \u003cem>Rock\u003c/em>, \u003ca href=\"http://daily.redbullmusicacademy.com/2015/03/robert-christgau-interview\" target=\"_blank\" rel=\"noopener\">in the words of critic Robert Christgau\u003c/a>, is “rock and roll made conscious of itself as an art form.” Prior to the June 1967 release of \u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">The Beatles\u003c/a>‘ \u003cem>Sgt. Pepper’s Lonely Hearts Club Band\u003c/em>, “rock and roll” meant any and everything formally tied to the mid-fifties explosion led commercially by \u003ca href=\"http://www.npr.org/artists/15624007/elvis-presley\" target=\"_blank\" rel=\"noopener\">Elvis Presley\u003c/a> — doo-wop, surf music, Motown, the British Invasion, \u003ca href=\"http://www.npr.org/artists/15316566/james-brown\" target=\"_blank\" rel=\"noopener\">James Brown\u003c/a>. “We were influenced by early rock and roll … which was not black,” Daryl Hall of \u003ca href=\"http://www.npr.org/artists/15757261/hall-oates\" target=\"_blank\" rel=\"noopener\">Hall & Oates\u003c/a> told \u003cem>Musician \u003c/em>magazine in 1982 (cited in a \u003ca href=\"mailto:https://medium.com/cuepoint/70s-scenario-how-hall-oates-walked-along-the-red-ledge-to-discover-their-x-static-voice-5cb5b01d4d6f%23.udtzlulc4\" target=\"_blank\" rel=\"noopener\">Stephen Thomas Erlewine piece for Cuepoint\u003c/a>). “It was \u003cem>integrated \u003c/em>music. There was no difference between black and white.” As Jack Hamilton points out in his forthcoming \u003cem>Just Around Midnight: Rock and Roll and the Racial Imaginary\u003c/em>, the term “rock,” by itself, was almost nonexistent before \u003cem>Sgt. Pepper\u003c/em>; afterward, it almost exclusively denoted white men with guitars.\u003c/p>\n\u003cp>It also denoted an equally important marketplace turn: 1966 was the last year that seven-inch singles outsold twelve-inch LPs, and albums remained king through the digital age, when individual-track downloads finally surpassed full-lengths \u003ca href=\"http://www.hypebot.com/hypebot/2009/07/theres-still-a-place-where-albums-outsell-singles.html\" target=\"_blank\" rel=\"noopener\">in 2008\u003c/a>. Two new books by British rock critics, each keyed to specific years, act as a before-and-after of how “rock and roll” calcifying into “rock” acted in terms of who had access to it as the primary, envelope-pushing musical form of the moment.\u003c/p>\n\u003cp>\u003cem>1966: The Year the Decade Exploded\u003c/em>, by Jon Savage, author of the definitive punk rock history \u003cem>England’s Dreaming\u003c/em>,\u003cem> \u003c/em>is a heavily researched deep dive into both the year’s U.S.-U.K. pop landscape and their attendant sociopolitical ferment, keyed near-entirely to a nonstop parade of hits and duds, many first encountered via pirate radio, which bubbled up as an alternative to the pop-unfriendly BBC and was largely gone by 1968. \u003cem>Never a Dull Moment: 1971 — The Year That Rock Exploded\u003c/em>, by David Hepworth, veteran of numerous British rock mags (most recently, the \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2012/07/rip-to-the-best-music-magazine-of-the-21st-century/259585/\" target=\"_blank\" rel=\"noopener\">late, lamented monthly \u003cem>The Word\u003c/em>\u003c/a>),\u003cem> \u003c/em>is a breezier but still expansive overview of the high-water mark of rock’s album-oriented maturity, a year Hepworth calls “the busiest, most creative, most interesting, and longest-resounding year of [the rock] era.”\u003c/p>\n\u003cp>Both books are structured similarly: twelve chapters apiece, one per month, keyed to specific recordings but moving well beyond them. Hepworth is a looser stylist; occasionally too loose, as when he correctly cites the November 1971 release date of \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly and the Family Stone\u003c/a>‘s \u003cem>There’s a Riot Goin’ On\u003c/em>, only to say many pages later that it “had just been released” at the time of the riots at New York’s Attica State Prison that September. But he’s also sharp and zingy. When he notes, “The year 1971 was the age of the Marshall stack, of mutually assured tinnitus,” or observes that Yes’s lyrics “had to be celestial poetry because they clearly made no sense on this earth,” his mix of garrulousness and dry wit makes \u003cem>Never a Dull Moment \u003c/em>a zip to read.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Savage is a more careful stylist and fact-gatherer; not only is \u003cem>1966: The Year the Decade Exploded\u003c/em> (we’ll refer to it by its subtitle from here on)\u003cem> \u003c/em>twice as long as Hepworth’s book, it’s far more densely packed. “Primary sources have been used wherever possible in order to eradicate hindsight and to reconstruct the mood of the time,” Savage notes — a stark contrast to Hepworth, for whom hindsight is very much the point. “If any of my children were to be cast away in the year 1971, they would be lost,” Hepworth writes. “However, they would feel entirely at home with the records that were made that year.” That couldn’t be further from what Savage prizes — the constant sense of present tense surprise captured by his carefully cultivated archival diggings.\u003c/p>\n\u003cp>One reason \u003cem>The Year the Decade Exploded \u003c/em>is so much longer than \u003cem>Never a Dull Moment \u003c/em>is that the latter is primarily fascinated by rock culture — record labels’ marketing plans or lack thereof, the U.K. live circuit, the day-to-day life of the artists behind the classic albums on which Hepworth focuses. Savage, on the other hand, casts his historical net wide, focusing on everything from nuclear paranoia (keyed to Birmingham, U.K., rockers The Ugly’s’ obscure “A Quiet Explosion,” the kickoff of the January chapter) to Vietnam (via Sgt. Barry Sadler’s number-one “The Ballad of the Green Berets,” March) to Andy Warhol (\u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>‘s “I’ll Be Your Mirror,” June). He links soul music — \u003ca href=\"http://www.npr.org/artists/16119847/wilson-pickett\" target=\"_blank\" rel=\"noopener\">Wilson Pickett\u003c/a>‘s atomic “Land of 1,000 Dances,” James Brown, Motown — to the rise of Black Power a lot more doggedly than your typical highlight-reel skim, and does the same for the still deeply underground gay rights movement by focusing on the Tornados’ archly campy “Do You Come Here Often?” — produced by Joe Meek, London’s kitchen-sink answer to Phil Spector and a gay man who committed a murder-suicide in February 1967, taking his landlady with him.\u003c/p>\n\u003cp>If one of the key tenets of rock is that singles are kids’ stuff while albums where the real meat is, \u003cem>The Year the Decade Exploded \u003c/em>wipes away that silly myth repeatedly: Savage’s 45s have as much vaulting, widescreen ambition as the albums Hepworth valorizes. (Being British, Savage uses “pop” rather than “rock and roll,” but the meaning is basically the same.) Take \u003ca href=\"http://www.npr.org/artists/15397669/the-who\" target=\"_blank\" rel=\"noopener\">The Who\u003c/a>, a band that in very different ways is central to both Savage and Hepworth’s books. In the mid-sixties, The Who were London’s archetypal singles band — by choice, not happenstance. “Before we even approached the idea of making an album that was an expression of our own feelings . . . we believed only in singles,” \u003ca href=\"http://www.rollingstone.com/music/news/meaty-beaty-big-and-bouncy-pete-townshend-on-tommy-19711209\" target=\"_blank\" rel=\"noopener\">Pete Townshend wrote in \u003cem>Rolling Stone\u003c/em>\u003c/a>\u003cem> \u003c/em>about the band’s 1971 45s compilation \u003cem>Meaty, Beaty, Big and Bouncy\u003c/em>. “In the top ten records and pirate radio. We, I repeat, believed only in singles.”\u003c/p>\n\u003cp>The February ’66-released “Substitute” remains the band’s masterpiece. “At the start of the instrumental break — which, against type, features only John Entwistle’s bass guitar — [drummer Keith] Moon wallops the hell out of the floor toms in a performance so manic, or drug-deranged, that he had no memory of it after the event,” Savage writes. “I like the blatantness of pop, the speed, the urgency,” the band’s manager Chris Stamp said in a March 1966 quote that Savage cites: “There’s either success or failure — it’s no use bollockin’ about.” \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>By contrast, Hepworth lauds the band’s 1971 album \u003cem>Who’s Next \u003c/em>for being ambitious but not getting carried away. The album’s songs had been intended for an amorphous epic Townshend called “Lifehouse”: “[It] was supposed to be a film, a multimedia epic, a unique collaboration between performer and audience, and, on some level, a ‘crowd-sourced’ piece of art in which the band would facilitate the audience in reaching a new level of consciousness,” Hepworth writes. To him, the secret hero of \u003cem>Who’s Next \u003c/em>is associate producer Glyn Johns, who convinced Townshend to abandon the cumbersome, formless “Lifehouse” and instead concentrate on the songs he’d written: “One of the things that made Glyn Johns a production genius was his lack of interest in how things were supposed to work and his readiness to understand how things did work.”\u003c/p>\n\u003cp>If the kind of runaway ambition of a “Lifehouse” was a path to potential incoherence, though, the type of if-it-ain’t-broke-don’t-fix-it clamping down that led to \u003cem>Who’s Next \u003c/em>also lay the groundwork for a wholesale rejection of difference on the part of the largely male, working class rock audience. True, the “heritage rock” industry of Britain (of which Hepworth is part — he helped launch \u003cem>Mojo\u003c/em>, the UK’s heritage-rock house organ, in the mid-nineties) isn’t quite the monolith of American classic-rock radio, particularly in the country’s middle, whose flat lands are rendered even flatter thanks to forty ceaseless years of programming the exact same records. But for a Yank, many of the albums Hepworth rightly celebrates — \u003cem>Led Zeppelin IV, \u003ca href=\"http://www.npr.org/artists/15403019/the-rolling-stones\" target=\"_blank\" rel=\"noopener\">The Rolling Stones\u003c/a>\u003c/em>‘ \u003cem>Sticky Fingers\u003c/em>, \u003ca href=\"http://www.npr.org/artists/90721971/jethro-tull\" target=\"_blank\" rel=\"noopener\">Jethro Tull\u003c/a>‘s \u003cem>Aqualung — \u003c/em>can nevertheless be difficult to hear freshly, even aided by a sympathetic reading of his insightful contextualizing. By contrast, the fabulous \u003ca href=\"http://www.acerecords.co.uk/jon-savages-1966-the-year-the-decade-exploded\" target=\"_blank\" rel=\"noopener\">double-CD 1966\u003cem> \u003c/em>soundtrack\u003c/a> Savage compiled for Ace Records never stops surprising, not least due to the sequencing — mostly chronological, but not always. Yes, “Baba O’Riley” is still amazing, but somehow less so on the 1,001st play, especially when roughly 900 of them weren’t voluntary. By contrast, Savage’s inclusion of “Substitute” can still feel revelatory — not least because the song gets extra ballast by Savage leading into it with New Orleans R&B singer Robert Parker’s horn-led party jam “Barefootin’.” \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>The advantage of the albums central to Hepworth’s book is that they could provide their own context, not to mention that their subjects were hardly shy of vaulting ambition. \u003ca href=\"http://www.npr.org/artists/15396553/led-zeppelin\" target=\"_blank\" rel=\"noopener\">Led Zeppelin\u003c/a>, for example, would have been unimaginable in 1966; it was barely imaginable five years later. “It was customary in 1971 … to release an album as soon as humanly possible,” Hepworth writes. “There was no machine to prime, no marketing scheme to be perfected, no budget to be hammered out, no accompanying image to be developed … no complex hullabaloo to be orchestrated.” Zeppelin didn’t operate that way: Hepworth notes a November 1971 issue of \u003cem>Billboard\u003c/em> featured a four-page ad for fellow hard rockers Grand Funk Railroad’s \u003cem>E Pluribus Funk\u003c/em> that included “color portraits of all three members of the band,” which compared to the mysterious, band-less cover art of \u003cem>Led Zeppelin IV\u003c/em> made Grand Funk appear “gauche and needy.”\u003c/p>\n\u003cp>The sheer size of the band’s sound was made for arenas and high-end stereos, not transistor radios. When the band was booked to play Madison Square Garden (which it did for the first time on \u003ca href=\"http://www.ledzeppelin.com/show/september-19-1970\" target=\"_blank\" rel=\"noopener\">September 19, 1970\u003c/a>), Hepworth notes a fellow musician’s double take: “He simply didn’t believe bands could play venues that big.” A festival like Woodstock was one thing; but for the most part, selling out large halls was a rarity in this era, never mind arenas. In the U.K., college halls were the venues of choice (in particular, the University of Leeds, as in the Who’s 1970 \u003cem>Live at Leeds\u003c/em>), and as Hepworth points out, drugs were difficult to find and pubs shut down well before the concerts did: “Hence, audiences were overwhelmingly sober.” Merchandise — the full lines of T-shirts, buttons, canvas bags, and other branded gewgaws that now make up so much of the touring musician’s bottom line — basically didn’t yet exist.”\u003c/p>\n\u003cp>The kind of hard rock Led Zeppelin (and Grand Funk) embodied engendered a hard retreat, both into softer music — such as \u003ca href=\"http://www.npr.org/artists/15403595/carole-king\" target=\"_blank\" rel=\"noopener\">Carole King\u003c/a>‘s \u003cem>Tapestry\u003c/em>, 1971’s commercial behemoth and, as Hepworth points out, one of the only big albums of the era selling in large quantities to young women — and the past. One of Hepworth’s key arguments is that in 1971 the marketing of the musical past, in the form of reissues and concerts full of old material, was something “the record business hadn’t yet woken up to,” though that would change in short order. Hepworth’s prime examples are Elvis Presley, already retreating from his 1968 comeback, and \u003ca href=\"http://www.npr.org/artists/15394818/the-beach-boys\" target=\"_blank\" rel=\"noopener\">The Beach Boys\u003c/a>, whose 1971 album \u003cem>Surf’s Up \u003c/em>featured a title track that added new overdubs to a Brian Wilson solo-piano performance from 1966; Hepworth calls it “probably the first case of a band making a tribute album to itself.”\u003c/p>\n\u003cp>Only five years earlier, The Beach Boys had been in rock and roll’s first rank, thanks to the critical (and, in the U.K., commercial) success of \u003cem>Pet Sounds \u003c/em>but even more so to “Good Vibrations,” a single that many considered 1966’s most forward thinking. “It was technological yet emotional, sensual and spiritual, with an immediate physical impact and a deeper metaphysical meaning,” Savage writes. But as he also points out, the heady futurism of 1966’s pop incurred its own reactionary streak: Savage’s nostalgia-themed October chapter is keyed to the New Vaudeville Band’s Dixieland throwback “Winchester Cathedral,” which the Grammy Awards naturally named Best Contemporary [R&R] Recording in 1967, beating among others, “Good Vibrations.”\u003c/p>\n\u003cp>Savage notes that The Beach Boys’ record “spanned both R&B and psychedelia — the biggest new trends of the year.” \u003cem>The Year the Decade Exploded \u003c/em>spends lots of time on soul music, particularly its emergence in the U.K., but it could have spent lots more. (Savage notes that he left Jamaican music out nearly entirely for reasons of focus — and, no doubt considering how much research he already did here, sanity.) By contrast, Hepworth doesn’t write enough about R&B because he \u003cem>doesn’t\u003c/em>. He does offer a long consideration of Motown, keyed to \u003ca href=\"http://www.npr.org/artists/15669282/marvin-gaye\" target=\"_blank\" rel=\"noopener\">Marvin Gaye\u003c/a>‘s \u003cem>What’s Going On \u003c/em>(a good album, not a great one, he says, and I agree), but it feels very surface-level; there’s an uncomfortable component to a line like, “There was nothing Berry [Gordy] did that didn’t have at least some element of social climbing about it,” even though at root it’s basically correct.\u003c/p>\n\u003cp>What’s more amazing — suspicious, even — is that Hepworth merely grazes some of the most important soul of not only the year but the entire decade. \u003ca href=\"http://www.npr.org/artists/14947959/al-green\" target=\"_blank\" rel=\"noopener\">Al Green\u003c/a> didn’t release an album in 1971, but “Let’s Stay Together,” issued that November, ahead of the 1972 album of the same title, was a key component of the overall sweetening of R&B then occurring. At the other end of the spectrum, in 1971 James Brown left the indie label King for multinational Polydor, founded the People Records label, and that March lost his band that was anchored by \u003ca href=\"http://www.npr.org/artists/15293039/bootsy-collins\" target=\"_blank\" rel=\"noopener\">Bootsy Collins\u003c/a> and hired another that was led by trombonist Fred Wesley. With the latter unit Brown recorded this third live album at Harlem’s Apollo, \u003cem>Revolution of the Mind\u003c/em>, shelving a Bootsy-driven show taped in Paris (eventually issued in 1992 as \u003cem>Love Power Peace\u003c/em>). And he churned out no fewer than five R&B top-ten hits. Surely this is worth more than an aside that one of them, “Hot Pants (She Got to Use What She Got to Get What She Wants),” “encapsulates his trademark marriage of carnal and mercantile” — not to mention that both \u003cem>Revolution of the Mind \u003c/em>and the \u003cem>Hot Pants \u003c/em>album deserve a place on Hepworth’s listing of 1971’s 100 crucial albums far more than, oh, the self-titled debut of soft-rock simpletons America.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And what about Funkadelic’s \u003cem>Maggot Brain\u003c/em>, which also makes Hepworth’s 100 album listing but is otherwise absent from the text, one of \u003cem>Never a Dull Moment\u003c/em>‘s most curious omissions. (To be fair, both Green and Brown have tracks in Hepworth’s chapter-ending suggested playlists.) \u003cem>Maggot Brain\u003c/em>‘s title track has one of the most legendary backstories of 1971 or any other year: \u003ca href=\"http://www.npr.org/artists/15163941/george-clinton\" target=\"_blank\" rel=\"noopener\">George Clinton\u003c/a> told guitarist Eddie Hazel to “Play like your mother died,” and Hazel responded with a ten-minute psychedelic blues solo as searing as Hendrix’s “Star Spangled Banner.” Also, Oedipal psychodrama from a disintegrating counterculture by a bunch of African-American hippie rock and rollers who’d go on to be the most sampled band of all time — how much resonance do you \u003cem>want\u003c/em>, anyway? That’s the problem with “rock”: Once seemingly expansive as the sun, with time it’s become clearer how limited a worldview it ultimately is. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=1966+Vs.+1971%3A+When+%27Rock+%27n%27+Roll%27+Became+%27Rock%2C%27+And+What+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2009, musician and historian Elijah Wald published an overview of American pop from the 1890s to the 1960s he called \u003cem>How the Beatles Destroyed Rock ‘n’ Roll\u003c/em>. The title was a bomb-throwing feint — as \u003ca href=\"http://daily.redbullmusicacademy.com/2015/08/elijah-wald-interview\" target=\"_blank\" rel=\"noopener\">Wald told me in an interview\u003c/a>, he knew that title would get much more attention than a drier one such as “American Pop From Sousa to Soul” — and as if on cue, one reviewer after another lined up to wave away its thesis. “[I]s rock dead because of [the Beatles]?” \u003ca href=\"http://articles.latimes.com/2009/jun/11/entertainment/et-book11/2\" target=\"_blank\" rel=\"noopener\">harrumphed the \u003cem>Los Angeles Times\u003c/em>\u003c/a>. “You don’t need to be a critic to know the answer to that question.”\u003c/p>\n\u003cp>Only Wald didn’t say that \u003cem>rock \u003c/em>was destroyed, but that \u003cem>rock and roll \u003c/em>was — and the difference is not merely academic. \u003cem>Rock\u003c/em>, \u003ca href=\"http://daily.redbullmusicacademy.com/2015/03/robert-christgau-interview\" target=\"_blank\" rel=\"noopener\">in the words of critic Robert Christgau\u003c/a>, is “rock and roll made conscious of itself as an art form.” Prior to the June 1967 release of \u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">The Beatles\u003c/a>‘ \u003cem>Sgt. Pepper’s Lonely Hearts Club Band\u003c/em>, “rock and roll” meant any and everything formally tied to the mid-fifties explosion led commercially by \u003ca href=\"http://www.npr.org/artists/15624007/elvis-presley\" target=\"_blank\" rel=\"noopener\">Elvis Presley\u003c/a> — doo-wop, surf music, Motown, the British Invasion, \u003ca href=\"http://www.npr.org/artists/15316566/james-brown\" target=\"_blank\" rel=\"noopener\">James Brown\u003c/a>. “We were influenced by early rock and roll … which was not black,” Daryl Hall of \u003ca href=\"http://www.npr.org/artists/15757261/hall-oates\" target=\"_blank\" rel=\"noopener\">Hall & Oates\u003c/a> told \u003cem>Musician \u003c/em>magazine in 1982 (cited in a \u003ca href=\"mailto:https://medium.com/cuepoint/70s-scenario-how-hall-oates-walked-along-the-red-ledge-to-discover-their-x-static-voice-5cb5b01d4d6f%23.udtzlulc4\" target=\"_blank\" rel=\"noopener\">Stephen Thomas Erlewine piece for Cuepoint\u003c/a>). “It was \u003cem>integrated \u003c/em>music. There was no difference between black and white.” As Jack Hamilton points out in his forthcoming \u003cem>Just Around Midnight: Rock and Roll and the Racial Imaginary\u003c/em>, the term “rock,” by itself, was almost nonexistent before \u003cem>Sgt. Pepper\u003c/em>; afterward, it almost exclusively denoted white men with guitars.\u003c/p>\n\u003cp>It also denoted an equally important marketplace turn: 1966 was the last year that seven-inch singles outsold twelve-inch LPs, and albums remained king through the digital age, when individual-track downloads finally surpassed full-lengths \u003ca href=\"http://www.hypebot.com/hypebot/2009/07/theres-still-a-place-where-albums-outsell-singles.html\" target=\"_blank\" rel=\"noopener\">in 2008\u003c/a>. Two new books by British rock critics, each keyed to specific years, act as a before-and-after of how “rock and roll” calcifying into “rock” acted in terms of who had access to it as the primary, envelope-pushing musical form of the moment.\u003c/p>\n\u003cp>\u003cem>1966: The Year the Decade Exploded\u003c/em>, by Jon Savage, author of the definitive punk rock history \u003cem>England’s Dreaming\u003c/em>,\u003cem> \u003c/em>is a heavily researched deep dive into both the year’s U.S.-U.K. pop landscape and their attendant sociopolitical ferment, keyed near-entirely to a nonstop parade of hits and duds, many first encountered via pirate radio, which bubbled up as an alternative to the pop-unfriendly BBC and was largely gone by 1968. \u003cem>Never a Dull Moment: 1971 — The Year That Rock Exploded\u003c/em>, by David Hepworth, veteran of numerous British rock mags (most recently, the \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2012/07/rip-to-the-best-music-magazine-of-the-21st-century/259585/\" target=\"_blank\" rel=\"noopener\">late, lamented monthly \u003cem>The Word\u003c/em>\u003c/a>),\u003cem> \u003c/em>is a breezier but still expansive overview of the high-water mark of rock’s album-oriented maturity, a year Hepworth calls “the busiest, most creative, most interesting, and longest-resounding year of [the rock] era.”\u003c/p>\n\u003cp>Both books are structured similarly: twelve chapters apiece, one per month, keyed to specific recordings but moving well beyond them. Hepworth is a looser stylist; occasionally too loose, as when he correctly cites the November 1971 release date of \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly and the Family Stone\u003c/a>‘s \u003cem>There’s a Riot Goin’ On\u003c/em>, only to say many pages later that it “had just been released” at the time of the riots at New York’s Attica State Prison that September. But he’s also sharp and zingy. When he notes, “The year 1971 was the age of the Marshall stack, of mutually assured tinnitus,” or observes that Yes’s lyrics “had to be celestial poetry because they clearly made no sense on this earth,” his mix of garrulousness and dry wit makes \u003cem>Never a Dull Moment \u003c/em>a zip to read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Savage is a more careful stylist and fact-gatherer; not only is \u003cem>1966: The Year the Decade Exploded\u003c/em> (we’ll refer to it by its subtitle from here on)\u003cem> \u003c/em>twice as long as Hepworth’s book, it’s far more densely packed. “Primary sources have been used wherever possible in order to eradicate hindsight and to reconstruct the mood of the time,” Savage notes — a stark contrast to Hepworth, for whom hindsight is very much the point. “If any of my children were to be cast away in the year 1971, they would be lost,” Hepworth writes. “However, they would feel entirely at home with the records that were made that year.” That couldn’t be further from what Savage prizes — the constant sense of present tense surprise captured by his carefully cultivated archival diggings.\u003c/p>\n\u003cp>One reason \u003cem>The Year the Decade Exploded \u003c/em>is so much longer than \u003cem>Never a Dull Moment \u003c/em>is that the latter is primarily fascinated by rock culture — record labels’ marketing plans or lack thereof, the U.K. live circuit, the day-to-day life of the artists behind the classic albums on which Hepworth focuses. Savage, on the other hand, casts his historical net wide, focusing on everything from nuclear paranoia (keyed to Birmingham, U.K., rockers The Ugly’s’ obscure “A Quiet Explosion,” the kickoff of the January chapter) to Vietnam (via Sgt. Barry Sadler’s number-one “The Ballad of the Green Berets,” March) to Andy Warhol (\u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>‘s “I’ll Be Your Mirror,” June). He links soul music — \u003ca href=\"http://www.npr.org/artists/16119847/wilson-pickett\" target=\"_blank\" rel=\"noopener\">Wilson Pickett\u003c/a>‘s atomic “Land of 1,000 Dances,” James Brown, Motown — to the rise of Black Power a lot more doggedly than your typical highlight-reel skim, and does the same for the still deeply underground gay rights movement by focusing on the Tornados’ archly campy “Do You Come Here Often?” — produced by Joe Meek, London’s kitchen-sink answer to Phil Spector and a gay man who committed a murder-suicide in February 1967, taking his landlady with him.\u003c/p>\n\u003cp>If one of the key tenets of rock is that singles are kids’ stuff while albums where the real meat is, \u003cem>The Year the Decade Exploded \u003c/em>wipes away that silly myth repeatedly: Savage’s 45s have as much vaulting, widescreen ambition as the albums Hepworth valorizes. (Being British, Savage uses “pop” rather than “rock and roll,” but the meaning is basically the same.) Take \u003ca href=\"http://www.npr.org/artists/15397669/the-who\" target=\"_blank\" rel=\"noopener\">The Who\u003c/a>, a band that in very different ways is central to both Savage and Hepworth’s books. In the mid-sixties, The Who were London’s archetypal singles band — by choice, not happenstance. “Before we even approached the idea of making an album that was an expression of our own feelings . . . we believed only in singles,” \u003ca href=\"http://www.rollingstone.com/music/news/meaty-beaty-big-and-bouncy-pete-townshend-on-tommy-19711209\" target=\"_blank\" rel=\"noopener\">Pete Townshend wrote in \u003cem>Rolling Stone\u003c/em>\u003c/a>\u003cem> \u003c/em>about the band’s 1971 45s compilation \u003cem>Meaty, Beaty, Big and Bouncy\u003c/em>. “In the top ten records and pirate radio. We, I repeat, believed only in singles.”\u003c/p>\n\u003cp>The February ’66-released “Substitute” remains the band’s masterpiece. “At the start of the instrumental break — which, against type, features only John Entwistle’s bass guitar — [drummer Keith] Moon wallops the hell out of the floor toms in a performance so manic, or drug-deranged, that he had no memory of it after the event,” Savage writes. “I like the blatantness of pop, the speed, the urgency,” the band’s manager Chris Stamp said in a March 1966 quote that Savage cites: “There’s either success or failure — it’s no use bollockin’ about.” \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>By contrast, Hepworth lauds the band’s 1971 album \u003cem>Who’s Next \u003c/em>for being ambitious but not getting carried away. The album’s songs had been intended for an amorphous epic Townshend called “Lifehouse”: “[It] was supposed to be a film, a multimedia epic, a unique collaboration between performer and audience, and, on some level, a ‘crowd-sourced’ piece of art in which the band would facilitate the audience in reaching a new level of consciousness,” Hepworth writes. To him, the secret hero of \u003cem>Who’s Next \u003c/em>is associate producer Glyn Johns, who convinced Townshend to abandon the cumbersome, formless “Lifehouse” and instead concentrate on the songs he’d written: “One of the things that made Glyn Johns a production genius was his lack of interest in how things were supposed to work and his readiness to understand how things did work.”\u003c/p>\n\u003cp>If the kind of runaway ambition of a “Lifehouse” was a path to potential incoherence, though, the type of if-it-ain’t-broke-don’t-fix-it clamping down that led to \u003cem>Who’s Next \u003c/em>also lay the groundwork for a wholesale rejection of difference on the part of the largely male, working class rock audience. True, the “heritage rock” industry of Britain (of which Hepworth is part — he helped launch \u003cem>Mojo\u003c/em>, the UK’s heritage-rock house organ, in the mid-nineties) isn’t quite the monolith of American classic-rock radio, particularly in the country’s middle, whose flat lands are rendered even flatter thanks to forty ceaseless years of programming the exact same records. But for a Yank, many of the albums Hepworth rightly celebrates — \u003cem>Led Zeppelin IV, \u003ca href=\"http://www.npr.org/artists/15403019/the-rolling-stones\" target=\"_blank\" rel=\"noopener\">The Rolling Stones\u003c/a>\u003c/em>‘ \u003cem>Sticky Fingers\u003c/em>, \u003ca href=\"http://www.npr.org/artists/90721971/jethro-tull\" target=\"_blank\" rel=\"noopener\">Jethro Tull\u003c/a>‘s \u003cem>Aqualung — \u003c/em>can nevertheless be difficult to hear freshly, even aided by a sympathetic reading of his insightful contextualizing. By contrast, the fabulous \u003ca href=\"http://www.acerecords.co.uk/jon-savages-1966-the-year-the-decade-exploded\" target=\"_blank\" rel=\"noopener\">double-CD 1966\u003cem> \u003c/em>soundtrack\u003c/a> Savage compiled for Ace Records never stops surprising, not least due to the sequencing — mostly chronological, but not always. Yes, “Baba O’Riley” is still amazing, but somehow less so on the 1,001st play, especially when roughly 900 of them weren’t voluntary. By contrast, Savage’s inclusion of “Substitute” can still feel revelatory — not least because the song gets extra ballast by Savage leading into it with New Orleans R&B singer Robert Parker’s horn-led party jam “Barefootin’.” \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>The advantage of the albums central to Hepworth’s book is that they could provide their own context, not to mention that their subjects were hardly shy of vaulting ambition. \u003ca href=\"http://www.npr.org/artists/15396553/led-zeppelin\" target=\"_blank\" rel=\"noopener\">Led Zeppelin\u003c/a>, for example, would have been unimaginable in 1966; it was barely imaginable five years later. “It was customary in 1971 … to release an album as soon as humanly possible,” Hepworth writes. “There was no machine to prime, no marketing scheme to be perfected, no budget to be hammered out, no accompanying image to be developed … no complex hullabaloo to be orchestrated.” Zeppelin didn’t operate that way: Hepworth notes a November 1971 issue of \u003cem>Billboard\u003c/em> featured a four-page ad for fellow hard rockers Grand Funk Railroad’s \u003cem>E Pluribus Funk\u003c/em> that included “color portraits of all three members of the band,” which compared to the mysterious, band-less cover art of \u003cem>Led Zeppelin IV\u003c/em> made Grand Funk appear “gauche and needy.”\u003c/p>\n\u003cp>The sheer size of the band’s sound was made for arenas and high-end stereos, not transistor radios. When the band was booked to play Madison Square Garden (which it did for the first time on \u003ca href=\"http://www.ledzeppelin.com/show/september-19-1970\" target=\"_blank\" rel=\"noopener\">September 19, 1970\u003c/a>), Hepworth notes a fellow musician’s double take: “He simply didn’t believe bands could play venues that big.” A festival like Woodstock was one thing; but for the most part, selling out large halls was a rarity in this era, never mind arenas. In the U.K., college halls were the venues of choice (in particular, the University of Leeds, as in the Who’s 1970 \u003cem>Live at Leeds\u003c/em>), and as Hepworth points out, drugs were difficult to find and pubs shut down well before the concerts did: “Hence, audiences were overwhelmingly sober.” Merchandise — the full lines of T-shirts, buttons, canvas bags, and other branded gewgaws that now make up so much of the touring musician’s bottom line — basically didn’t yet exist.”\u003c/p>\n\u003cp>The kind of hard rock Led Zeppelin (and Grand Funk) embodied engendered a hard retreat, both into softer music — such as \u003ca href=\"http://www.npr.org/artists/15403595/carole-king\" target=\"_blank\" rel=\"noopener\">Carole King\u003c/a>‘s \u003cem>Tapestry\u003c/em>, 1971’s commercial behemoth and, as Hepworth points out, one of the only big albums of the era selling in large quantities to young women — and the past. One of Hepworth’s key arguments is that in 1971 the marketing of the musical past, in the form of reissues and concerts full of old material, was something “the record business hadn’t yet woken up to,” though that would change in short order. Hepworth’s prime examples are Elvis Presley, already retreating from his 1968 comeback, and \u003ca href=\"http://www.npr.org/artists/15394818/the-beach-boys\" target=\"_blank\" rel=\"noopener\">The Beach Boys\u003c/a>, whose 1971 album \u003cem>Surf’s Up \u003c/em>featured a title track that added new overdubs to a Brian Wilson solo-piano performance from 1966; Hepworth calls it “probably the first case of a band making a tribute album to itself.”\u003c/p>\n\u003cp>Only five years earlier, The Beach Boys had been in rock and roll’s first rank, thanks to the critical (and, in the U.K., commercial) success of \u003cem>Pet Sounds \u003c/em>but even more so to “Good Vibrations,” a single that many considered 1966’s most forward thinking. “It was technological yet emotional, sensual and spiritual, with an immediate physical impact and a deeper metaphysical meaning,” Savage writes. But as he also points out, the heady futurism of 1966’s pop incurred its own reactionary streak: Savage’s nostalgia-themed October chapter is keyed to the New Vaudeville Band’s Dixieland throwback “Winchester Cathedral,” which the Grammy Awards naturally named Best Contemporary [R&R] Recording in 1967, beating among others, “Good Vibrations.”\u003c/p>\n\u003cp>Savage notes that The Beach Boys’ record “spanned both R&B and psychedelia — the biggest new trends of the year.” \u003cem>The Year the Decade Exploded \u003c/em>spends lots of time on soul music, particularly its emergence in the U.K., but it could have spent lots more. (Savage notes that he left Jamaican music out nearly entirely for reasons of focus — and, no doubt considering how much research he already did here, sanity.) By contrast, Hepworth doesn’t write enough about R&B because he \u003cem>doesn’t\u003c/em>. He does offer a long consideration of Motown, keyed to \u003ca href=\"http://www.npr.org/artists/15669282/marvin-gaye\" target=\"_blank\" rel=\"noopener\">Marvin Gaye\u003c/a>‘s \u003cem>What’s Going On \u003c/em>(a good album, not a great one, he says, and I agree), but it feels very surface-level; there’s an uncomfortable component to a line like, “There was nothing Berry [Gordy] did that didn’t have at least some element of social climbing about it,” even though at root it’s basically correct.\u003c/p>\n\u003cp>What’s more amazing — suspicious, even — is that Hepworth merely grazes some of the most important soul of not only the year but the entire decade. \u003ca href=\"http://www.npr.org/artists/14947959/al-green\" target=\"_blank\" rel=\"noopener\">Al Green\u003c/a> didn’t release an album in 1971, but “Let’s Stay Together,” issued that November, ahead of the 1972 album of the same title, was a key component of the overall sweetening of R&B then occurring. At the other end of the spectrum, in 1971 James Brown left the indie label King for multinational Polydor, founded the People Records label, and that March lost his band that was anchored by \u003ca href=\"http://www.npr.org/artists/15293039/bootsy-collins\" target=\"_blank\" rel=\"noopener\">Bootsy Collins\u003c/a> and hired another that was led by trombonist Fred Wesley. With the latter unit Brown recorded this third live album at Harlem’s Apollo, \u003cem>Revolution of the Mind\u003c/em>, shelving a Bootsy-driven show taped in Paris (eventually issued in 1992 as \u003cem>Love Power Peace\u003c/em>). And he churned out no fewer than five R&B top-ten hits. Surely this is worth more than an aside that one of them, “Hot Pants (She Got to Use What She Got to Get What She Wants),” “encapsulates his trademark marriage of carnal and mercantile” — not to mention that both \u003cem>Revolution of the Mind \u003c/em>and the \u003cem>Hot Pants \u003c/em>album deserve a place on Hepworth’s listing of 1971’s 100 crucial albums far more than, oh, the self-titled debut of soft-rock simpletons America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what about Funkadelic’s \u003cem>Maggot Brain\u003c/em>, which also makes Hepworth’s 100 album listing but is otherwise absent from the text, one of \u003cem>Never a Dull Moment\u003c/em>‘s most curious omissions. (To be fair, both Green and Brown have tracks in Hepworth’s chapter-ending suggested playlists.) \u003cem>Maggot Brain\u003c/em>‘s title track has one of the most legendary backstories of 1971 or any other year: \u003ca href=\"http://www.npr.org/artists/15163941/george-clinton\" target=\"_blank\" rel=\"noopener\">George Clinton\u003c/a> told guitarist Eddie Hazel to “Play like your mother died,” and Hazel responded with a ten-minute psychedelic blues solo as searing as Hendrix’s “Star Spangled Banner.” Also, Oedipal psychodrama from a disintegrating counterculture by a bunch of African-American hippie rock and rollers who’d go on to be the most sampled band of all time — how much resonance do you \u003cem>want\u003c/em>, anyway? That’s the problem with “rock”: Once seemingly expansive as the sun, with time it’s become clearer how limited a worldview it ultimately is. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=1966+Vs.+1971%3A+When+%27Rock+%27n%27+Roll%27+Became+%27Rock%2C%27+And+What+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Magnificent Seven': Because 'The Pretty Good Seven' Didn't Test Well",
"headTitle": "‘The Magnificent Seven’: Because ‘The Pretty Good Seven’ Didn’t Test Well | KQED",
"content": "\u003cp>Even 60 years ago, there were westerns that interrogated the genre’s veneration of masculinity and might-for-right.\u003c/p>\n\u003cp>\u003cem>The Magnificent Seve\u003c/em>n wasn’t one of them.\u003c/p>\n\u003cp>Arriving seven years after the pacifist fable \u003cem>Shane\u003c/em> but two years before the myth-busting \u003cem>The Man Who Shot Liberty Valance,\u003c/em> John Sturges’ 1960 classic is basically a what-you-see-is-what-you get paean to brotherhood and violent sacrifice. It’s about a small pack of wolves, led by Yul Brynner and Steve McQueen, that decides to protect a flock of sheep from a big pack of wolves led by Eli Wallach. That’s all, and that’s enough.\u003c/p>\n\u003cp>As in its source text — Akira Kurosawa’s 1954 \u003cem>Seven Samurai\u003c/em> — what motivates these soldiers of fortune remains largely opaque. (Not fortune. Penance, maybe.) The besieged farmers who beg for their assistance can’t afford them, but will give what little they have. “I’ve been offered a lot for my work, but never everything,” says Brynner.\u003c/p>\n\u003cp>William Roberts wrote that line, one of a handful that screenwriters Richard Wenk and Nic Pizzolatto were smart enough to retain for Denzel Washington in their fun but nonessential new version, the star’s third collaboration with \u003cem>Training Day\u003c/em> and \u003cem>The Equalizer\u003c/em> director Antoine Fuqua. Fuqua and Washington are a good team: They haven’t made a masterpiece together — the first 70 minutes or so of \u003cem>Training Day\u003c/em> are great enough to make you mad when that movie doesn’t go the distance — but they turn out high-grade pulp, present company included.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their new \u003cem>Magnificent\u003c/em> \u003cem>Seven\u003c/em> is less white than the old one, obviously. It lets a woman (Haley Bennett) fire a rifle and even speak a few substantive lines. Inevitably, it insists on developing its heroes’ backstories in greater depth than its forebear. (Expect an “origin story” prequel to be put in development for each of them if the movie is a hit.) And yet for all that tinkering — some profitable, some merely decorative — \u003cem>The Magnificent Seven\u003c/em> ’16 still feels surprisingly unreconstructed. It tips its hat to \u003cem>Django Unchained\u003c/em>, but it’s not a revisionist western.\u003c/p>\n\u003cp>Nor is it an anti-western.\u003c/p>\n\u003cp>It’s a western.\u003c/p>\n\u003cp>https://youtu.be/q-RBA0xoaWU\u003c/p>\n\u003cp>At least I think it is. So costly is its final battle, in lives and infrastructure, that you have to wonder whether the peace-loving homesteaders of Rose Creek circa 1879 might’ve fared better if they’d just taken evil mining mogul Bartholomew Bogue’s lowball offer for their land and hit the road like he asked. Does the suggestion that all this crisply shot, adroitly edited killing and suffering might ultimately have been pointless make the picture revisionist? A truly abysmal bit of closing narration, seemingly borne of some executive’s note that someone in the movie must speak the word “magnificent” at some point, answers that question: Nope!\u003c/p>\n\u003cp>It pains me to report that the movie lacks (until the end credits) Elmer Bernstein’s heroic theme music, familiar from decades of Academy Awards telecasts. The composer James Horner, who has written more sweeping, romantic adventure scores than anybody in the last 30 years, was commissioned for this movie. Sadly, he died in an airplane crash last year. His arranger Simon Franglen finished the film’s music, with ersatz results.\u003c/p>\n\u003cp>The villain Wallach played all those decades ago was a bully who stole from the poor, but he was also a man of his word who in the end was just trying to keep his starving soldiers fed. That’s not antagonistic enough an antagonist for the Age of Ultron, apparently, because Fuqua & Co. go to comic extremes to make their malefactor truly satanic: Bogue runs a mining company, first of all, dismissing claims he’s polluting Rose Creek’s water supply. In the film’s prologue, he and his henchmen burst into the town parish, manhandle a child, spit tobacco on the floor, and then beat and/or shoot several unarmed civilians before setting the church on fire. Most damning of all, he wears the face of Peter Sarsgaard, whose soft features peg him in movie-language as a predatory creep just as surely as Washington’s symmetrical mug makes him a man of virtue.\u003c/p>\n\u003cp>Good news: Denzel looks great beneath a Stetson, on top of a horse. Who cares that at 60-plus, he’s more than 20 years longer-in-the-tooth than Brynner was? He’s still the most quietly commanding presence in movies. He’s grown a glorious pair of mutton-chops and learned to twirl a Colt Peacemaker, and that unhurried, shoulder-sloping gait of his suggests he should’ve been starring in westerns all along.\u003c/p>\n\u003cp>Ultimately, this kind of movie sinks or swims on the chemistry among its band of brothers. On that score, this one is a winner. A magnificent four-sevenths of them are now men of color, which — perhaps anachronistically — evokes little comment from the mostly-white villagers. Though the screenwriters have given them all new names, most of them map easily onto the lineup from the original \u003cem>Seven\u003c/em>. Washington is Brynner, obviously, down to the all-black wardrobe. Chris Pratt is McQueen — no longer a mere gambler, but a rakish skirt-chaser and an amateur card magician, too. (He does more winking and mugging in this 133-minute movie than McQueen did in his 25-year career. At one point, he vows to an enemy, “You’ll be murdered by the world’s greatest lover,” a line that would’ve been too embarrassing for Roger Moore. But since he didn’t smile even once in \u003cem>Jurassic World,\u003c/em> we’ll allow it.)\u003c/p>\n\u003cp>South Korean star Byung Hun Lee fills what was James Coburn’s part, the quiet guy who’s good with a blade. Ethan Hawke takes over for Robert Vaughn as the shell-shocked Confederate deserter. (It’s fun to see Washington and Hawke together again, 15 years after they both got Oscar nominations for \u003cem>Training Day\u003c/em>.) Rounding out the team are Vincent D’Onofrio as a weirdo trapper who speaks like his lungs are full of helium, Martin Sensmeier as a Commanche warrior who has left his tribe, and Manuel Garcia-Rulfo as a Mexican bounty hunter. Everyone looks authentically sweaty, not to say glossy.\u003c/p>\n\u003cp>Fuqua is smart enough to let us get to know each of them through behavior rather than dialogue, and he’s in no hurry to get to the bloody confrontation. There’s substantial pleasure, and humor, in the scenes where these soldiers try to shape the villagers into a militia that might have a prayer of fending of the mercenary battalion just a few days from their door.\u003c/p>\n\u003cp>If we’ve somehow gone almost 60 years without an officially licensed \u003cem>Seven Samurai/Magnificent Seven\u003c/em> update, it’s only because its imitators are legion. The \u003cem>Magnificent Seven\u003c/em> spawned three official sequels and innumerable unofficial ones. Fuqua’s own \u003cem>Tears of the Sun,\u003c/em> from 2003, was about a SEAL team that decides, against orders, to defend a group of refugees threatened with genocide. Counting team leader Bruce Willis, there were eight of them, and the setting was 21st century Nigeria rather than 19th century Mexico or 16th century Japan … but it was still \u003cem>Seven Samurai\u003c/em> in everything but name. The 1980s NBC series \u003cem>The A-Team\u003c/em> retold the second half of \u003cem>The Magnificent Seven\u003c/em> weekly for five seasons — a lot longer than CBS’s official \u003cem>Magnificent Seven\u003c/em> TV spinoff lasted.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If it ain’t woke, don’t fix it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even 60 years ago, there were westerns that interrogated the genre’s veneration of masculinity and might-for-right.\u003c/p>\n\u003cp>\u003cem>The Magnificent Seve\u003c/em>n wasn’t one of them.\u003c/p>\n\u003cp>Arriving seven years after the pacifist fable \u003cem>Shane\u003c/em> but two years before the myth-busting \u003cem>The Man Who Shot Liberty Valance,\u003c/em> John Sturges’ 1960 classic is basically a what-you-see-is-what-you get paean to brotherhood and violent sacrifice. It’s about a small pack of wolves, led by Yul Brynner and Steve McQueen, that decides to protect a flock of sheep from a big pack of wolves led by Eli Wallach. That’s all, and that’s enough.\u003c/p>\n\u003cp>As in its source text — Akira Kurosawa’s 1954 \u003cem>Seven Samurai\u003c/em> — what motivates these soldiers of fortune remains largely opaque. (Not fortune. Penance, maybe.) The besieged farmers who beg for their assistance can’t afford them, but will give what little they have. “I’ve been offered a lot for my work, but never everything,” says Brynner.\u003c/p>\n\u003cp>William Roberts wrote that line, one of a handful that screenwriters Richard Wenk and Nic Pizzolatto were smart enough to retain for Denzel Washington in their fun but nonessential new version, the star’s third collaboration with \u003cem>Training Day\u003c/em> and \u003cem>The Equalizer\u003c/em> director Antoine Fuqua. Fuqua and Washington are a good team: They haven’t made a masterpiece together — the first 70 minutes or so of \u003cem>Training Day\u003c/em> are great enough to make you mad when that movie doesn’t go the distance — but they turn out high-grade pulp, present company included.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their new \u003cem>Magnificent\u003c/em> \u003cem>Seven\u003c/em> is less white than the old one, obviously. It lets a woman (Haley Bennett) fire a rifle and even speak a few substantive lines. Inevitably, it insists on developing its heroes’ backstories in greater depth than its forebear. (Expect an “origin story” prequel to be put in development for each of them if the movie is a hit.) And yet for all that tinkering — some profitable, some merely decorative — \u003cem>The Magnificent Seven\u003c/em> ’16 still feels surprisingly unreconstructed. It tips its hat to \u003cem>Django Unchained\u003c/em>, but it’s not a revisionist western.\u003c/p>\n\u003cp>Nor is it an anti-western.\u003c/p>\n\u003cp>It’s a western.\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/q-RBA0xoaWU'\n title='//www.youtube.com/embed/q-RBA0xoaWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At least I think it is. So costly is its final battle, in lives and infrastructure, that you have to wonder whether the peace-loving homesteaders of Rose Creek circa 1879 might’ve fared better if they’d just taken evil mining mogul Bartholomew Bogue’s lowball offer for their land and hit the road like he asked. Does the suggestion that all this crisply shot, adroitly edited killing and suffering might ultimately have been pointless make the picture revisionist? A truly abysmal bit of closing narration, seemingly borne of some executive’s note that someone in the movie must speak the word “magnificent” at some point, answers that question: Nope!\u003c/p>\n\u003cp>It pains me to report that the movie lacks (until the end credits) Elmer Bernstein’s heroic theme music, familiar from decades of Academy Awards telecasts. The composer James Horner, who has written more sweeping, romantic adventure scores than anybody in the last 30 years, was commissioned for this movie. Sadly, he died in an airplane crash last year. His arranger Simon Franglen finished the film’s music, with ersatz results.\u003c/p>\n\u003cp>The villain Wallach played all those decades ago was a bully who stole from the poor, but he was also a man of his word who in the end was just trying to keep his starving soldiers fed. That’s not antagonistic enough an antagonist for the Age of Ultron, apparently, because Fuqua & Co. go to comic extremes to make their malefactor truly satanic: Bogue runs a mining company, first of all, dismissing claims he’s polluting Rose Creek’s water supply. In the film’s prologue, he and his henchmen burst into the town parish, manhandle a child, spit tobacco on the floor, and then beat and/or shoot several unarmed civilians before setting the church on fire. Most damning of all, he wears the face of Peter Sarsgaard, whose soft features peg him in movie-language as a predatory creep just as surely as Washington’s symmetrical mug makes him a man of virtue.\u003c/p>\n\u003cp>Good news: Denzel looks great beneath a Stetson, on top of a horse. Who cares that at 60-plus, he’s more than 20 years longer-in-the-tooth than Brynner was? He’s still the most quietly commanding presence in movies. He’s grown a glorious pair of mutton-chops and learned to twirl a Colt Peacemaker, and that unhurried, shoulder-sloping gait of his suggests he should’ve been starring in westerns all along.\u003c/p>\n\u003cp>Ultimately, this kind of movie sinks or swims on the chemistry among its band of brothers. On that score, this one is a winner. A magnificent four-sevenths of them are now men of color, which — perhaps anachronistically — evokes little comment from the mostly-white villagers. Though the screenwriters have given them all new names, most of them map easily onto the lineup from the original \u003cem>Seven\u003c/em>. Washington is Brynner, obviously, down to the all-black wardrobe. Chris Pratt is McQueen — no longer a mere gambler, but a rakish skirt-chaser and an amateur card magician, too. (He does more winking and mugging in this 133-minute movie than McQueen did in his 25-year career. At one point, he vows to an enemy, “You’ll be murdered by the world’s greatest lover,” a line that would’ve been too embarrassing for Roger Moore. But since he didn’t smile even once in \u003cem>Jurassic World,\u003c/em> we’ll allow it.)\u003c/p>\n\u003cp>South Korean star Byung Hun Lee fills what was James Coburn’s part, the quiet guy who’s good with a blade. Ethan Hawke takes over for Robert Vaughn as the shell-shocked Confederate deserter. (It’s fun to see Washington and Hawke together again, 15 years after they both got Oscar nominations for \u003cem>Training Day\u003c/em>.) Rounding out the team are Vincent D’Onofrio as a weirdo trapper who speaks like his lungs are full of helium, Martin Sensmeier as a Commanche warrior who has left his tribe, and Manuel Garcia-Rulfo as a Mexican bounty hunter. Everyone looks authentically sweaty, not to say glossy.\u003c/p>\n\u003cp>Fuqua is smart enough to let us get to know each of them through behavior rather than dialogue, and he’s in no hurry to get to the bloody confrontation. There’s substantial pleasure, and humor, in the scenes where these soldiers try to shape the villagers into a militia that might have a prayer of fending of the mercenary battalion just a few days from their door.\u003c/p>\n\u003cp>If we’ve somehow gone almost 60 years without an officially licensed \u003cem>Seven Samurai/Magnificent Seven\u003c/em> update, it’s only because its imitators are legion. The \u003cem>Magnificent Seven\u003c/em> spawned three official sequels and innumerable unofficial ones. Fuqua’s own \u003cem>Tears of the Sun,\u003c/em> from 2003, was about a SEAL team that decides, against orders, to defend a group of refugees threatened with genocide. Counting team leader Bruce Willis, there were eight of them, and the setting was 21st century Nigeria rather than 19th century Mexico or 16th century Japan … but it was still \u003cem>Seven Samurai\u003c/em> in everything but name. The 1980s NBC series \u003cem>The A-Team\u003c/em> retold the second half of \u003cem>The Magnificent Seven\u003c/em> weekly for five seasons — a lot longer than CBS’s official \u003cem>Magnificent Seven\u003c/em> TV spinoff lasted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sometimes the world can feel a bit uniform: the same department stores in every shopping mall, the same fast food chains on every corner. The website \u003ca href=\"http://www.atlasobscura.com/\" target=\"_blank\" rel=\"noopener\">Atlas Obscura\u003c/a> will make you reconsider that sense of monotony.\u003c/p>\n\u003cp>“The world is still this huge, bizarre, vast place filled with astounding stuff,” says co-founder Dylan Thuras. “And if you sort of tilt your view a little bit and start looking for it, you start finding it everywhere.”\u003c/p>\n\u003cp>Thuras’ new book, also called \u003cem>Atlas Obscura\u003c/em>, is a guide to the world’s hidden wonders — like a \u003ca href=\"http://www.atlasobscura.com/places/vent-haven-museum\" target=\"_blank\" rel=\"noopener\">ventriloquist dummy museum in Kentucky\u003c/a> or a \u003ca href=\"http://www.atlasobscura.com/places/the-gates-of-hell\" target=\"_blank\" rel=\"noopener\">230-foot-wide hole in Turkmenistan\u003c/a> that’s been on fire for 40 years.\u003c/p>\n\u003cp>“That’s an amazing place,” Thuras says. “And it’s kind of one of these places that when you find out it exists, you’re a little bit surprised you didn’t know it existed before.”\u003c/p>\n\u003cp>But you don’t have go all the way to Turkmenistan to see these places; Thuras says there’s plenty of wonder in your own backyard. To prove it, he took NPR on a tour of the wonders in \u003cem>his\u003c/em> backyard: Manhattan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thuras starts his tour on the 6 train. “Basically, you stay on the 6 train after its last stop [Brooklyn Bridge-City Hall],” he says. “You’re able to look out the subway car windows and see the \u003ca href=\"http://www.atlasobscura.com/places/city-hall-station-mro\" target=\"_blank\" rel=\"noopener\">City Hall station\u003c/a>, which is one of the most beautiful subway stations ever created. It’s been shuttered since 1945, but it is this immaculate space. It’s this little piece of lost New York grandeur.”\u003c/p>\n\u003cp>The station has hanging chandeliers and arched ceilings that are covered in green and white tiles. (For the best view, \u003cem>Atlas Obscura\u003c/em> recommends sitting in the 7th, 8th or 9th car.)\u003c/p>\n\u003cp>The next stop is an artwork by Walter De Maria. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-new-york-earth-room\" target=\"_blank\" rel=\"noopener\">the Earth Room\u003c/a>, “which is what it sounds like,” Thuras says: “It is 280,000 pounds of dirt that has been sitting in a room in a SoHo loft.”\u003c/p>\n\u003cfigure id=\"attachment_12096239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-800x532.jpg\" alt=\"Manhattan's long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-12096239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manhattan’s long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles. \u003ccite>(Photo: Julian Dunn/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A little sign outside instructs visitors to buzz in and walk up to the second floor. There, they’ll find a loft in which the entire floor is covered in “rich, nicely groomed-looking dirt,” as Thuras describes it. Somebody has raked and misted the dirt every week since De Maria created the work in 1977. “It’s got the real smell of a forest floor,” Thuras says.\u003c/p>\n\u003cp>Spanish tourist Juan Carlos Fernandez’s visit coincided with NPR’s. He says he’s wanted to visit the Earth Room since 1986, “but for different reasons every time we were here in the city, we couldn’t.” Was it worth the 30-year wait? Fernandez says yes. “I am so thrilled right now.”\u003c/p>\n\u003cp>After the Earth Room, it’s time for lunch at the kind of restaurant Atlas Obscura loves. “We are going to \u003ca href=\"http://www.atlasobscura.com/places/el-sabroso\" target=\"_blank\" rel=\"noopener\">El Sabroso\u003c/a>, which is a small South American lunch counter in a freight elevator entrance,” Thuras says.\u003c/p>\n\u003cp>The restaurant is in Midtown in a sort of loading dock. Behind the counter, a cook tends to eight pots bubbling on a small stove. Seating consists of a long folding table with plastic chairs.\u003c/p>\n\u003cp>Thuras says, “In a way, there’s a history here because Midtown has always been home to garment workers and people, you know, who were kind of working on a tighter budget, and that’s still true today. So there’s a few remaining … old school lunch counters where you can get a great meal for like $6. … And it’s killer. It’s like super killer.” (He’s not kidding. It was the best $6 lunch this reporter has had in a long time.)\u003c/p>\n\u003cp>Thuras is the kind of traveler who will pack every minute of a day with experiences. After lunch, he leads NPR to \u003ca href=\"http://www.atlasobscura.com/places/toynbee-tiles-3\" target=\"_blank\" rel=\"noopener\">mysterious tiles embedded in the roadway\u003c/a>, \u003ca href=\"http://www.atlasobscura.com/places/gimbel-s-bridge\" target=\"_blank\" rel=\"noopener\">a shuttered art deco skywalk\u003c/a> that is completely sealed off to the world and the \u003ca href=\"http://www.atlasobscura.com/places/the-conjuring-arts-research-center\" target=\"_blank\" rel=\"noopener\">Conjuring Arts Research Center\u003c/a>, one of the world’s largest collections of books about magic.\u003c/p>\n\u003cp>The last stop on his tour is an easily overlooked wonder in the middle of Times Square. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-times-square-hum\" target=\"_blank\" rel=\"noopener\">the Times Square Hum\u003c/a> and it comes from under a metal grate on a pedestrian island. (You can hear it for yourself in the audio story above.) An artist named Max Neuhaus created it almost 40 years ago.\u003c/p>\n\u003cp>“It’s this kind of sonic secret, just tucked away,” Thuras says. “Almost nobody stops and says, ‘What is that strange noise?’ ” Because, of course, the Hum is surrounded by noise: car horns, street performers, crowds, squeaking brakes.\u003c/p>\n\u003cp>“For me, it sort of serves as this wonderful reminder that in the middle of all this madness — in what I think most people would find the most commercial, least sort of whimsical or magical place in Manhattan — is this kind of little gem waiting for you if you’re willing to sort of slow down, look around, listen and kind of start asking questions.”\u003c/p>\n\u003cp>Does he ever worry about Atlas Obscura running out of wonders to write about?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We asked ourselves this question at the start,” Thuras says, “and so far the answer seems to be: It is infinite.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Atlas+Obscura%27+Tour+Of+Manhattan+Finds+Hidden+Wonders+In+A+Well-Trodden+Place&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes the world can feel a bit uniform: the same department stores in every shopping mall, the same fast food chains on every corner. The website \u003ca href=\"http://www.atlasobscura.com/\" target=\"_blank\" rel=\"noopener\">Atlas Obscura\u003c/a> will make you reconsider that sense of monotony.\u003c/p>\n\u003cp>“The world is still this huge, bizarre, vast place filled with astounding stuff,” says co-founder Dylan Thuras. “And if you sort of tilt your view a little bit and start looking for it, you start finding it everywhere.”\u003c/p>\n\u003cp>Thuras’ new book, also called \u003cem>Atlas Obscura\u003c/em>, is a guide to the world’s hidden wonders — like a \u003ca href=\"http://www.atlasobscura.com/places/vent-haven-museum\" target=\"_blank\" rel=\"noopener\">ventriloquist dummy museum in Kentucky\u003c/a> or a \u003ca href=\"http://www.atlasobscura.com/places/the-gates-of-hell\" target=\"_blank\" rel=\"noopener\">230-foot-wide hole in Turkmenistan\u003c/a> that’s been on fire for 40 years.\u003c/p>\n\u003cp>“That’s an amazing place,” Thuras says. “And it’s kind of one of these places that when you find out it exists, you’re a little bit surprised you didn’t know it existed before.”\u003c/p>\n\u003cp>But you don’t have go all the way to Turkmenistan to see these places; Thuras says there’s plenty of wonder in your own backyard. To prove it, he took NPR on a tour of the wonders in \u003cem>his\u003c/em> backyard: Manhattan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thuras starts his tour on the 6 train. “Basically, you stay on the 6 train after its last stop [Brooklyn Bridge-City Hall],” he says. “You’re able to look out the subway car windows and see the \u003ca href=\"http://www.atlasobscura.com/places/city-hall-station-mro\" target=\"_blank\" rel=\"noopener\">City Hall station\u003c/a>, which is one of the most beautiful subway stations ever created. It’s been shuttered since 1945, but it is this immaculate space. It’s this little piece of lost New York grandeur.”\u003c/p>\n\u003cp>The station has hanging chandeliers and arched ceilings that are covered in green and white tiles. (For the best view, \u003cem>Atlas Obscura\u003c/em> recommends sitting in the 7th, 8th or 9th car.)\u003c/p>\n\u003cp>The next stop is an artwork by Walter De Maria. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-new-york-earth-room\" target=\"_blank\" rel=\"noopener\">the Earth Room\u003c/a>, “which is what it sounds like,” Thuras says: “It is 280,000 pounds of dirt that has been sitting in a room in a SoHo loft.”\u003c/p>\n\u003cfigure id=\"attachment_12096239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-800x532.jpg\" alt=\"Manhattan's long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-12096239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manhattan’s long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles. \u003ccite>(Photo: Julian Dunn/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A little sign outside instructs visitors to buzz in and walk up to the second floor. There, they’ll find a loft in which the entire floor is covered in “rich, nicely groomed-looking dirt,” as Thuras describes it. Somebody has raked and misted the dirt every week since De Maria created the work in 1977. “It’s got the real smell of a forest floor,” Thuras says.\u003c/p>\n\u003cp>Spanish tourist Juan Carlos Fernandez’s visit coincided with NPR’s. He says he’s wanted to visit the Earth Room since 1986, “but for different reasons every time we were here in the city, we couldn’t.” Was it worth the 30-year wait? Fernandez says yes. “I am so thrilled right now.”\u003c/p>\n\u003cp>After the Earth Room, it’s time for lunch at the kind of restaurant Atlas Obscura loves. “We are going to \u003ca href=\"http://www.atlasobscura.com/places/el-sabroso\" target=\"_blank\" rel=\"noopener\">El Sabroso\u003c/a>, which is a small South American lunch counter in a freight elevator entrance,” Thuras says.\u003c/p>\n\u003cp>The restaurant is in Midtown in a sort of loading dock. Behind the counter, a cook tends to eight pots bubbling on a small stove. Seating consists of a long folding table with plastic chairs.\u003c/p>\n\u003cp>Thuras says, “In a way, there’s a history here because Midtown has always been home to garment workers and people, you know, who were kind of working on a tighter budget, and that’s still true today. So there’s a few remaining … old school lunch counters where you can get a great meal for like $6. … And it’s killer. It’s like super killer.” (He’s not kidding. It was the best $6 lunch this reporter has had in a long time.)\u003c/p>\n\u003cp>Thuras is the kind of traveler who will pack every minute of a day with experiences. After lunch, he leads NPR to \u003ca href=\"http://www.atlasobscura.com/places/toynbee-tiles-3\" target=\"_blank\" rel=\"noopener\">mysterious tiles embedded in the roadway\u003c/a>, \u003ca href=\"http://www.atlasobscura.com/places/gimbel-s-bridge\" target=\"_blank\" rel=\"noopener\">a shuttered art deco skywalk\u003c/a> that is completely sealed off to the world and the \u003ca href=\"http://www.atlasobscura.com/places/the-conjuring-arts-research-center\" target=\"_blank\" rel=\"noopener\">Conjuring Arts Research Center\u003c/a>, one of the world’s largest collections of books about magic.\u003c/p>\n\u003cp>The last stop on his tour is an easily overlooked wonder in the middle of Times Square. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-times-square-hum\" target=\"_blank\" rel=\"noopener\">the Times Square Hum\u003c/a> and it comes from under a metal grate on a pedestrian island. (You can hear it for yourself in the audio story above.) An artist named Max Neuhaus created it almost 40 years ago.\u003c/p>\n\u003cp>“It’s this kind of sonic secret, just tucked away,” Thuras says. “Almost nobody stops and says, ‘What is that strange noise?’ ” Because, of course, the Hum is surrounded by noise: car horns, street performers, crowds, squeaking brakes.\u003c/p>\n\u003cp>“For me, it sort of serves as this wonderful reminder that in the middle of all this madness — in what I think most people would find the most commercial, least sort of whimsical or magical place in Manhattan — is this kind of little gem waiting for you if you’re willing to sort of slow down, look around, listen and kind of start asking questions.”\u003c/p>\n\u003cp>Does he ever worry about Atlas Obscura running out of wonders to write about?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We asked ourselves this question at the start,” Thuras says, “and so far the answer seems to be: It is infinite.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Atlas+Obscura%27+Tour+Of+Manhattan+Finds+Hidden+Wonders+In+A+Well-Trodden+Place&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Comics Convention for the Unconventional: The Small Press Expo",
"headTitle": "A Comics Convention for the Unconventional: The Small Press Expo | KQED",
"content": "\u003cp>\u003cem>Additional reporting by LA Johnson.\u003c/em>\u003c/p>\n\u003cp>I’ve attended the Small Press Expo, or SPX, for 10 years now. This year, I convinced NPR to let me take a reporting kit and interview attendees about what drew them to the show.\u003c/p>\n\u003cp>(You can check out more photos, illustrations and interviews with creators from the 2016 Small Press Expo on the \u003ca href=\"http://nprillustration.tumblr.com/\">NPR Illustrations Tumblr\u003c/a> over the coming days and weeks.)\u003c/p>\n\u003cp>In theory, SPX seems a lot like many of the other comic-cons that have been popping up across the country over the last few years. There’s the vast exhibit floor, there’s a packed schedule of panels and spotlights featuring interviews of, and discussions between, various comics creators. People mill about, lugging bags loaded down with stuff they’ve bought, or find an empty patch of carpeted hallway on which to plop themselves and rest while perusing their purchases.\u003c/p>\n\u003cp>If you close your eyes, its sounds a lot like any other con: the low, steady murmur of voices punctuated by the occasional exclamation of delight or surprise from someone who’s stumbling across an old friend — or a new passion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the moment you open your eyes, you’re reminded that SPX isn’t like most other cons.\u003c/p>\n\u003cp>It’s smaller, for one thing — the big shows in San Diego and New York attract upwards of 130,000 people, and SPX’s attendance is closer to 3,000. It fills the huge ballroom at a hotel in North Bethesda, Maryland, but unlike other comic-cons, where companies build massive booths that tower over you with video screens, loudly hawking all manner of comics-adjacent stuff like toys, games, statues and t-shirts, everything at SPX is at eye-level.\u003c/p>\n\u003cp>Hip-level, technically, as it’s just rows and rows of folding tables piled with comics and artwork.\u003c/p>\n\u003cfigure id=\"attachment_12095859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-800x530.jpg\" alt=\"The Small Press Expo holds a yearly lottery for some of the tables, which allows for new artists to exhibit.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-12095859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Small Press Expo holds a yearly lottery for some of the tables, which allows for new artists to exhibit. \u003ccite>(Photo: Courtesy of SPX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Funkier, Smaller, More Approachable\u003c/strong>\u003c/p>\n\u003cp>“It’s not just a way to sell comics or buy comics,” said Whit Taylor, from New York City. “It’s also a social event … a chance to catch up with people, and meet new people both during the show and after the show and that’s kind of the most meaningful part to me.”\u003c/p>\n\u003cp>Whit came not just to buy comics, but to connect with the people who make them. And SPX is built around making exactly that happen.\u003c/p>\n\u003cp>It’s a convention for independent comics. People define “indie comics” differently, but for our purposes: not Marvel, and not DC.\u003c/p>\n\u003cp>“I like that it kinda sticks to just comics,” Whit said. “That’s how it started out. I know that shows can kinda go in different directions. I’m happy to see merch here and there, but I like that it’s just about independent artists or small presses.”\u003c/p>\n\u003cp>Some small presses \u003cem>do\u003c/em> set up tables at the Small Press Expo, fittingly enough — publishers like Drawn and Quarterly and Fantagraphics are SPX staples — but mostly, it’s men and women sitting or standing behind the tables, grinning earnestly at passersby to get them to stop and sample their work. That work could be a handsomely bound graphic novel, a print, or, in many cases, a mini-comic that they’ve drawn and copied and stapled together themselves.\u003c/p>\n\u003cp>Sarah Elizabeth drove up from Williamsburg, Virginia, and she appreciated that many of these comics are made without the usual gatekeepers — which affects who gets to make them.\u003c/p>\n\u003cp>“What I really like about this one so far is that there’s a lot more queer comics,” she said, “a lot more comics by women here, specifically women of color, that’s what stuck out to me the most.”\u003c/p>\n\u003cp>Liz Hathaway from Philadelphia came to support the creators.\u003c/p>\n\u003cp>“It’s independent comics, you know I give a lot of credit to a lot of these artists because they really believe in what they’re doing,” she said. “They have a passion for it, they’re spending a lot of their own money and resources to promote themselves so they must believe in themselves, and I like that independent, alternative type of comic.”\u003c/p>\n\u003cp>But Liz is also here for a more practical reason.\u003c/p>\n\u003cp>“I’m trying to get a feel of how they promote themselves,” she said. “I have a comic called \u003cem>The Hellwood Kids\u003c/em>, and it’s coming out next year, so I’m trying to get a feel of, you know. How they lay out everything and they show their comics.”\u003c/p>\n\u003cp>\u003cstrong>A Con About The Craft of Comics-Making\u003c/strong>\u003c/p>\n\u003cp>It turned out that Liz, and Whit Taylor, and 18 out of the 25 people I approached at random last weekend, make comics themselves. (Three of those 25 turned out to be NPR interns — make of that what you will.) That’s something else that sets this con apart, and has since it began in 1994.\u003c/p>\n\u003cp>“Well it was started by a bunch of local DC people who basically revolted against the mainstream superhero conventions,” said Warren Bernard, Executive Director of SPX. “They were like, why can’t we independent comics people get together with self-published people … and they had their first con over in Silver Spring back in 1994.”\u003c/p>\n\u003cp>The reason it grew to its current size, he said, is that today, “Many more people are activated by comics that aren’t superheroes — now that’s not taking anything away from superhero comics, I happen to like reading them — but there’s this other universe that’s everything but. And that’s what SPX is all about: everything but superheroes.”\u003c/p>\n\u003cp>He believes the people who come to SPX each year are not looking to score big Hollywood development deals. They’re driven by a different ethos.\u003c/p>\n\u003cp>“I think that’s part of what keeps SPX a little bit separate is that, you know, people are here for the art and the craft,” he said. “Whether you’re an attendee coming in and wanting to do stuff yourself, or you’re a creator that’s hanging out with all the other creators or just an attendee that kind of enjoys it, that is the thing that ties everyone together is the art and the craft, kinda combined.”\u003c/p>\n\u003cfigure id=\"attachment_12095860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-800x533.jpg\" alt=\"The Small Press Expo brings together fans and creators of independent comics.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12095860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Small Press Expo brings together fans and creators of independent comics. \u003ccite>(Photo: Courtesy of SPX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Stepping Stone to Wider Success\u003c/strong>\u003c/p>\n\u003cp>Which is not to say that big development deals don’t happen. Cartoon Network, Disney and Nickelodeon send people to SPX every year to scout for talent. Rebecca Sugar, who created the TV show \u003cem>Steven Universe\u003c/em>, put in her time behind a table at SPX. So did Lisa Hanawalt, whose distinctive character designs can now be seen on the Netflix series \u003cem>Bojack Horseman\u003c/em>. Raina Telgemeier sold her mini-comics here, back in the day, as did many other creators who’ve gone on to huge commercial success.\u003c/p>\n\u003cp>Several established indie comics creators said they love coming back to SPX, for various reasons.\u003c/p>\n\u003cp>“Honestly [we come to SPX] because it’s part of the world that we live in, and that we came up in, and it’s cool to see all these people doing what they want to do instead of what they have to do for money,” said Jaime Hernandez, half of Los Bros Hernandez, the team behind the venerable, and venerated, alt-series \u003cem>Love and Rockets\u003c/em>.\u003c/p>\n\u003cp>“What I have really liked about SPX is it’s a comics festival which is more or less only about the things that I like about comics,” said Tom Gauld, creator of deadpan comics marvels \u003cem>You’re All Just Jealous of My Jetpack\u003c/em> and \u003cem>Mooncop\u003c/em>. “It’s not about movies of comics, it’s not about toys related to comics, it’s not about superhero comics, it’s more or less about whatever you call the thing that I do. It’s the kind of indie comics literary comics.”\u003c/p>\n\u003cp>SPX isn’t \u003cem>completely\u003c/em> unlike other cons — you’ll likely leave having dropped a healthy chunk of change on books and art. But people like Bailey Kung, who started coming to SPX as a volunteer and is now a member of the executive board, leave with something else as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s definitely inspiring to be here,” she told me, “everyone is making such awesome work, it does make me want to go home and draw something.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Comics+Convention+For+The+Unconventional%3A+The+Small+Press+Expo+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Additional reporting by LA Johnson.\u003c/em>\u003c/p>\n\u003cp>I’ve attended the Small Press Expo, or SPX, for 10 years now. This year, I convinced NPR to let me take a reporting kit and interview attendees about what drew them to the show.\u003c/p>\n\u003cp>(You can check out more photos, illustrations and interviews with creators from the 2016 Small Press Expo on the \u003ca href=\"http://nprillustration.tumblr.com/\">NPR Illustrations Tumblr\u003c/a> over the coming days and weeks.)\u003c/p>\n\u003cp>In theory, SPX seems a lot like many of the other comic-cons that have been popping up across the country over the last few years. There’s the vast exhibit floor, there’s a packed schedule of panels and spotlights featuring interviews of, and discussions between, various comics creators. People mill about, lugging bags loaded down with stuff they’ve bought, or find an empty patch of carpeted hallway on which to plop themselves and rest while perusing their purchases.\u003c/p>\n\u003cp>If you close your eyes, its sounds a lot like any other con: the low, steady murmur of voices punctuated by the occasional exclamation of delight or surprise from someone who’s stumbling across an old friend — or a new passion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the moment you open your eyes, you’re reminded that SPX isn’t like most other cons.\u003c/p>\n\u003cp>It’s smaller, for one thing — the big shows in San Diego and New York attract upwards of 130,000 people, and SPX’s attendance is closer to 3,000. It fills the huge ballroom at a hotel in North Bethesda, Maryland, but unlike other comic-cons, where companies build massive booths that tower over you with video screens, loudly hawking all manner of comics-adjacent stuff like toys, games, statues and t-shirts, everything at SPX is at eye-level.\u003c/p>\n\u003cp>Hip-level, technically, as it’s just rows and rows of folding tables piled with comics and artwork.\u003c/p>\n\u003cfigure id=\"attachment_12095859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-800x530.jpg\" alt=\"The Small Press Expo holds a yearly lottery for some of the tables, which allows for new artists to exhibit.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-12095859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Small Press Expo holds a yearly lottery for some of the tables, which allows for new artists to exhibit. \u003ccite>(Photo: Courtesy of SPX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Funkier, Smaller, More Approachable\u003c/strong>\u003c/p>\n\u003cp>“It’s not just a way to sell comics or buy comics,” said Whit Taylor, from New York City. “It’s also a social event … a chance to catch up with people, and meet new people both during the show and after the show and that’s kind of the most meaningful part to me.”\u003c/p>\n\u003cp>Whit came not just to buy comics, but to connect with the people who make them. And SPX is built around making exactly that happen.\u003c/p>\n\u003cp>It’s a convention for independent comics. People define “indie comics” differently, but for our purposes: not Marvel, and not DC.\u003c/p>\n\u003cp>“I like that it kinda sticks to just comics,” Whit said. “That’s how it started out. I know that shows can kinda go in different directions. I’m happy to see merch here and there, but I like that it’s just about independent artists or small presses.”\u003c/p>\n\u003cp>Some small presses \u003cem>do\u003c/em> set up tables at the Small Press Expo, fittingly enough — publishers like Drawn and Quarterly and Fantagraphics are SPX staples — but mostly, it’s men and women sitting or standing behind the tables, grinning earnestly at passersby to get them to stop and sample their work. That work could be a handsomely bound graphic novel, a print, or, in many cases, a mini-comic that they’ve drawn and copied and stapled together themselves.\u003c/p>\n\u003cp>Sarah Elizabeth drove up from Williamsburg, Virginia, and she appreciated that many of these comics are made without the usual gatekeepers — which affects who gets to make them.\u003c/p>\n\u003cp>“What I really like about this one so far is that there’s a lot more queer comics,” she said, “a lot more comics by women here, specifically women of color, that’s what stuck out to me the most.”\u003c/p>\n\u003cp>Liz Hathaway from Philadelphia came to support the creators.\u003c/p>\n\u003cp>“It’s independent comics, you know I give a lot of credit to a lot of these artists because they really believe in what they’re doing,” she said. “They have a passion for it, they’re spending a lot of their own money and resources to promote themselves so they must believe in themselves, and I like that independent, alternative type of comic.”\u003c/p>\n\u003cp>But Liz is also here for a more practical reason.\u003c/p>\n\u003cp>“I’m trying to get a feel of how they promote themselves,” she said. “I have a comic called \u003cem>The Hellwood Kids\u003c/em>, and it’s coming out next year, so I’m trying to get a feel of, you know. How they lay out everything and they show their comics.”\u003c/p>\n\u003cp>\u003cstrong>A Con About The Craft of Comics-Making\u003c/strong>\u003c/p>\n\u003cp>It turned out that Liz, and Whit Taylor, and 18 out of the 25 people I approached at random last weekend, make comics themselves. (Three of those 25 turned out to be NPR interns — make of that what you will.) That’s something else that sets this con apart, and has since it began in 1994.\u003c/p>\n\u003cp>“Well it was started by a bunch of local DC people who basically revolted against the mainstream superhero conventions,” said Warren Bernard, Executive Director of SPX. “They were like, why can’t we independent comics people get together with self-published people … and they had their first con over in Silver Spring back in 1994.”\u003c/p>\n\u003cp>The reason it grew to its current size, he said, is that today, “Many more people are activated by comics that aren’t superheroes — now that’s not taking anything away from superhero comics, I happen to like reading them — but there’s this other universe that’s everything but. And that’s what SPX is all about: everything but superheroes.”\u003c/p>\n\u003cp>He believes the people who come to SPX each year are not looking to score big Hollywood development deals. They’re driven by a different ethos.\u003c/p>\n\u003cp>“I think that’s part of what keeps SPX a little bit separate is that, you know, people are here for the art and the craft,” he said. “Whether you’re an attendee coming in and wanting to do stuff yourself, or you’re a creator that’s hanging out with all the other creators or just an attendee that kind of enjoys it, that is the thing that ties everyone together is the art and the craft, kinda combined.”\u003c/p>\n\u003cfigure id=\"attachment_12095860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-800x533.jpg\" alt=\"The Small Press Expo brings together fans and creators of independent comics.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12095860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Small Press Expo brings together fans and creators of independent comics. \u003ccite>(Photo: Courtesy of SPX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Stepping Stone to Wider Success\u003c/strong>\u003c/p>\n\u003cp>Which is not to say that big development deals don’t happen. Cartoon Network, Disney and Nickelodeon send people to SPX every year to scout for talent. Rebecca Sugar, who created the TV show \u003cem>Steven Universe\u003c/em>, put in her time behind a table at SPX. So did Lisa Hanawalt, whose distinctive character designs can now be seen on the Netflix series \u003cem>Bojack Horseman\u003c/em>. Raina Telgemeier sold her mini-comics here, back in the day, as did many other creators who’ve gone on to huge commercial success.\u003c/p>\n\u003cp>Several established indie comics creators said they love coming back to SPX, for various reasons.\u003c/p>\n\u003cp>“Honestly [we come to SPX] because it’s part of the world that we live in, and that we came up in, and it’s cool to see all these people doing what they want to do instead of what they have to do for money,” said Jaime Hernandez, half of Los Bros Hernandez, the team behind the venerable, and venerated, alt-series \u003cem>Love and Rockets\u003c/em>.\u003c/p>\n\u003cp>“What I have really liked about SPX is it’s a comics festival which is more or less only about the things that I like about comics,” said Tom Gauld, creator of deadpan comics marvels \u003cem>You’re All Just Jealous of My Jetpack\u003c/em> and \u003cem>Mooncop\u003c/em>. “It’s not about movies of comics, it’s not about toys related to comics, it’s not about superhero comics, it’s more or less about whatever you call the thing that I do. It’s the kind of indie comics literary comics.”\u003c/p>\n\u003cp>SPX isn’t \u003cem>completely\u003c/em> unlike other cons — you’ll likely leave having dropped a healthy chunk of change on books and art. But people like Bailey Kung, who started coming to SPX as a volunteer and is now a member of the executive board, leave with something else as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s definitely inspiring to be here,” she told me, “everyone is making such awesome work, it does make me want to go home and draw something.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Comics+Convention+For+The+Unconventional%3A+The+Small+Press+Expo+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Juggernauts Repeat at 2016 Emmys, But Fresh Faces Get Their Due",
"headTitle": "Juggernauts Repeat at 2016 Emmys, But Fresh Faces Get Their Due | KQED",
"content": "\u003cp>It was the night of the small-screen giants. And none stood taller at the 2016 Emmys than the HBO juggernauts \u003cem>Game of Thrones\u003c/em> and \u003cem>Veep\u003c/em>, which won for best drama and comedy series, respectively. \u003cem>The People v. O.J. Simpson\u003c/em> also won the Emmy for outstanding limited series.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em> and \u003cem>VEEP\u003c/em> may have pulled off repeat wins at Sunday’s Emmy Awards, but there was also plenty of room for fresh faces in the winner’s circle.\u003c/p>\n\u003cp>First-time nominee Rami Malek won best drama actor for his role as on USA’s \u003cem>Mr. Robot\u003c/em> as delusional hacker Elliot Alderson. “Please tell me you’re seeing this, too,” Malek quipped before noting there was probably a bit of the alienated Alderson in all of us.\u003c/p>\n\u003cp> \u003ca class=\"twitter-timeline\" href=\"https://twitter.com/search?q=%23NPREmmys%20from%3Anpr%20OR%20from%3Adeggans%20OR%20from%3Anprmonkeysee%20OR%20from%3Aghweldon%20OR%20from%3Aninaberries%20OR%20from%3Aidislikestephen\" data-widget-id=\"777937030898520064\">Tweets about #NPREmmys from:npr OR from:deggans OR from:nprmonkeysee OR from:ghweldon OR from:ninaberries OR from:idislikestephen\u003c/a>\u003cbr>\n \u003cscript>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+\"://platform.twitter.com/widgets.js\";fjs.parentNode.insertBefore(js,fjs);}}(document,\"script\",\"twitter-wjs\");\u003c/script>\u003c/p>\n\u003cp>Tatiana Maslany, who plays several different clones of the same woman on the sci-fi series \u003cem>Orphan Black\u003c/em>, was a surprise winner as best drama actress; fans of the show often complained in its early years that her acting achievements weren’t recognized by the Emmys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The comedy categories were a bit more predictable. \u003cem>VEEP\u003c/em> star Julia Louis-Dreyfus earned her fifth consecutive Emmy as best comedy actress – her seventh Emmy as a performer, in total – equaling the total by Mary Tyler Moore and Allison Janney. She choked up while accepting her award, dedicating it to her father, who she said had passed away on Friday.\u003cem> \u003cbr>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor was named best actor in a comedy; his second consecutive Emmy win. Tambor used his acceptance speech to advocate that the producers and TV executives in the room hire more transgender performers to play transgender characters.\u003c/p>\n\u003cp>“Please give transgender talent a chance,” said Tambor, who is himself a non-transgender actor playing a transgender character. “I would not be unhappy were I the last cisgender male to play a female transgender on television.”\u003c/p>\n\u003cp>Host Jimmy Kimmel even managed a joke about how the dark and often dramatic \u003cem>Transparent \u003c/em>wound up competing in the Emmys as a comedy, noting the show “was born as a drama, but it identifies as a comedy.”\u003c/p>\n\u003cp>Kimmel proved a nimble and snarky host, tweaking GOP presidential candidate (and former \u003cem>Celebrity Apprentice\u003c/em> star) Donald Trump as a creation of reality TV and starting the awards with a pre-taped comedy bit that included former GOP candidate Jeb Bush playing a limo driver. The comic handed out peanut butter and jelly sandwiches to the crowd and drew gasps by having the show’s announcer note that the next presenter would be Bill Cosby, now facing trial on sexual assault charges.\u003c/p>\n\u003cp>“He’s not really here,” Kimmel joked, walking onstage after the camera had shown several shocked celebrities in the audience. “I just wanted to see what you guys would do.”\u003c/p>\n\u003cp>FX’s \u003cem>People v O.J. Simpson: American Crime Story\u003c/em> ruled much of the limited series category, with big wins for Sarah Paulson, Sterling K. Brown and Courtney B. Vance, who played Simpson prosecutors Marcia Clark and Chris Darden and Simpson defense attorney Johnnie Cochrane, respectively.\u003c/p>\n\u003cp>Paulson even apologized during her acceptance speech for originally joining the world back during the time of the Simpson trial in adopting a “superficial” opinion of Clark, who attended the Emmys Sunday with the actress.\u003c/p>\n\u003cp>On the heels of continued debate about diversity in Hollywood, the Emmy awards honored a wide variety of performers, writers, directors and producers. Key wins for people of color and women included: \u003cem>Master of None\u003c/em>‘s Aziz Ansari and Alan Yang (writing in a comedy series), \u003cem>Transparent\u003c/em>‘s Jill Soloway (directing, comedy series), \u003cem>Key & Peele\u003c/em> (variety sketch series), \u003cem>American Crime\u003c/em>‘s Regina King (supporting actress, limited series). Such diversity ensured organizers never had to worry about a hashtag like #EmmysSoWhite trending.\u003c/p>\n\u003cp>The show even concluded at its scheduled time, with no extra padding. It added up to an Emmycast which deftly honored longtime achievers while shining a spotlight on new talents, delivering an awards show worthy of TV’s current Golden Age.\u003c/p>\n\u003cp>NPR’s TV critic, Eric Deggans, along with Glen Weldon and Linda Holmes of \u003ca href=\"http://www.npr.org/blogs/monkeysee/\">Monkey See\u003c/a>, offered commentary on the show in real time. Dig back into their tweets as the night went on below — or find all the fun \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23npremmys&src=typd&lang=en\">right here on Twitter.\u003c/a>\u003c/p>\n\u003cp>Below, you’ll find a list of all the nominees and winners. Find the winners in bold.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Best Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans \u003c/em>(FX)\u003cbr>\u003cstrong>\u003cem>Game of Thrones\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>House of Cards\u003c/em> (Netflix)\u003cbr>\u003cem>Downton Abbey\u003c/em> (PBS)\u003cbr>\u003cem>Better Call Saul\u003c/em> (AMC)\u003cbr>\u003cem>Mr. Robot\u003c/em> (USA)\u003cbr>\u003cem>Homeland\u003c/em> (Showtime)\u003c/p>\n\u003cp>\u003cstrong>Best Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Veep\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>Transparent\u003c/em> (Amazon)\u003cbr>\u003cem>Silicon Valley\u003c/em> (HBO)\u003cbr>\u003cem>Modern Family\u003c/em> (ABC)\u003cbr>\u003cem>Master of None\u003c/em> (Netflix)\u003cbr>\u003cem>Unbreakable Kimmy Schmidt\u003c/em> (Netflix)\u003cbr>\u003cem>Black-ish\u003c/em> (ABC)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Kyle Chandler (\u003cem>Bloodline\u003c/em>)\u003cbr>\u003cstrong>Rami Malek (\u003cem>Mr. Robot\u003c/em>)\u003c/strong>\u003cbr>Bob Odenkirk (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Matthew Rhys (\u003cem>The Americans\u003c/em>)\u003cbr>Liev Schreiber (\u003cem>Ray Donovan\u003c/em>)\u003cbr>Kevin Spacey (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Viola Davis (\u003cem>How to Get Away With Murder\u003c/em>)\u003cbr>Claire Danes (\u003cem>Homeland\u003c/em>)\u003cbr>Taraji P. Henson (\u003cem>Empire\u003c/em>)\u003cbr>\u003cstrong>Tatiana Maslany (\u003cem>Orphan Black\u003c/em>)\u003c/strong>\u003cbr>Keri Russell \u003cem>(The Americans)\u003cbr>\u003c/em>Robin Wright (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anthony Anderson (\u003cem>Black-ish\u003c/em>)\u003cbr>Aziz Ansari (\u003cem>Master of None\u003c/em>)\u003cbr>Will Forte (\u003cem>The Last Man on Earth\u003c/em>)\u003cbr>William H. Macy (\u003cem>Shameless\u003c/em>)\u003cbr>Thomas Middleditch (\u003cem>Silicon Valley\u003c/em>)\u003cbr>\u003cstrong>Jeffrey Tambor (\u003cem>Transparent\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Ellie Kemper (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>\u003cstrong>Julia Louis-Dreyfus (\u003cem>Veep\u003c/em>)\u003c/strong>\u003cbr>Laurie Metcalf (\u003cem>Getting On\u003c/em>)\u003cbr>Tracee Ellis Ross (\u003cem>Black-ish\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Inside Amy Schumer\u003c/em>)\u003cbr>Lily Tomlin (\u003cem>Grace and Frankie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Jonathan Banks (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Peter Dinklage (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Kit Harington (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Michael Kelly (\u003cem>House of Cards\u003c/em>)\u003cbr>\u003cstrong>Ben Mendelsohn (\u003cem>Bloodline\u003c/em>)\u003c/strong>\u003cbr>Jon Voight (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Emilia Clarke (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Lena Headey (\u003cem>Game of Thrones\u003c/em>)\u003cbr>\u003cstrong>Maggie Smith (\u003cem>Downton Abbey\u003c/em>)\u003c/strong>\u003cbr>Maura Tierney (\u003cem>The Affair\u003c/em>)\u003cbr>Maisie Williams (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Constance Zimmer (\u003cem>UnREAL\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Louie Anderson (\u003cem>Baskets\u003c/em>)\u003c/strong>\u003cbr>Andre Braugher (\u003cem>Brooklyn Nine-Nine\u003c/em>)\u003cbr>Ty Burrell (\u003cem>Modern Family\u003c/em>)\u003cbr>Tituss Burgess (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>Tony Hale (\u003cem>Veep\u003c/em>)\u003cbr>Keegan-Michael Key (\u003cem>Key and Peele\u003c/em>)\u003cbr>Matt Walsh (\u003cem>Veep\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Supporting Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anna Chlumsky (\u003cem>Veep\u003c/em>)\u003cbr>Gaby Hoffmann (\u003cem>Transparent\u003c/em>)\u003cbr>Allison Janney (\u003cem>Mom\u003c/em>)\u003cbr>Judith Light (\u003cem>Transparent\u003c/em>)\u003cbr>\u003cstrong>Kate McKinnon (\u003cem>Saturday Night Live\u003c/em>)\u003c/strong>\u003cbr>Niecy Nash (\u003cem>Getting On\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>B\u003c/strong>\u003cstrong>est Directing for a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jill Soloway (\u003cem>Transparent\u003c/em>)\u003cbr>\u003c/strong>Aziz Ansari (\u003cem>Master Of None\u003c/em>)\u003cbr>Alec Berg (\u003cem>Silicon Valley\u003c/em>)\u003cbr>Mike Judge (Silicon Valley)\u003cbr>Dave Mandel (\u003cem>Veep\u003c/em>)\u003cbr>Chris Addison (Veep)\u003cbr>Dale Stern (Veep)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Limited Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Crime\u003c/em> (ABC)\u003cbr>\u003cem>Fargo\u003c/em> (FX)\u003cbr>\u003cem>The Night Manager\u003c/em> (AMC)\u003cbr>\u003cstrong>\u003cem>The People v. O.J. Simpson\u003c/em> (FX)\u003c/strong>\u003cbr>\u003cem>Roots\u003c/em> (History)\u003c/p>\n\u003cp>\u003cstrong>Best Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Very Murray Christmas\u003c/em> (Netflix)\u003cbr>\u003cem>All the Way\u003c/em> (HBO)\u003cbr>\u003cem>Confirmation\u003c/em> (HBO)\u003cbr>\u003cem>Luther\u003c/em> (BBC One)\u003cbr>\u003cstrong>\u003cem>Sherlock: The Abominable Bride\u003c/em> (PBS)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>All the Way\u003c/em>)\u003cbr>Benedict Cumberbatch (\u003cem>Sherlock: The Abominable Bride\u003c/em>)\u003cbr>Idris Elba (\u003cem>Luther\u003c/em>)\u003cbr>Cuba Gooding Jr. (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Tom Hiddleston (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Courtney B. Vance (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kirsten Dunst (\u003cem>Fargo\u003c/em>)\u003cbr>Felicity Huffman (\u003cem>American Crime\u003c/em>)\u003cbr>Audra McDonald (\u003cem>Lady Day at Emerson’s Bar & Grill\u003c/em>)\u003cbr>\u003cstrong>Sarah Paulson (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Lili Taylor (\u003cem>American Crime\u003c/em>)\u003cbr>Kerry Washington (\u003cem>Confirmation\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Limited Series or Movie\u003c/strong>\u003c/p>\n\u003cp>Bob DeLaurentis (\u003cem>Fargo\u003c/em>)\u003cbr>Noah Hawley (\u003cem>Fargo\u003c/em>)\u003cbr>\u003cstrong>D.V. DeVincentis (The People v. O.J. Simpson)\u003c/strong>\u003cbr>Scott Alexander, Larry Karaszewski (The People v. O.J. Simpson: American Crime Story)\u003cbr>Joe Robert Cole (The People v. O.J. Simpson: American Crime Story)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Limited Series, Movie or Special\u003c/strong>\u003c/p>\n\u003cp>Jay Roach, (\u003cem>All The Way\u003c/em>)\u003cbr>\u003cstrong>Susanne Bier (The Night Manager)\u003cbr>\u003c/strong>Noah Hawley \u003cem>(Fargo\u003c/em>)\u003cbr>Ryan Murphy (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>Anthony Hemingway (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>John Singleton (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Miguel Sapochnik (\u003cem>Game of Thrones\u003c/em>)\u003c/strong>\u003cbr>Michael Engler\u003cem> (Downton Abbey\u003c/em>)\u003cbr>Jack Bender (\u003cem>Game Of Thrones)\u003c/em>\u003cbr>Lesli Linka Glatter (\u003cem>Homeland\u003c/em>)\u003cbr>Steven Soderbergh (\u003cem>The Knick\u003c/em>)\u003cbr>David Hollander (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sterling K. Brown (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Hugh Laurie (\u003cem>The Night Manager\u003c/em>)\u003cbr>Jesse Plemons (\u003cem>Fargo\u003c/em>)\u003cbr>David Schwimmer (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>John Travolta (\u003cem>The People v. O.J. 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"excerpt": "'Game of Thrones', 'Veep' and 'The People v. O.J. Simpson' won for best drama, comedy and limited series — but some new names made splashes, too. NPR's pop culture crew live-tweeted the night's festivities.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the night of the small-screen giants. And none stood taller at the 2016 Emmys than the HBO juggernauts \u003cem>Game of Thrones\u003c/em> and \u003cem>Veep\u003c/em>, which won for best drama and comedy series, respectively. \u003cem>The People v. O.J. Simpson\u003c/em> also won the Emmy for outstanding limited series.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em> and \u003cem>VEEP\u003c/em> may have pulled off repeat wins at Sunday’s Emmy Awards, but there was also plenty of room for fresh faces in the winner’s circle.\u003c/p>\n\u003cp>First-time nominee Rami Malek won best drama actor for his role as on USA’s \u003cem>Mr. Robot\u003c/em> as delusional hacker Elliot Alderson. “Please tell me you’re seeing this, too,” Malek quipped before noting there was probably a bit of the alienated Alderson in all of us.\u003c/p>\n\u003cp> \u003ca class=\"twitter-timeline\" href=\"https://twitter.com/search?q=%23NPREmmys%20from%3Anpr%20OR%20from%3Adeggans%20OR%20from%3Anprmonkeysee%20OR%20from%3Aghweldon%20OR%20from%3Aninaberries%20OR%20from%3Aidislikestephen\" data-widget-id=\"777937030898520064\">Tweets about #NPREmmys from:npr OR from:deggans OR from:nprmonkeysee OR from:ghweldon OR from:ninaberries OR from:idislikestephen\u003c/a>\u003cbr>\n \u003cscript>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+\"://platform.twitter.com/widgets.js\";fjs.parentNode.insertBefore(js,fjs);}}(document,\"script\",\"twitter-wjs\");\u003c/script>\u003c/p>\n\u003cp>Tatiana Maslany, who plays several different clones of the same woman on the sci-fi series \u003cem>Orphan Black\u003c/em>, was a surprise winner as best drama actress; fans of the show often complained in its early years that her acting achievements weren’t recognized by the Emmys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The comedy categories were a bit more predictable. \u003cem>VEEP\u003c/em> star Julia Louis-Dreyfus earned her fifth consecutive Emmy as best comedy actress – her seventh Emmy as a performer, in total – equaling the total by Mary Tyler Moore and Allison Janney. She choked up while accepting her award, dedicating it to her father, who she said had passed away on Friday.\u003cem> \u003cbr>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor was named best actor in a comedy; his second consecutive Emmy win. Tambor used his acceptance speech to advocate that the producers and TV executives in the room hire more transgender performers to play transgender characters.\u003c/p>\n\u003cp>“Please give transgender talent a chance,” said Tambor, who is himself a non-transgender actor playing a transgender character. “I would not be unhappy were I the last cisgender male to play a female transgender on television.”\u003c/p>\n\u003cp>Host Jimmy Kimmel even managed a joke about how the dark and often dramatic \u003cem>Transparent \u003c/em>wound up competing in the Emmys as a comedy, noting the show “was born as a drama, but it identifies as a comedy.”\u003c/p>\n\u003cp>Kimmel proved a nimble and snarky host, tweaking GOP presidential candidate (and former \u003cem>Celebrity Apprentice\u003c/em> star) Donald Trump as a creation of reality TV and starting the awards with a pre-taped comedy bit that included former GOP candidate Jeb Bush playing a limo driver. The comic handed out peanut butter and jelly sandwiches to the crowd and drew gasps by having the show’s announcer note that the next presenter would be Bill Cosby, now facing trial on sexual assault charges.\u003c/p>\n\u003cp>“He’s not really here,” Kimmel joked, walking onstage after the camera had shown several shocked celebrities in the audience. “I just wanted to see what you guys would do.”\u003c/p>\n\u003cp>FX’s \u003cem>People v O.J. Simpson: American Crime Story\u003c/em> ruled much of the limited series category, with big wins for Sarah Paulson, Sterling K. Brown and Courtney B. Vance, who played Simpson prosecutors Marcia Clark and Chris Darden and Simpson defense attorney Johnnie Cochrane, respectively.\u003c/p>\n\u003cp>Paulson even apologized during her acceptance speech for originally joining the world back during the time of the Simpson trial in adopting a “superficial” opinion of Clark, who attended the Emmys Sunday with the actress.\u003c/p>\n\u003cp>On the heels of continued debate about diversity in Hollywood, the Emmy awards honored a wide variety of performers, writers, directors and producers. Key wins for people of color and women included: \u003cem>Master of None\u003c/em>‘s Aziz Ansari and Alan Yang (writing in a comedy series), \u003cem>Transparent\u003c/em>‘s Jill Soloway (directing, comedy series), \u003cem>Key & Peele\u003c/em> (variety sketch series), \u003cem>American Crime\u003c/em>‘s Regina King (supporting actress, limited series). Such diversity ensured organizers never had to worry about a hashtag like #EmmysSoWhite trending.\u003c/p>\n\u003cp>The show even concluded at its scheduled time, with no extra padding. It added up to an Emmycast which deftly honored longtime achievers while shining a spotlight on new talents, delivering an awards show worthy of TV’s current Golden Age.\u003c/p>\n\u003cp>NPR’s TV critic, Eric Deggans, along with Glen Weldon and Linda Holmes of \u003ca href=\"http://www.npr.org/blogs/monkeysee/\">Monkey See\u003c/a>, offered commentary on the show in real time. Dig back into their tweets as the night went on below — or find all the fun \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23npremmys&src=typd&lang=en\">right here on Twitter.\u003c/a>\u003c/p>\n\u003cp>Below, you’ll find a list of all the nominees and winners. Find the winners in bold.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Best Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans \u003c/em>(FX)\u003cbr>\u003cstrong>\u003cem>Game of Thrones\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>House of Cards\u003c/em> (Netflix)\u003cbr>\u003cem>Downton Abbey\u003c/em> (PBS)\u003cbr>\u003cem>Better Call Saul\u003c/em> (AMC)\u003cbr>\u003cem>Mr. Robot\u003c/em> (USA)\u003cbr>\u003cem>Homeland\u003c/em> (Showtime)\u003c/p>\n\u003cp>\u003cstrong>Best Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Veep\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>Transparent\u003c/em> (Amazon)\u003cbr>\u003cem>Silicon Valley\u003c/em> (HBO)\u003cbr>\u003cem>Modern Family\u003c/em> (ABC)\u003cbr>\u003cem>Master of None\u003c/em> (Netflix)\u003cbr>\u003cem>Unbreakable Kimmy Schmidt\u003c/em> (Netflix)\u003cbr>\u003cem>Black-ish\u003c/em> (ABC)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Kyle Chandler (\u003cem>Bloodline\u003c/em>)\u003cbr>\u003cstrong>Rami Malek (\u003cem>Mr. Robot\u003c/em>)\u003c/strong>\u003cbr>Bob Odenkirk (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Matthew Rhys (\u003cem>The Americans\u003c/em>)\u003cbr>Liev Schreiber (\u003cem>Ray Donovan\u003c/em>)\u003cbr>Kevin Spacey (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Viola Davis (\u003cem>How to Get Away With Murder\u003c/em>)\u003cbr>Claire Danes (\u003cem>Homeland\u003c/em>)\u003cbr>Taraji P. Henson (\u003cem>Empire\u003c/em>)\u003cbr>\u003cstrong>Tatiana Maslany (\u003cem>Orphan Black\u003c/em>)\u003c/strong>\u003cbr>Keri Russell \u003cem>(The Americans)\u003cbr>\u003c/em>Robin Wright (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anthony Anderson (\u003cem>Black-ish\u003c/em>)\u003cbr>Aziz Ansari (\u003cem>Master of None\u003c/em>)\u003cbr>Will Forte (\u003cem>The Last Man on Earth\u003c/em>)\u003cbr>William H. Macy (\u003cem>Shameless\u003c/em>)\u003cbr>Thomas Middleditch (\u003cem>Silicon Valley\u003c/em>)\u003cbr>\u003cstrong>Jeffrey Tambor (\u003cem>Transparent\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Ellie Kemper (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>\u003cstrong>Julia Louis-Dreyfus (\u003cem>Veep\u003c/em>)\u003c/strong>\u003cbr>Laurie Metcalf (\u003cem>Getting On\u003c/em>)\u003cbr>Tracee Ellis Ross (\u003cem>Black-ish\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Inside Amy Schumer\u003c/em>)\u003cbr>Lily Tomlin (\u003cem>Grace and Frankie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Jonathan Banks (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Peter Dinklage (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Kit Harington (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Michael Kelly (\u003cem>House of Cards\u003c/em>)\u003cbr>\u003cstrong>Ben Mendelsohn (\u003cem>Bloodline\u003c/em>)\u003c/strong>\u003cbr>Jon Voight (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Emilia Clarke (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Lena Headey (\u003cem>Game of Thrones\u003c/em>)\u003cbr>\u003cstrong>Maggie Smith (\u003cem>Downton Abbey\u003c/em>)\u003c/strong>\u003cbr>Maura Tierney (\u003cem>The Affair\u003c/em>)\u003cbr>Maisie Williams (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Constance Zimmer (\u003cem>UnREAL\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Louie Anderson (\u003cem>Baskets\u003c/em>)\u003c/strong>\u003cbr>Andre Braugher (\u003cem>Brooklyn Nine-Nine\u003c/em>)\u003cbr>Ty Burrell (\u003cem>Modern Family\u003c/em>)\u003cbr>Tituss Burgess (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>Tony Hale (\u003cem>Veep\u003c/em>)\u003cbr>Keegan-Michael Key (\u003cem>Key and Peele\u003c/em>)\u003cbr>Matt Walsh (\u003cem>Veep\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Supporting Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anna Chlumsky (\u003cem>Veep\u003c/em>)\u003cbr>Gaby Hoffmann (\u003cem>Transparent\u003c/em>)\u003cbr>Allison Janney (\u003cem>Mom\u003c/em>)\u003cbr>Judith Light (\u003cem>Transparent\u003c/em>)\u003cbr>\u003cstrong>Kate McKinnon (\u003cem>Saturday Night Live\u003c/em>)\u003c/strong>\u003cbr>Niecy Nash (\u003cem>Getting On\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>B\u003c/strong>\u003cstrong>est Directing for a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jill Soloway (\u003cem>Transparent\u003c/em>)\u003cbr>\u003c/strong>Aziz Ansari (\u003cem>Master Of None\u003c/em>)\u003cbr>Alec Berg (\u003cem>Silicon Valley\u003c/em>)\u003cbr>Mike Judge (Silicon Valley)\u003cbr>Dave Mandel (\u003cem>Veep\u003c/em>)\u003cbr>Chris Addison (Veep)\u003cbr>Dale Stern (Veep)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Limited Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Crime\u003c/em> (ABC)\u003cbr>\u003cem>Fargo\u003c/em> (FX)\u003cbr>\u003cem>The Night Manager\u003c/em> (AMC)\u003cbr>\u003cstrong>\u003cem>The People v. O.J. Simpson\u003c/em> (FX)\u003c/strong>\u003cbr>\u003cem>Roots\u003c/em> (History)\u003c/p>\n\u003cp>\u003cstrong>Best Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Very Murray Christmas\u003c/em> (Netflix)\u003cbr>\u003cem>All the Way\u003c/em> (HBO)\u003cbr>\u003cem>Confirmation\u003c/em> (HBO)\u003cbr>\u003cem>Luther\u003c/em> (BBC One)\u003cbr>\u003cstrong>\u003cem>Sherlock: The Abominable Bride\u003c/em> (PBS)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>All the Way\u003c/em>)\u003cbr>Benedict Cumberbatch (\u003cem>Sherlock: The Abominable Bride\u003c/em>)\u003cbr>Idris Elba (\u003cem>Luther\u003c/em>)\u003cbr>Cuba Gooding Jr. (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Tom Hiddleston (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Courtney B. Vance (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kirsten Dunst (\u003cem>Fargo\u003c/em>)\u003cbr>Felicity Huffman (\u003cem>American Crime\u003c/em>)\u003cbr>Audra McDonald (\u003cem>Lady Day at Emerson’s Bar & Grill\u003c/em>)\u003cbr>\u003cstrong>Sarah Paulson (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Lili Taylor (\u003cem>American Crime\u003c/em>)\u003cbr>Kerry Washington (\u003cem>Confirmation\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Limited Series or Movie\u003c/strong>\u003c/p>\n\u003cp>Bob DeLaurentis (\u003cem>Fargo\u003c/em>)\u003cbr>Noah Hawley (\u003cem>Fargo\u003c/em>)\u003cbr>\u003cstrong>D.V. DeVincentis (The People v. O.J. Simpson)\u003c/strong>\u003cbr>Scott Alexander, Larry Karaszewski (The People v. O.J. Simpson: American Crime Story)\u003cbr>Joe Robert Cole (The People v. O.J. Simpson: American Crime Story)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Limited Series, Movie or Special\u003c/strong>\u003c/p>\n\u003cp>Jay Roach, (\u003cem>All The Way\u003c/em>)\u003cbr>\u003cstrong>Susanne Bier (The Night Manager)\u003cbr>\u003c/strong>Noah Hawley \u003cem>(Fargo\u003c/em>)\u003cbr>Ryan Murphy (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>Anthony Hemingway (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>John Singleton (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Miguel Sapochnik (\u003cem>Game of Thrones\u003c/em>)\u003c/strong>\u003cbr>Michael Engler\u003cem> (Downton Abbey\u003c/em>)\u003cbr>Jack Bender (\u003cem>Game Of Thrones)\u003c/em>\u003cbr>Lesli Linka Glatter (\u003cem>Homeland\u003c/em>)\u003cbr>Steven Soderbergh (\u003cem>The Knick\u003c/em>)\u003cbr>David Hollander (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sterling K. Brown (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Hugh Laurie (\u003cem>The Night Manager\u003c/em>)\u003cbr>Jesse Plemons (\u003cem>Fargo\u003c/em>)\u003cbr>David Schwimmer (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>John Travolta (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Bokeem Woodbine (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kathy Bates (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Olivia Colman (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Regina King (\u003cem>American Crime\u003c/em>)\u003c/strong>\u003cbr>Melissa Leo (\u003cem>All the Way\u003c/em>)\u003cbr>Sarah Paulson (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Jean Smart (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hank Azaria (\u003cem>Ray Donovan\u003c/em>)\u003cbr>\u003c/strong>Mahershala Ali (\u003cem>House of Cards\u003c/em>)\u003cbr>Reg E. Cathey (\u003cem>House of Cards\u003c/em>)\u003cbr>Michael J. Fox (\u003cem>The Good Wife\u003c/em>)\u003cbr>Paul Sparks (\u003cem>House of Cards\u003c/em>)\u003cbr>Max von Sydow (\u003cem>Game of Thrones\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Margo Martindale (\u003cem>The Americans\u003c/em>)\u003cbr>\u003c/strong>Ellen Burstyn (\u003cem>House of Cards\u003c/em>)\u003cbr>Allison Janney (\u003cem>Masters of Sex\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>Horace and Pete\u003c/em>)\u003cbr>Molly Parker (\u003cem>House of Cards\u003c/em>)\u003cbr>Carrie Preston (\u003cem>The Good Wife\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Outstanding Guest Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Scolari (\u003cem>Girls\u003c/em>)\u003cbr>\u003c/strong>Larry David (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Tracy Morgan (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Martin Mull (\u003cem>Veep\u003c/em>)\u003cbr>Bob Newhart (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Bradley Whitford (\u003cem>Transparent\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tina Fey & Amy Poehler (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>\u003c/strong>Christine Baranski (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Melora Hardin (\u003cem>Transparent\u003c/em>)\u003cbr>Melissa McCarthy (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Saturday Night Live\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Talk Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Comedians in Cars Getting Coffee \u003c/em>(Crackle)\u003cbr>\u003cem>Jimmy Kimmel Live!\u003c/em> (ABC)\u003cbr>\u003cstrong>\u003cem>Last Week Tonight With John Oliver\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>The Late Late Show with James Corden\u003c/em> (CBS)\u003cbr>\u003cem>Real Time With Bill Maher\u003c/em> (HBO)\u003cbr>\u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Variety Show\u003c/strong>\u003c/p>\n\u003cp>Beth McCarthy-Miller (\u003cem>Adele Live In New York City\u003c/em>)\u003cbr>Chris Rock (\u003cem>Amy Schumer: Live At The Apollo\u003c/em>)\u003cbr>\u003cstrong>Thomas Kail and Alex Rudzinski (\u003cem>Grease: Live\u003c/em>)\u003cbr>\u003c/strong>Louis J. Horvitz (\u003cem>58th Grammy Awards\u003c/em>)\u003cbr>Glenn Weiss (\u003cem>The Kennedy Center Honors\u003c/em>)\u003cbr>Kahlil Joseph, Beyoncé Knowles Carter (\u003cem>Lemonade\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Variety Sketch Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Documentary Now! \u003c/em>(IFC)\u003cem>\u003cbr>\u003c/em>\u003cem>Drunk History\u003c/em> (Comedy Central)\u003cbr>\u003cem>Inside Amy Schumer\u003c/em> (Comedy Central)\u003cbr>\u003cstrong>\u003cem>Key & Peele\u003c/em> (Comedy Central)\u003c/strong>\u003cbr>\u003cem>Portlandia\u003c/em> (IFC)\u003cbr>\u003cem>Saturday Night Live\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Special Class Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Grease Live!\u003c/em> (FOX)\u003cbr>\u003c/strong>73rd Golden Globe Awards (NBC)\u003cbr>\u003cem>The Oscars\u003c/em> (ABC)\u003cbr>\u003cem>Super Bowl 50 Halftime Show\u003c/em> (CBS)\u003cbr>\u003cem>69th Annual Tony Awards\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Late Late Show Carpool Karaoke Prime Time Special \u003c/em>(CBS) (WINNER)\u003cbr>\u003c/strong>\u003cem>Adele Live in New York City\u003c/em> (NBC)\u003cbr>\u003cem>Amy Schumer: Live at the Apollo\u003c/em> (HBO)\u003cbr>\u003cem>Kennedy Center Honors\u003c/em> (CBS)\u003cbr>\u003cem>Lemonade\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Reality-Competition Program\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Amazing Race\u003c/em> (CBS)\u003cbr>\u003cem>American Ninja Warrior\u003c/em> (NBC)\u003cbr>\u003cem>Dancing With the Stars\u003c/em> (ABC)\u003cbr>\u003cem>Project Runway\u003c/em> (Lifetime)\u003cbr>\u003cem>Top Chef\u003c/em> (Bravo)\u003cbr>\u003cstrong>\u003cem>The Voice\u003c/em> (NBC)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Outstanding Host for a Reality or Reality-Competition\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>RuPaul Charles (\u003cem>RuPaul’s Drag Race\u003c/em>)\u003cbr>\u003c/strong>Ryan Seacrest (\u003cem>American Idol\u003c/em>)\u003cbr>Tom Bergeron (\u003cem>Dancing With the Stars\u003c/em>)\u003cbr>Jane Lynch (\u003cem>Hollywood Game Night\u003c/em>)\u003cbr>Steve Harvey (\u003cem>Little Big Shots\u003c/em>)\u003cbr>Heidi Klum and Tim Gunn (\u003cem>Project Runway\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Structured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Shark Tank\u003c/em> (ABC)\u003cbr>\u003c/strong>\u003cem>Antiques Roadshow\u003c/em> (PBS)\u003cbr>\u003cem>Diners, Drive-Ins and Dives\u003c/em> (Food Network)\u003cbr>\u003cem>Lip Sync Battle\u003c/em> (Spike)\u003cbr>\u003cem>MythBusters\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Undercover Boss\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Unstructured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Born This Way\u003c/em>\u003c/strong>\u003cstrong> (A&E)\u003cbr>\u003c/strong>\u003cem>Deadliest Catch\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Gaycation With Ellen Page\u003c/em> (Viceland)\u003cbr>\u003cem>Intervention\u003c/em> (A&E)\u003cbr>\u003cem>Project Greenlight\u003c/em> (HBO)\u003cbr>\u003cem>United Shades of America\u003c/em> (CNN)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What Happened, Miss Simone?\u003c/em> (Netflix)\u003cbr>\u003c/strong>\u003cem>Becoming Mike Nichols\u003c/em> (HBO)\u003cbr>\u003cem>Everything is Copy — Nora Ephron: Scripted & Unscripted\u003c/em> (HBO)\u003cbr>\u003cem>Listen to Me Marlon\u003c/em> (Showtime)\u003cbr>\u003cem>Mapplethorpe: Look at the Pictures\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Making a Murderer\u003c/em>\u003c/strong>\u003cstrong> (Netflix)\u003cbr>\u003c/strong>\u003cem>American Masters\u003c/em> (PBS)\u003cbr>\u003cem>Chef’s Table\u003c/em> (Netflix)\u003cbr>\u003cem>The Seventies\u003c/em> (CNN)\u003cbr>\u003cem>Woman With Gloria Steinem\u003c/em> (Viceland)\u003c/p>\n\u003cp>\u003cstrong>Best Limited Series \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The People v. 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"title": "Into The Woods, But Out of Ideas: A Tedious, Ugly, Pointless 'Blair Witch'",
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"content": "\u003cp>Seventeen years and at least as many parodies have passed since the release of \u003cem>The Blair Witch Project, \u003c/em>the nanobudget horror hoaxumentary that did blockbuster numbers and landed the three unknown actors who comprised its main cast on the cover of \u003cem>Newsweek. \u003c/em>(Writer-directors Daniel Myrick and Eduardo Sánchez had to settle for the cover of \u003cem>Time.\u003c/em>) It wasn’t the first found-footage spook-flick, but it was by far the most successful, thanks to its pioneering use of viral marketing.\u003cem> The Blair Witch Project\u003c/em> website — one of the first built to shill for a movie — presented phony police reports and news clippings to burnish the Blair Witch legend. The actors, who had supposedly vanished in the woods of Burkittsville, Maryland while shooting their “documentary” in 1994, were briefly the subject of a bogus missing persons campaign.\u003c/p>\n\u003cp>Even after Myrick and Sánchez admitted the whole thing was made up, much of the public remained credulous, or at least confused. You can’t entirely blame them. \u003cem>The Blair Witch Project\u003c/em>‘s marketing was ingenious, the web stuff propped up by the Sci-Fi channel’s “uncensored investigation” special \u003cem>Curse of the Blair Witch, \u003c/em>which\u003cem> \u003c/em>aired a few weeks before the feature’s theatrical release.\u003c/p>\n\u003cp>Recognizing that this particular iron couldn’t stay hot for long, distributor Artisan Entertainment rushed a quickie follow-up into theaters 15 months later. \u003cem>Blair Witch 2: Book of Shadows \u003c/em>wasn’t very good, but it was more ambitious than the frightfully lame new remake-quel \u003cem>Blair Witch,\u003c/em> from director Adam Wingard and screenwriter Simon Barrett. This pair, which has made several thrifty horror pictures together including the well-received \u003cem>You’re Next, \u003c/em>clearly have great affection for the original, and they express this fealty by replicating the Napster-era sensation almost beat for beat. But why? Unlike, say, Orson Welles’ groundbreaking hoaxumentary\u003cem> F for Fake, \u003c/em>which remains provocative and beguiling long after its initial gimmick has been revealed, or many of Christopher Guest’s fauxumentaries, which get funnier with repetition, that original \u003cem>Blair Witch\u003c/em> film\u003cem> \u003c/em>offers little incentive for you to return once you’ve heard the punchline.\u003c/p>\n\u003cp>Remember how\u003cem> Star Wars: The Force Awakens\u003c/em> was gently chided in some quarters for reprising \u003cem>Star Wars: A New Hope \u003c/em>a little too closely? Imagine if \u003cem>The Force Awakens \u003c/em>had not conjured up any members of the original \u003cem>Star Wars\u003c/em> cast, featured only bland new personalities instead of Daisey Ridley and John Boyega, and also looked no more lavish or impressive than \u003cem>A New Hope,\u003c/em> a picture made 40 years earlier.\u003c/p>\n\u003cp>That’s \u003cem>Blair Witch.\u003c/em> Tedious in its early going and all but unwatchable in its final half-hour, the movie feels interminable at a barely-feature-length 89 minutes. Maybe it’ll play better on Netflix, but it’s deeply unpleasant to experience on the big screen, where shaky handheld digital video is a lot more nauseating than when you’re watching it online. I’ll cop to having squinted and squirmed through much of the second half, but that’s just an autonomic response to shaky-cam-coupled with-loud-noises, not a tribute to Wingard’s ability to create tension. Spraying the audience with water while playing distorted audio recordings of people screaming would achieve the same effect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The premise is that paramedic James (James Allen McCune), who was a tyke when his big sister Heather went missing in 1994, has spent years trawling YouTube for evidence she might still be alive. (We’re told authorities combed the Burkittsville woods for the haunted house seen in the finale of \u003cem>The Blair Witch Project\u003c/em> but never found it.) When he finds a video that he believes to contain her image, he grabs his friend Lisa (Callie Hernandez), who needs to a make a documentary for a college course, and pals Corbin Reid and Brandon Scott (who come along though they hate camping), and tramps off into the forest with the two Burkittsville locals who uploaded the YouTube clip, played by Wes Robinson and Valerie Curry.\u003c/p>\n\u003cp>The addition of those latter two characters is the film’s sole stab at altering the formula: For it moment, it appears we’re going to have two rival camps of witch-hunters. But this isn’t nearly variety enough to justify a return trip. Even if you didn’t see \u003cem>The Blair Witch Project,\u003c/em> nothing that happens after sundown in the forbidding woods of Western Maryland (as played by Western Canada this time) will surprise you. This is a cursed place. Wristwatches and compasses and GPS trackers can find no purchase here. (Nor, apparently, can the image-stabilization software that didn’t exist in 1994, but has been standard in most digital cameras and smartphones for years.) Mysterious sigils appear overnight, hung from tree branches. There is something ancient and angry in these woods… and it’s really,\u003cem> really\u003c/em> into arts and crafts.\u003c/p>\n\u003cp>Found-footage horror pictures are an unbeatable investment; even the most polished (like 2008’s \u003cem>Cloverfield\u003c/em>) are still so cheap it’s virtually impossible for them not to turn a profit. And the format insulates the filmmakers from any criticism of their technical or narrative acuity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Blair Witch Project\u003c/em> certainly benefited from these relaxed standards. Pivoting between tedium and terror, the movie was easier to admire than to like, and more fun to dissect than to watch. \u003cem>Blair Witch\u003c/em> 2016 isn’t fun to sit through or to ponder. This ugly, empty retread somehow cost $5 million, a figure that brings to mind Chris Rock’s great joke about its precursor: “Everyone’s like, ‘Oooh, it only cost $60,000.’ Where the hell did all the money go? Somebody’s walking around with $59,000 in their pocket.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Into+The+Woods%2C+But+Out+Of+Ideas%3A+A+Tedious%2C+Ugly%2C+Pointless+%27Blair+Witch%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seventeen years and at least as many parodies have passed since the release of \u003cem>The Blair Witch Project, \u003c/em>the nanobudget horror hoaxumentary that did blockbuster numbers and landed the three unknown actors who comprised its main cast on the cover of \u003cem>Newsweek. \u003c/em>(Writer-directors Daniel Myrick and Eduardo Sánchez had to settle for the cover of \u003cem>Time.\u003c/em>) It wasn’t the first found-footage spook-flick, but it was by far the most successful, thanks to its pioneering use of viral marketing.\u003cem> The Blair Witch Project\u003c/em> website — one of the first built to shill for a movie — presented phony police reports and news clippings to burnish the Blair Witch legend. The actors, who had supposedly vanished in the woods of Burkittsville, Maryland while shooting their “documentary” in 1994, were briefly the subject of a bogus missing persons campaign.\u003c/p>\n\u003cp>Even after Myrick and Sánchez admitted the whole thing was made up, much of the public remained credulous, or at least confused. You can’t entirely blame them. \u003cem>The Blair Witch Project\u003c/em>‘s marketing was ingenious, the web stuff propped up by the Sci-Fi channel’s “uncensored investigation” special \u003cem>Curse of the Blair Witch, \u003c/em>which\u003cem> \u003c/em>aired a few weeks before the feature’s theatrical release.\u003c/p>\n\u003cp>Recognizing that this particular iron couldn’t stay hot for long, distributor Artisan Entertainment rushed a quickie follow-up into theaters 15 months later. \u003cem>Blair Witch 2: Book of Shadows \u003c/em>wasn’t very good, but it was more ambitious than the frightfully lame new remake-quel \u003cem>Blair Witch,\u003c/em> from director Adam Wingard and screenwriter Simon Barrett. This pair, which has made several thrifty horror pictures together including the well-received \u003cem>You’re Next, \u003c/em>clearly have great affection for the original, and they express this fealty by replicating the Napster-era sensation almost beat for beat. But why? Unlike, say, Orson Welles’ groundbreaking hoaxumentary\u003cem> F for Fake, \u003c/em>which remains provocative and beguiling long after its initial gimmick has been revealed, or many of Christopher Guest’s fauxumentaries, which get funnier with repetition, that original \u003cem>Blair Witch\u003c/em> film\u003cem> \u003c/em>offers little incentive for you to return once you’ve heard the punchline.\u003c/p>\n\u003cp>Remember how\u003cem> Star Wars: The Force Awakens\u003c/em> was gently chided in some quarters for reprising \u003cem>Star Wars: A New Hope \u003c/em>a little too closely? Imagine if \u003cem>The Force Awakens \u003c/em>had not conjured up any members of the original \u003cem>Star Wars\u003c/em> cast, featured only bland new personalities instead of Daisey Ridley and John Boyega, and also looked no more lavish or impressive than \u003cem>A New Hope,\u003c/em> a picture made 40 years earlier.\u003c/p>\n\u003cp>That’s \u003cem>Blair Witch.\u003c/em> Tedious in its early going and all but unwatchable in its final half-hour, the movie feels interminable at a barely-feature-length 89 minutes. Maybe it’ll play better on Netflix, but it’s deeply unpleasant to experience on the big screen, where shaky handheld digital video is a lot more nauseating than when you’re watching it online. I’ll cop to having squinted and squirmed through much of the second half, but that’s just an autonomic response to shaky-cam-coupled with-loud-noises, not a tribute to Wingard’s ability to create tension. Spraying the audience with water while playing distorted audio recordings of people screaming would achieve the same effect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The premise is that paramedic James (James Allen McCune), who was a tyke when his big sister Heather went missing in 1994, has spent years trawling YouTube for evidence she might still be alive. (We’re told authorities combed the Burkittsville woods for the haunted house seen in the finale of \u003cem>The Blair Witch Project\u003c/em> but never found it.) When he finds a video that he believes to contain her image, he grabs his friend Lisa (Callie Hernandez), who needs to a make a documentary for a college course, and pals Corbin Reid and Brandon Scott (who come along though they hate camping), and tramps off into the forest with the two Burkittsville locals who uploaded the YouTube clip, played by Wes Robinson and Valerie Curry.\u003c/p>\n\u003cp>The addition of those latter two characters is the film’s sole stab at altering the formula: For it moment, it appears we’re going to have two rival camps of witch-hunters. But this isn’t nearly variety enough to justify a return trip. Even if you didn’t see \u003cem>The Blair Witch Project,\u003c/em> nothing that happens after sundown in the forbidding woods of Western Maryland (as played by Western Canada this time) will surprise you. This is a cursed place. Wristwatches and compasses and GPS trackers can find no purchase here. (Nor, apparently, can the image-stabilization software that didn’t exist in 1994, but has been standard in most digital cameras and smartphones for years.) Mysterious sigils appear overnight, hung from tree branches. There is something ancient and angry in these woods… and it’s really,\u003cem> really\u003c/em> into arts and crafts.\u003c/p>\n\u003cp>Found-footage horror pictures are an unbeatable investment; even the most polished (like 2008’s \u003cem>Cloverfield\u003c/em>) are still so cheap it’s virtually impossible for them not to turn a profit. And the format insulates the filmmakers from any criticism of their technical or narrative acuity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Blair Witch Project\u003c/em> certainly benefited from these relaxed standards. Pivoting between tedium and terror, the movie was easier to admire than to like, and more fun to dissect than to watch. \u003cem>Blair Witch\u003c/em> 2016 isn’t fun to sit through or to ponder. This ugly, empty retread somehow cost $5 million, a figure that brings to mind Chris Rock’s great joke about its precursor: “Everyone’s like, ‘Oooh, it only cost $60,000.’ Where the hell did all the money go? Somebody’s walking around with $59,000 in their pocket.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Into+The+Woods%2C+But+Out+Of+Ideas%3A+A+Tedious%2C+Ugly%2C+Pointless+%27Blair+Witch%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>London Road\u003c/em> is not the first musical to be made about a real-life serial killer. But it may be the first to draw its poetic life-blood from the testimony of residents of a rural English town where five prostitutes were found murdered in 2006. Aside from a wicked moment or two when a leering movie star known for playing unsavory fellows shows up to throw us off the scent, this is not about the murderer. It’s about the undoing — and remaking — of a community in its own words, owing more to Shirley Jackson than \u003cem>Masterpiece Theater\u003c/em>.\u003c/p>\n\u003cp>As it happens, the film was worked up from a National Theater workshop that grew into a hit stage play. This is not Shakespeare or Sheridan though, nor is it one of those lofty-lefty bits by West End playwrights with their gun sights fixed on the ruling class. \u003cem>London Road\u003c/em> beams its sympathy, as well as an irreverent eye, on one lower-middle-class street in Ipswich, Suffolk, whose residents have long resented the sex workers plying their trade under the noses of the righteous and respectable. It helps to know going in that the cultural gulf between the British lower-middle and working class is wide and deep, in no small measure because only a smidgen of bad luck separates the one from the other.\u003c/p>\n\u003cp>When the five women are found dead and the chief suspect — a transient truck driver dubbed the Ipswich Ripper — is arrested in a neglected house on the same street, London Road quickly becomes the focus of a media circus, followed by painful introspection within the community about its own claims to good character. All the residents are played by actors, one or two of whom you’ll be able to name. Every line they utter — the script is by Alecky Blythe, who specializes in “verbatim theatre,” a la Anna Deavere Smith — is taken from recorded interviews. So there’s a documentary impulse at work here that’s integral to British realism. But \u003cem>London Road\u003c/em> is an entirely different animal from any film by Mike Leigh or Ken Loach or Stephen Frears.\u003c/p>\n\u003cp>Based on the play by director Rufus Norris (\u003cem>Broken\u003c/em>), \u003cem>London Road\u003c/em> fairly bristles with visible technique. This is because it’s a famously hellish prospect to adapt a stage play for the screen: You have to get the action out of the house, and you have to put a stop to all that declaiming. As with other filmed versions of National Theater productions that have brought the best of British theater to North America, a swooping, restless camera follows the players around their hitherto obscure town as they wring their hands about the identity of their resident serial killer. Paranoia blooms, and suspects appear in sinister close-ups that make you wonder not simply who the perp might be, but who the women’s regular customers were.\u003c/p>\n\u003cp>Once you get used to the film’s most potent strategy — the incantatory repetition of dialogue in song and sing-song — it takes on the cadence of hypnotic poetry, a Greek chorus that picks out a billowing unease that only begins to spread following a trial verdict that was meant to bring closure. Yes, London Road will spruce itself up with a riot of color in hanging baskets and bunting and block parties and doors thrown open to neighbors. Yes, there will be jubilant togetherness — for everyone but the now under-employed prostitutes, who sound a desolate, lonely voice from the gasworks at the end of the street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the climax, \u003cem>London Road\u003c/em> administers a well-aimed kick to complacent liberalism when the heroic organizer of the community’s rebirth, a single parent named Julie played by Olivia Colman, delivers a frank opinion about the streetwalkers’ fate, while her teenaged daughter squirms on the couch beside her. As Shirley Jackson so well understood in her masterpiece, \u003cem>The Lottery\u003c/em>, no community coheres without its sacrificial lamb. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27London+Road%2C%27+Murder%2C+Music+And+British+Lower-Middle-Class+Manners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>London Road\u003c/em> is not the first musical to be made about a real-life serial killer. But it may be the first to draw its poetic life-blood from the testimony of residents of a rural English town where five prostitutes were found murdered in 2006. Aside from a wicked moment or two when a leering movie star known for playing unsavory fellows shows up to throw us off the scent, this is not about the murderer. It’s about the undoing — and remaking — of a community in its own words, owing more to Shirley Jackson than \u003cem>Masterpiece Theater\u003c/em>.\u003c/p>\n\u003cp>As it happens, the film was worked up from a National Theater workshop that grew into a hit stage play. This is not Shakespeare or Sheridan though, nor is it one of those lofty-lefty bits by West End playwrights with their gun sights fixed on the ruling class. \u003cem>London Road\u003c/em> beams its sympathy, as well as an irreverent eye, on one lower-middle-class street in Ipswich, Suffolk, whose residents have long resented the sex workers plying their trade under the noses of the righteous and respectable. It helps to know going in that the cultural gulf between the British lower-middle and working class is wide and deep, in no small measure because only a smidgen of bad luck separates the one from the other.\u003c/p>\n\u003cp>When the five women are found dead and the chief suspect — a transient truck driver dubbed the Ipswich Ripper — is arrested in a neglected house on the same street, London Road quickly becomes the focus of a media circus, followed by painful introspection within the community about its own claims to good character. All the residents are played by actors, one or two of whom you’ll be able to name. Every line they utter — the script is by Alecky Blythe, who specializes in “verbatim theatre,” a la Anna Deavere Smith — is taken from recorded interviews. So there’s a documentary impulse at work here that’s integral to British realism. But \u003cem>London Road\u003c/em> is an entirely different animal from any film by Mike Leigh or Ken Loach or Stephen Frears.\u003c/p>\n\u003cp>Based on the play by director Rufus Norris (\u003cem>Broken\u003c/em>), \u003cem>London Road\u003c/em> fairly bristles with visible technique. This is because it’s a famously hellish prospect to adapt a stage play for the screen: You have to get the action out of the house, and you have to put a stop to all that declaiming. As with other filmed versions of National Theater productions that have brought the best of British theater to North America, a swooping, restless camera follows the players around their hitherto obscure town as they wring their hands about the identity of their resident serial killer. Paranoia blooms, and suspects appear in sinister close-ups that make you wonder not simply who the perp might be, but who the women’s regular customers were.\u003c/p>\n\u003cp>Once you get used to the film’s most potent strategy — the incantatory repetition of dialogue in song and sing-song — it takes on the cadence of hypnotic poetry, a Greek chorus that picks out a billowing unease that only begins to spread following a trial verdict that was meant to bring closure. Yes, London Road will spruce itself up with a riot of color in hanging baskets and bunting and block parties and doors thrown open to neighbors. Yes, there will be jubilant togetherness — for everyone but the now under-employed prostitutes, who sound a desolate, lonely voice from the gasworks at the end of the street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Much More than a 5-Year Mission: 'Star Trek' Turns 50",
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"content": "\u003cp>For \u003cem>Star Trek\u003c/em>‘s George Takei, it was one of the worst predictions he ever made, and one of the best strokes of luck in his life: Takei, known to fans worldwide as helmsman Hikaru Sulu, originally thought the show would last only one season.\u003c/p>\n\u003cp>“When we were shooting the pilot, Jimmy Doohan [who played engineer Montgomery “Scotty” Scott] said to me, ‘Well, George, what do you think about this? What kind of run do you think we’ll have?'” says Takei. “And I said, ‘I smell quality. And that means we’re in trouble.’ ”\u003c/p>\n\u003cp>Already a bit cynical about the way TV worked, Takei figured any series he liked wouldn’t last long — including the one he was appearing in. He feared Star Trek creator Gene Roddenberry had developed a show too sophisticated for mass audiences; a show that disguised social commentary with space action.\u003c/p>\n\u003cp>Fifty years later, relaxing in his comfortable Los Angeles home with a long career as an actor, author and activist, Takei is happy to admit his instincts were off the mark.\u003c/p>\n\u003cp>“The Starship Enterprise was a metaphor for Starship Earth,” he adds, referencing an acronym Roddenberry cited often to describe his approach: IDIC, or Infinite Diversity in Infinite Combinations. “It was the diversity of this planet — people of different backgrounds, different cultures, different races … all coming together in concert and working as a team … I think that’s why, even a half century later, it’s as popular as it is.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“… people of different backgrounds, different cultures, different races … all coming together in concert and working as a team … I think that’s why, even a half century later, it’s as popular as it is.”\u003cbr>\n\u003ccite>George Takei\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>On Sept. 8, one of the most enduring franchises in TV and movie history celebrates its 50th birthday. \u003cem>Star Trek\u003c/em> debuted on NBC in 1966, developed by Roddenberry, a former Los Angeles cop who wanted to make a TV series that could sneak past the rampant escapism of most programs back then.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when scripted TV rarely dealt directly with the turbulence of the times, \u003cem>Star Trek\u003c/em> set its social messages against a space opera backdrop. Swashbuckling Captain Kirk ran the Enterprise, backed by cerebral first officer Mr. Spock and emotional Southern medical officer Dr. Leonard McCoy.\u003c/p>\n\u003cp>On the surface, the show’s plots dealt with exotic alien worlds in a future where space travel was commonplace. But Roddenberry and his writers slipped in subtle messages.\u003c/p>\n\u003cp>One classic story pointed out the absurdity of racism by depicting a war among members of an alien race, where one faction was colored black on the left side of their face and body and white on the right. The other faction had the colors reversed.\u003c/p>\n\u003cp>And as the end of state-sanctioned segregation rattled the U.S., Roddenberry featured American TV’s first interracial kiss: Aliens forced Captain Kirk to smooch his African-American communications officer Lt. Uhura, portrayed by Nichelle Nichols.\u003c/p>\n\u003cp>After that episode aired, Takei — who is gay but was not public about it back then — asked Roddenberry if he would consider addressing gay issues on \u003cem>Star Trek.\u003c/em>\u003c/p>\n\u003cp>“He said to me that the episode in which we had a black/white kiss, that show was literally blacked out in the American South,” Takei says. “And that meant the ratings plummeted to the very rock bottom. [Roddenberry said] ‘If that happens again, I’ll be off the air. I’m afraid that issue [gay rights] will do that.'”\u003c/p>\n\u003cp>In a way, Takei wasn’t far off in his original prediction. Plagued by high production costs and middling ratings, \u003cem>Star Trek\u003c/em> was canceled by NBC after two seasons.\u003c/p>\n\u003cp>A cadre of devoted fans organized a letter-writing campaign that pushed the network to bring the show back. Still, NBC canceled \u003cem>Trek\u003c/em> for good after its third season. But by then, the show had made enough episodes to play in syndicated reruns, and its fan base grew.\u003c/p>\n\u003cp>“Gene’s litmus test for what made a great \u003cem>Star Trek\u003c/em> story was, ‘Can you tell it today? Can you tell it 100 years ago? Can you tell it in the future?'” says Richard Arnold, a fan who became Roddenberry’s assistant in the 1970s.\u003c/p>\n\u003cp>“Does it require science fiction hardware to make it work?” Arnold continued. “Because if it does, it’s not a good \u003cem>Star Trek\u003c/em> story. It has to be about people. It has to be about the human condition … It’s one of the few places you can go to get those positive visions of the future.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“Gene’s litmus test for what made a great ‘Star Trek’ story was, ‘Can you tell it today? Can you tell it 100 years ago? Can you tell it in the future?”\u003cbr>\n\u003ccite>Richard Arnold\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Arnold met Roddenberry at one of the first \u003cem>Star Trek\u003c/em> conventions in the ’70s. He wound up serving as his assistant and \u003cem>Trek\u003c/em> archivist until Roddenberry died in 1991.\u003c/p>\n\u003cp>Arnold says that in the ’70s, Paramount Studios, which then owned \u003cem>Star Trek\u003c/em>, couldn’t decide how to take advantage of the show’s enduring popularity. Ideas like a new TV series, a new TV movie or a low budget movie came and went.\u003c/p>\n\u003cp>Then, in May 1977, \u003cem>Star Wars\u003c/em> hit theaters. Its success convinced Paramount executives they could create their own blockbuster science fiction franchise by releasing a big budget \u003cem>Star Trek\u003c/em> film.\u003c/p>\n\u003cp>“Gene used to say this: If it hadn’t been for \u003cem>Star Wars\u003c/em>, they never would have gone big budget on the first movie,” Arnold says. “It was hard to get it across to the network executives and the studio executives that \u003cem>Star Trek\u003c/em> had any value other than [as] a kids’ show.”\u003c/p>\n\u003cp>After the first \u003cem>Star Trek\u003c/em> film with the original cast debuted as a commercial hit, the franchise blossomed on screen.\u003c/p>\n\u003cp>There were movies with the original cast from the classic series. Then a new series launched on syndicated TV, \u003cem>Star Trek: The Next Generation\u003c/em>. There were spin-offs from the Next Generation universe. And there were even more movies, including three recent “reboot” films with younger actors playing the characters from the classic series.\u003c/p>\n\u003cp>Over the years, \u003cem>Star Trek\u003c/em> became a pop culture institution because fans demanded it. Their support often allowed Roddenberry’s vision to triumph over the objections of clueless TV or film executives.\u003c/p>\n\u003cp>George Takei faced a conflict of his own over the fate of Sulu, the character he once played. Actor John Cho, who plays Sulu in the newest films, told Takei they would show Sulu with a male romantic partner in the latest movie, \u003cem>Star Trek: Beyond.\u003c/em>\u003c/p>\n\u003cp>The decision was intended as a tribute to Takei’s current fame as an advocate on gay issues. But Takei suggested they create a new gay character, instead.\u003c/p>\n\u003cp>“Gene Roddenberry created Sulu as a heterosexual,” Takei says, noting that the Star Trek creator spent lots of time thinking about the character’s personal details, including basing his name on the Sulu Sea instead of using a name connected to a specific nationality in Asia. “That, too, reflected the times we were in, in the ’60s … It’s not about me and it’s not about Sulu. This is the 50th anniversary of Gene’s vision.”\u003c/p>\n\u003cp>When Takei finally saw the film, he noted that Sulu and his partner were shown in the briefest of moments. “That’s it?” he remembered thinking. “They didn’t even kiss? And John told me that they did shoot that kissing scene.” Cho said \u003ca href=\"http://www.vulture.com/2016/07/john-cho-star-trek-beyond-c-v-r.html\" target=\"_blank\" rel=\"noopener\">in an interview with Vulture.com\u003c/a> that the scene was cut from the final film. Paramount didn’t respond to requests for comment on Takei’s statements.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Those discussions, however they are resolved, are the true legacy of \u003cem>Star Trek\u003c/em> — which set a groundbreaking example five decades ago that modern TV and film producers are still trying to match. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Much+More+Than+A+5-Year+Mission%3A+%27Star+Trek%27+Turns+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Star Trek\u003c/em> debuted on TV in 1966, and Starship Enterprise is still seeking strange new worlds. Co-star George Takei credits creator Gene Roddenberry's inclusive vision for \u003cem>Trek\u003c/em>'s enduring popularity.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For \u003cem>Star Trek\u003c/em>‘s George Takei, it was one of the worst predictions he ever made, and one of the best strokes of luck in his life: Takei, known to fans worldwide as helmsman Hikaru Sulu, originally thought the show would last only one season.\u003c/p>\n\u003cp>“When we were shooting the pilot, Jimmy Doohan [who played engineer Montgomery “Scotty” Scott] said to me, ‘Well, George, what do you think about this? What kind of run do you think we’ll have?'” says Takei. “And I said, ‘I smell quality. And that means we’re in trouble.’ ”\u003c/p>\n\u003cp>Already a bit cynical about the way TV worked, Takei figured any series he liked wouldn’t last long — including the one he was appearing in. He feared Star Trek creator Gene Roddenberry had developed a show too sophisticated for mass audiences; a show that disguised social commentary with space action.\u003c/p>\n\u003cp>Fifty years later, relaxing in his comfortable Los Angeles home with a long career as an actor, author and activist, Takei is happy to admit his instincts were off the mark.\u003c/p>\n\u003cp>“The Starship Enterprise was a metaphor for Starship Earth,” he adds, referencing an acronym Roddenberry cited often to describe his approach: IDIC, or Infinite Diversity in Infinite Combinations. “It was the diversity of this planet — people of different backgrounds, different cultures, different races … all coming together in concert and working as a team … I think that’s why, even a half century later, it’s as popular as it is.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“… people of different backgrounds, different cultures, different races … all coming together in concert and working as a team … I think that’s why, even a half century later, it’s as popular as it is.”\u003cbr>\n\u003ccite>George Takei\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>On Sept. 8, one of the most enduring franchises in TV and movie history celebrates its 50th birthday. \u003cem>Star Trek\u003c/em> debuted on NBC in 1966, developed by Roddenberry, a former Los Angeles cop who wanted to make a TV series that could sneak past the rampant escapism of most programs back then.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when scripted TV rarely dealt directly with the turbulence of the times, \u003cem>Star Trek\u003c/em> set its social messages against a space opera backdrop. Swashbuckling Captain Kirk ran the Enterprise, backed by cerebral first officer Mr. Spock and emotional Southern medical officer Dr. Leonard McCoy.\u003c/p>\n\u003cp>On the surface, the show’s plots dealt with exotic alien worlds in a future where space travel was commonplace. But Roddenberry and his writers slipped in subtle messages.\u003c/p>\n\u003cp>One classic story pointed out the absurdity of racism by depicting a war among members of an alien race, where one faction was colored black on the left side of their face and body and white on the right. The other faction had the colors reversed.\u003c/p>\n\u003cp>And as the end of state-sanctioned segregation rattled the U.S., Roddenberry featured American TV’s first interracial kiss: Aliens forced Captain Kirk to smooch his African-American communications officer Lt. Uhura, portrayed by Nichelle Nichols.\u003c/p>\n\u003cp>After that episode aired, Takei — who is gay but was not public about it back then — asked Roddenberry if he would consider addressing gay issues on \u003cem>Star Trek.\u003c/em>\u003c/p>\n\u003cp>“He said to me that the episode in which we had a black/white kiss, that show was literally blacked out in the American South,” Takei says. “And that meant the ratings plummeted to the very rock bottom. [Roddenberry said] ‘If that happens again, I’ll be off the air. I’m afraid that issue [gay rights] will do that.'”\u003c/p>\n\u003cp>In a way, Takei wasn’t far off in his original prediction. Plagued by high production costs and middling ratings, \u003cem>Star Trek\u003c/em> was canceled by NBC after two seasons.\u003c/p>\n\u003cp>A cadre of devoted fans organized a letter-writing campaign that pushed the network to bring the show back. Still, NBC canceled \u003cem>Trek\u003c/em> for good after its third season. But by then, the show had made enough episodes to play in syndicated reruns, and its fan base grew.\u003c/p>\n\u003cp>“Gene’s litmus test for what made a great \u003cem>Star Trek\u003c/em> story was, ‘Can you tell it today? Can you tell it 100 years ago? Can you tell it in the future?'” says Richard Arnold, a fan who became Roddenberry’s assistant in the 1970s.\u003c/p>\n\u003cp>“Does it require science fiction hardware to make it work?” Arnold continued. “Because if it does, it’s not a good \u003cem>Star Trek\u003c/em> story. It has to be about people. It has to be about the human condition … It’s one of the few places you can go to get those positive visions of the future.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“Gene’s litmus test for what made a great ‘Star Trek’ story was, ‘Can you tell it today? Can you tell it 100 years ago? Can you tell it in the future?”\u003cbr>\n\u003ccite>Richard Arnold\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Arnold met Roddenberry at one of the first \u003cem>Star Trek\u003c/em> conventions in the ’70s. He wound up serving as his assistant and \u003cem>Trek\u003c/em> archivist until Roddenberry died in 1991.\u003c/p>\n\u003cp>Arnold says that in the ’70s, Paramount Studios, which then owned \u003cem>Star Trek\u003c/em>, couldn’t decide how to take advantage of the show’s enduring popularity. Ideas like a new TV series, a new TV movie or a low budget movie came and went.\u003c/p>\n\u003cp>Then, in May 1977, \u003cem>Star Wars\u003c/em> hit theaters. Its success convinced Paramount executives they could create their own blockbuster science fiction franchise by releasing a big budget \u003cem>Star Trek\u003c/em> film.\u003c/p>\n\u003cp>“Gene used to say this: If it hadn’t been for \u003cem>Star Wars\u003c/em>, they never would have gone big budget on the first movie,” Arnold says. “It was hard to get it across to the network executives and the studio executives that \u003cem>Star Trek\u003c/em> had any value other than [as] a kids’ show.”\u003c/p>\n\u003cp>After the first \u003cem>Star Trek\u003c/em> film with the original cast debuted as a commercial hit, the franchise blossomed on screen.\u003c/p>\n\u003cp>There were movies with the original cast from the classic series. Then a new series launched on syndicated TV, \u003cem>Star Trek: The Next Generation\u003c/em>. There were spin-offs from the Next Generation universe. And there were even more movies, including three recent “reboot” films with younger actors playing the characters from the classic series.\u003c/p>\n\u003cp>Over the years, \u003cem>Star Trek\u003c/em> became a pop culture institution because fans demanded it. Their support often allowed Roddenberry’s vision to triumph over the objections of clueless TV or film executives.\u003c/p>\n\u003cp>George Takei faced a conflict of his own over the fate of Sulu, the character he once played. Actor John Cho, who plays Sulu in the newest films, told Takei they would show Sulu with a male romantic partner in the latest movie, \u003cem>Star Trek: Beyond.\u003c/em>\u003c/p>\n\u003cp>The decision was intended as a tribute to Takei’s current fame as an advocate on gay issues. But Takei suggested they create a new gay character, instead.\u003c/p>\n\u003cp>“Gene Roddenberry created Sulu as a heterosexual,” Takei says, noting that the Star Trek creator spent lots of time thinking about the character’s personal details, including basing his name on the Sulu Sea instead of using a name connected to a specific nationality in Asia. “That, too, reflected the times we were in, in the ’60s … It’s not about me and it’s not about Sulu. This is the 50th anniversary of Gene’s vision.”\u003c/p>\n\u003cp>When Takei finally saw the film, he noted that Sulu and his partner were shown in the briefest of moments. “That’s it?” he remembered thinking. “They didn’t even kiss? And John told me that they did shoot that kissing scene.” Cho said \u003ca href=\"http://www.vulture.com/2016/07/john-cho-star-trek-beyond-c-v-r.html\" target=\"_blank\" rel=\"noopener\">in an interview with Vulture.com\u003c/a> that the scene was cut from the final film. Paramount didn’t respond to requests for comment on Takei’s statements.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those discussions, however they are resolved, are the true legacy of \u003cem>Star Trek\u003c/em> — which set a groundbreaking example five decades ago that modern TV and film producers are still trying to match. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Much+More+Than+A+5-Year+Mission%3A+%27Star+Trek%27+Turns+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "apple-may-test-iphone-users-loyalty-if-it-dumps-the-headphone-jack",
"title": "Apple May Test iPhone Users' Loyalty if it Dumps the Headphone Jack",
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"content": "\u003cp>If you’re like me, somewhere in your house you imagine there must be a pile of lost white iPhone earbuds. The pile is probably right next to the stack of single socks. It’s one of several reasons I never liked wireless Bluetooth headphones. They’re smaller and even easier to lose.\u003c/p>\n\u003cp>But, if \u003ca href=\"http://www.nytimes.com/2016/09/06/technology/will-the-new-iphone-have-a-headphone-jack-rumormongers-say-it-wont.html?_r=0\" target=\"_blank\" rel=\"noopener\">the rumors\u003c/a> are true — and most likely they are — Apple is about to get rid of the headphone jack on its latest smartphone, the iPhone 7, and tip the scales toward wireless Bluetooth headphones. The company has scheduled a press event in San Francisco on Wednesday.\u003c/p>\n\u003cp>“Getting rid of the headphone jack is panic worthy,” says usability expert Joshua Porter of the design firm Rocket Insights. “It’s going to be a hard argument to make.”\u003c/p>\n\u003cp>Porter says like a lot of iPhone users, he personally has several headsets that will immediately become obsolete unless there is a way to connect them to the new iPhone.\u003c/p>\n\u003cp>Apple is likely to make an adapter that lets users plug their earbuds into the lightning jack. But Apple users with headphones aren’t going to like it if they have to drop extra cash on buying a special adapter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Porter thinks Apple could entice them into buying the iPhone 7 with some nice extras in the box like a free adapter. “That would be a really amazing gesture … and would do a lot in terms of goodwill.”\u003c/p>\n\u003cp>Porter isn’t the only usability expert scratching his head over Apple getting rid of the headphone jack. Kara Pernice, a senior vice president at the user experience research firm Nielsen Norman Group, thinks this change could really sit badly even with loyal Apple users.\u003c/p>\n\u003cp>“When it looks to the customer like this change is not benefiting me and only benefiting Apple, that’s when people snap,” she says.\u003c/p>\n\u003cp>Pernice thinks Apple may be getting rid of the headphone jack to make important internal changes to the phone — like longer battery life. “But, most end users don’t think that way,” she says. “Most people don’t understand why the change is happening.”\u003c/p>\n\u003cp>Pernice predicts that a lot of people won’t upgrade if it means spending extra money on adapters and Bluetooth headsets.\u003c/p>\n\u003cp>But Apple does have a track record of phasing out what seem like popular technologies at the time. The company was among the first to get rid of \u003ca href=\"http://www.techrepublic.com/blog/cracking-open/apples-next-generation-macbook-pro-drops-ethernet-optical-drive/\" target=\"_blank\" rel=\"noopener\">CD drives and Ethernet cables\u003c/a>. It nixed its \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2012/09/12/161013923/new-iphone-plug-spells-inconvenience-for-users-change-for-accessory-makers\" target=\"_blank\" rel=\"noopener\">30-pin connector\u003c/a> for the lightning connector. And none of that seems to have hurt the company’s sales.\u003c/p>\n\u003cp>“Apple has a very strong history of doing whatever it wants,” says Julie Ask, an analyst with Forrester Research. “And they typically still do OK. They typically do a pretty good job of telling consumers what they need and what they don’t need and leading the way into the future.”\u003c/p>\n\u003cp>Bluetooth headphones are making headway. In June, sales of Bluetooth headsets brought in more revenue than non-Bluetooth for the first time, \u003ca href=\"https://www.npd.com/wps/portal/npd/us/news/press-releases/2016/bluetooth-capable-headphone-sales-surpass-non-bluetooth-sales/\" target=\"_blank\" rel=\"noopener\">according to NPD\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple has sold over a billion iPhones worldwide. Still, since the death of founder Steve Jobs in 2011, many critics say Apple has lost its edge. A decade ago, Nokia and BlackBerry were the leaders in smartphone technology. Usability expert Pernice says getting rid of the headphone jack “could be the straw that breaks the camel’s back.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Apple+May+Test+iPhone+Users%27+Loyalty+If+It+Dumps+The+Headphone+Jack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re like me, somewhere in your house you imagine there must be a pile of lost white iPhone earbuds. The pile is probably right next to the stack of single socks. It’s one of several reasons I never liked wireless Bluetooth headphones. They’re smaller and even easier to lose.\u003c/p>\n\u003cp>But, if \u003ca href=\"http://www.nytimes.com/2016/09/06/technology/will-the-new-iphone-have-a-headphone-jack-rumormongers-say-it-wont.html?_r=0\" target=\"_blank\" rel=\"noopener\">the rumors\u003c/a> are true — and most likely they are — Apple is about to get rid of the headphone jack on its latest smartphone, the iPhone 7, and tip the scales toward wireless Bluetooth headphones. The company has scheduled a press event in San Francisco on Wednesday.\u003c/p>\n\u003cp>“Getting rid of the headphone jack is panic worthy,” says usability expert Joshua Porter of the design firm Rocket Insights. “It’s going to be a hard argument to make.”\u003c/p>\n\u003cp>Porter says like a lot of iPhone users, he personally has several headsets that will immediately become obsolete unless there is a way to connect them to the new iPhone.\u003c/p>\n\u003cp>Apple is likely to make an adapter that lets users plug their earbuds into the lightning jack. But Apple users with headphones aren’t going to like it if they have to drop extra cash on buying a special adapter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Porter thinks Apple could entice them into buying the iPhone 7 with some nice extras in the box like a free adapter. “That would be a really amazing gesture … and would do a lot in terms of goodwill.”\u003c/p>\n\u003cp>Porter isn’t the only usability expert scratching his head over Apple getting rid of the headphone jack. Kara Pernice, a senior vice president at the user experience research firm Nielsen Norman Group, thinks this change could really sit badly even with loyal Apple users.\u003c/p>\n\u003cp>“When it looks to the customer like this change is not benefiting me and only benefiting Apple, that’s when people snap,” she says.\u003c/p>\n\u003cp>Pernice thinks Apple may be getting rid of the headphone jack to make important internal changes to the phone — like longer battery life. “But, most end users don’t think that way,” she says. “Most people don’t understand why the change is happening.”\u003c/p>\n\u003cp>Pernice predicts that a lot of people won’t upgrade if it means spending extra money on adapters and Bluetooth headsets.\u003c/p>\n\u003cp>But Apple does have a track record of phasing out what seem like popular technologies at the time. The company was among the first to get rid of \u003ca href=\"http://www.techrepublic.com/blog/cracking-open/apples-next-generation-macbook-pro-drops-ethernet-optical-drive/\" target=\"_blank\" rel=\"noopener\">CD drives and Ethernet cables\u003c/a>. It nixed its \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2012/09/12/161013923/new-iphone-plug-spells-inconvenience-for-users-change-for-accessory-makers\" target=\"_blank\" rel=\"noopener\">30-pin connector\u003c/a> for the lightning connector. And none of that seems to have hurt the company’s sales.\u003c/p>\n\u003cp>“Apple has a very strong history of doing whatever it wants,” says Julie Ask, an analyst with Forrester Research. “And they typically still do OK. They typically do a pretty good job of telling consumers what they need and what they don’t need and leading the way into the future.”\u003c/p>\n\u003cp>Bluetooth headphones are making headway. In June, sales of Bluetooth headsets brought in more revenue than non-Bluetooth for the first time, \u003ca href=\"https://www.npd.com/wps/portal/npd/us/news/press-releases/2016/bluetooth-capable-headphone-sales-surpass-non-bluetooth-sales/\" target=\"_blank\" rel=\"noopener\">according to NPD\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple has sold over a billion iPhones worldwide. Still, since the death of founder Steve Jobs in 2011, many critics say Apple has lost its edge. A decade ago, Nokia and BlackBerry were the leaders in smartphone technology. Usability expert Pernice says getting rid of the headphone jack “could be the straw that breaks the camel’s back.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Apple+May+Test+iPhone+Users%27+Loyalty+If+It+Dumps+The+Headphone+Jack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“It’s just a dot of light, but it’s a very special dot of light.” That’s how Queen guitarist Brian May describes the asteroid named for his late friend and bandmate Freddie Mercury.\u003c/p>\n\u003cp>Official designation: Asteroid 17473 Freddiemercury.\u003c/p>\n\u003cp>“Happy Birthday Freddie!” May wrote on Twitter. “They already named a planet after you, but this little ROCK is a bonus! ha ha.”\u003c/p>\n\u003cp>The celestial body was discovered in the same year Mercury died at age 45. It was dedicated to the singer in honor of what would have been his 70th birthday, in a move that May announced in a video shown at a party for Mercury’s Sept. 5 birthday in Montreux, Switzerland.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o2vo6VR51eA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Viewed from the Earth it is more than 10,000 times fainter than you can see by eye,” \u003ca href=\"http://www.brianmay.com/brian/brianssb/brianssbsep16a.html#05\" target=\"_blank\" rel=\"noopener\">May says\u003c/a>, “so you need a fair-sized telescope to see it … and that’s why it wasn’t discovered until 1991.”\u003c/p>\n\u003cp>\u003ca href=\"http://minorplanetcenter.net/db_search/show_object?utf8=%E2%9C%93&object_id=17473\" target=\"_blank\" rel=\"noopener\">The official citation\u003c/a> includes Mercury’s birth name — Farrokh Bulsara — and says of the pop star, “His distinctive sound and large vocal range were hallmarks of his performance style, and he is regarded as one of the greatest rock singers of all time.”\u003c/p>\n\u003cp>This is the second asteroid to be named for a Queen member: May — who went on to a career as an astrophysicist after the band’s heyday — was honored with his own asteroid back in 2008.\u003c/p>\n\u003cp>Mercury’s asteroid orbits the sun on a path between Mars and Jupiter. Before it got a new name, it was called asteroid 1991 FM3, with the number 17473. It measures around 2 miles across, \u003ca href=\"http://brianmay.com/brian/brianssb/brianssbsep16a.html\">May wrote\u003c/a>.\u003c/p>\n\u003cp>May also thanked U.S. astronomer Joel Parker, of the Southwest Research Institute in Boulder, Colo., for his help in getting an asteroid named for the singer.\u003c/p>\n\u003cp>“The Beatles have asteroids, Jimi Hendrix has an asteroid, I thought for sure Freddie Mercury would have one,” Parker says, according to the \u003cem>Daily Camera\u003c/em>. “I brought it up with Brian, and he thought it was a great idea.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>May quotes Parker as saying, “even if you can’t see Freddiemercury leaping through the sky, you can be sure he’s there — ‘floating around in ecstasy’, as he might sing — for millennia to come.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Asteroid+Named+For+Freddie+Mercury+Is+Announced+On+His+Birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Viewed from the Earth it is more than 10,000 times fainter than you can see by eye,” \u003ca href=\"http://www.brianmay.com/brian/brianssb/brianssbsep16a.html#05\" target=\"_blank\" rel=\"noopener\">May says\u003c/a>, “so you need a fair-sized telescope to see it … and that’s why it wasn’t discovered until 1991.”\u003c/p>\n\u003cp>\u003ca href=\"http://minorplanetcenter.net/db_search/show_object?utf8=%E2%9C%93&object_id=17473\" target=\"_blank\" rel=\"noopener\">The official citation\u003c/a> includes Mercury’s birth name — Farrokh Bulsara — and says of the pop star, “His distinctive sound and large vocal range were hallmarks of his performance style, and he is regarded as one of the greatest rock singers of all time.”\u003c/p>\n\u003cp>This is the second asteroid to be named for a Queen member: May — who went on to a career as an astrophysicist after the band’s heyday — was honored with his own asteroid back in 2008.\u003c/p>\n\u003cp>Mercury’s asteroid orbits the sun on a path between Mars and Jupiter. Before it got a new name, it was called asteroid 1991 FM3, with the number 17473. It measures around 2 miles across, \u003ca href=\"http://brianmay.com/brian/brianssb/brianssbsep16a.html\">May wrote\u003c/a>.\u003c/p>\n\u003cp>May also thanked U.S. astronomer Joel Parker, of the Southwest Research Institute in Boulder, Colo., for his help in getting an asteroid named for the singer.\u003c/p>\n\u003cp>“The Beatles have asteroids, Jimi Hendrix has an asteroid, I thought for sure Freddie Mercury would have one,” Parker says, according to the \u003cem>Daily Camera\u003c/em>. “I brought it up with Brian, and he thought it was a great idea.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>May quotes Parker as saying, “even if you can’t see Freddiemercury leaping through the sky, you can be sure he’s there — ‘floating around in ecstasy’, as he might sing — for millennia to come.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Asteroid+Named+For+Freddie+Mercury+Is+Announced+On+His+Birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Where Did TV's Villains Go? Monsters, Anti-Heroes and Alexis Colby Carrington",
"headTitle": "Where Did TV’s Villains Go? Monsters, Anti-Heroes and Alexis Colby Carrington | KQED",
"content": "\u003cp>\u003cem>This summer, NPR has been thinking about villains in popular culture. Critic Bob Mondello explored \u003ca href=\"http://www.npr.org/2016/07/28/486074615/from-hal-9000-to-harley-quinn-screen-villains-sow-chaos-because-they-can\" target=\"_blank\" rel=\"noopener\">what makes a great screen villain tick\u003c/a>. NPR Books’ Petra Mayer looked at \u003ca href=\"http://www.npr.org/2016/08/22/490524269/better-to-reign-in-hell-literatures-unpunished-villains\" target=\"_blank\" rel=\"noopener\">how and why so many of literature’s greatest villains get away with it\u003c/a>. Today, NPR Pop Culture Happy Hour’s Glen Weldon looks at how portrayals of villainy on television continue to evolve.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cbsnews.com/news/welcome-to-tvs-second-golden-age/\" target=\"_blank\" rel=\"noopener\">New Golden Age of Television\u003c/a> in which we find ourselves is marked by a few spots of tarnish. There’s a sameness of tone (i.e. grim) and skin color (i.e. white), a tendency to confuse violence (i.e. brutally assaulted women) for plot, and a mystifying reluctance to let villains be villains.\u003c/p>\n\u003cp>A quick definition of terms: I’m talking about true \u003cem>villains\u003c/em>, here. Not bad guys — those gun-toting heavies who show up every week to supply a given episode with its necessary conflict. Bad guys say things like “get in the car” and “you gotta smart mouth” and “the boss wants them taken care of.” They’re interchangeable, predictable, boring.\u003c/p>\n\u003cp>And let’s take monsters off the table while we’re at it. Television has always loved its monsters, on shows like \u003cem>Kolchak: The Night Stalker, The X-Files, Buffy The Vampire Slayer, Angel, True Blood, Teen Wolf, Grimm, Supernatura\u003c/em>l and \u003cem>Sleepy Hollow\u003c/em>.\u003c/p>\n\u003cp>It was the old David Lynch/Mark Frost series \u003cem>Twin Peaks\u003c/em>, which will return next year following a 26-year hiatus, that featured easily the single-most terrifying monster in TV history: Killer Bob.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who it turned out was actually a sort of murderous … forest … spirit?\u003c/p>\n\u003cp>… In stone-washed denim.\u003c/p>\n\u003cp>Look, it was the 90s.\u003c/p>\n\u003cp>Like all the werewolves and vampires and ghosts that haunt TV shows today, Bob was a fairy-tale boogeyman, a metaphor, a larger-than-life \u003cem>symbol\u003c/em> of pure evil. Not a villain.\u003c/p>\n\u003cp>The thing about villains is that they are entirely human, outfitted with understandably human motivations.\u003c/p>\n\u003cp>What’s more, they have a plan. That’s what \u003cem>truly\u003c/em> separates them from generic bad guys and monsters: TV’s best villains play the long game. Episode after episode, season after season, they plot and scheme and wait, tenting their fingers.\u003c/p>\n\u003cp>And not only do they have a plan, they’re only too happy to share it with anyone in earshot.\u003c/p>\n\u003cp>Take Alexis Colby — technically Alexis Carrington Colby Dexter Rowan — of the 80s nighttime soap \u003cem>Dynasty\u003c/em>, played with scenery-chomping relish by Joan Collins:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>The past is \u003c/em>over\u003cem> and nothing can change it, but let me tell you something, Krystle. The future is going to be \u003c/em>very\u003cem> different, because in a very short time, this faultless family is going to be hearing from me — including you! And you \u003c/em>especially\u003cem> are going to \u003c/em>cringe\u003cem> at what you hear! Krystle Jennings Carrington! The oh-so-sterling once — and maybe \u003c/em>future\u003cem> — secretary!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>TV used to be lousy with villains like Alexis. Villains who sat at the very center of the spider web, patiently spinning plans within plans.\u003c/p>\n\u003cp>But then something happened.\u003c/p>\n\u003cp>Tony Soprano happened. And Vic Mackey. And Walter White. And Don Draper, Francis Underwood, Nancy Botwin, Jax Teller, and…\u003c/p>\n\u003cp>Anti-heroes happened; the bad guys became our good guys. We started building shows around ruthless mobsters, drug kingpins, womanizing cads. They do lots of villainous things — Tony Soprano murdered his own nephew, for pity’s sake — but now they’re the characters with whom we’re meant to identify.\u003c/p>\n\u003cp>To be sure to keep our sympathies, writers are careful to show these anti-heroes forever struggling with their actions. But villains — true villains — don’t \u003cem>struggle\u003c/em> with the evil that they do. They \u003cem>bask\u003c/em> in it. Here’s Alexis again:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>If I ever hear of another time when she has breathed a \u003c/em>word\u003cem> about Fallon’s paternity, I will personally attach tiny hand grenades to each of the wheels on her roller skates, watch her do one of her ever-loving pirouettes, and \u003c/em>applaud\u003cem> as she \u003c/em>explodes\u003cem> into a thousand smithereens!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>Trust me, you can hear it in her voice: Evil is her bubble bath, and she’s luxuriating in it up to her neck.\u003c/p>\n\u003cp>Granted, the many anti-hero shows we have today are a \u003cem>lot\u003c/em> more nuanced and wise about the human condition than a show like \u003cem>Dynasty\u003c/em> ever was. Of course they are. But they’re also a \u003cem>lot\u003c/em> less fun.\u003c/p>\n\u003cp>That’s because we intellectually empathize with an anti-hero … but we \u003cem>love \u003c/em>a hiss-worthy villain.\u003c/p>\n\u003cp>That’s key to understanding why \u003cem>The Walking Dead\u003c/em> and \u003cem>Game of Thrones\u003c/em> are two of TV’s most-watched programs right now. Not because of their monsters — the zombies and fire-breathing dragons are gimmicks — but because they both feature old-fashioned villains: men and women with elaborate plans, who are fun to watch.\u003c/p>\n\u003cp>For two seasons on \u003cem>The Walking Dead\u003c/em> a character called The Governor proved himself a unimaginably nasty villain to the show’s main characters; when it returns in October, look for a character called Negan to fill that slot, in a particularly brutal fashion.\u003c/p>\n\u003cp>And of all the many characters on \u003cem>Game of Thrones\u003c/em>, it’s only Cersei Lannister, Queen of the Seven Kingdoms, who positively revels in the kind scheming, self-satisfied, unapologetic villainy TV used to do so well:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>The only way to keep the small folk loyal is to make certain they fear you more than they do the enemy. Remember that, if you ever hope to become queen.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>See? \u003cem>That’s\u003c/em> more like it. I perhaps don’t need to point out that as she says all that, she swirls and guzzles a huge goblet of red wine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alexis would be proud. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+Did+TV%27s+Villains+Go%3F+Monsters%2C+Anti-Heroes+And+Alexis+Colby+Carrington&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "TV has a bad guy problem. The rise of morally ambiguous anti-heroes like Tony Soprano has pushed chewier, more melodramatic villains aside. What we gained in nuance, we lost in sheer, hiss-worthy fun.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This summer, NPR has been thinking about villains in popular culture. Critic Bob Mondello explored \u003ca href=\"http://www.npr.org/2016/07/28/486074615/from-hal-9000-to-harley-quinn-screen-villains-sow-chaos-because-they-can\" target=\"_blank\" rel=\"noopener\">what makes a great screen villain tick\u003c/a>. NPR Books’ Petra Mayer looked at \u003ca href=\"http://www.npr.org/2016/08/22/490524269/better-to-reign-in-hell-literatures-unpunished-villains\" target=\"_blank\" rel=\"noopener\">how and why so many of literature’s greatest villains get away with it\u003c/a>. Today, NPR Pop Culture Happy Hour’s Glen Weldon looks at how portrayals of villainy on television continue to evolve.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cbsnews.com/news/welcome-to-tvs-second-golden-age/\" target=\"_blank\" rel=\"noopener\">New Golden Age of Television\u003c/a> in which we find ourselves is marked by a few spots of tarnish. There’s a sameness of tone (i.e. grim) and skin color (i.e. white), a tendency to confuse violence (i.e. brutally assaulted women) for plot, and a mystifying reluctance to let villains be villains.\u003c/p>\n\u003cp>A quick definition of terms: I’m talking about true \u003cem>villains\u003c/em>, here. Not bad guys — those gun-toting heavies who show up every week to supply a given episode with its necessary conflict. Bad guys say things like “get in the car” and “you gotta smart mouth” and “the boss wants them taken care of.” They’re interchangeable, predictable, boring.\u003c/p>\n\u003cp>And let’s take monsters off the table while we’re at it. Television has always loved its monsters, on shows like \u003cem>Kolchak: The Night Stalker, The X-Files, Buffy The Vampire Slayer, Angel, True Blood, Teen Wolf, Grimm, Supernatura\u003c/em>l and \u003cem>Sleepy Hollow\u003c/em>.\u003c/p>\n\u003cp>It was the old David Lynch/Mark Frost series \u003cem>Twin Peaks\u003c/em>, which will return next year following a 26-year hiatus, that featured easily the single-most terrifying monster in TV history: Killer Bob.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who it turned out was actually a sort of murderous … forest … spirit?\u003c/p>\n\u003cp>… In stone-washed denim.\u003c/p>\n\u003cp>Look, it was the 90s.\u003c/p>\n\u003cp>Like all the werewolves and vampires and ghosts that haunt TV shows today, Bob was a fairy-tale boogeyman, a metaphor, a larger-than-life \u003cem>symbol\u003c/em> of pure evil. Not a villain.\u003c/p>\n\u003cp>The thing about villains is that they are entirely human, outfitted with understandably human motivations.\u003c/p>\n\u003cp>What’s more, they have a plan. That’s what \u003cem>truly\u003c/em> separates them from generic bad guys and monsters: TV’s best villains play the long game. Episode after episode, season after season, they plot and scheme and wait, tenting their fingers.\u003c/p>\n\u003cp>And not only do they have a plan, they’re only too happy to share it with anyone in earshot.\u003c/p>\n\u003cp>Take Alexis Colby — technically Alexis Carrington Colby Dexter Rowan — of the 80s nighttime soap \u003cem>Dynasty\u003c/em>, played with scenery-chomping relish by Joan Collins:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>The past is \u003c/em>over\u003cem> and nothing can change it, but let me tell you something, Krystle. The future is going to be \u003c/em>very\u003cem> different, because in a very short time, this faultless family is going to be hearing from me — including you! And you \u003c/em>especially\u003cem> are going to \u003c/em>cringe\u003cem> at what you hear! Krystle Jennings Carrington! The oh-so-sterling once — and maybe \u003c/em>future\u003cem> — secretary!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>TV used to be lousy with villains like Alexis. Villains who sat at the very center of the spider web, patiently spinning plans within plans.\u003c/p>\n\u003cp>But then something happened.\u003c/p>\n\u003cp>Tony Soprano happened. And Vic Mackey. And Walter White. And Don Draper, Francis Underwood, Nancy Botwin, Jax Teller, and…\u003c/p>\n\u003cp>Anti-heroes happened; the bad guys became our good guys. We started building shows around ruthless mobsters, drug kingpins, womanizing cads. They do lots of villainous things — Tony Soprano murdered his own nephew, for pity’s sake — but now they’re the characters with whom we’re meant to identify.\u003c/p>\n\u003cp>To be sure to keep our sympathies, writers are careful to show these anti-heroes forever struggling with their actions. But villains — true villains — don’t \u003cem>struggle\u003c/em> with the evil that they do. They \u003cem>bask\u003c/em> in it. Here’s Alexis again:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>If I ever hear of another time when she has breathed a \u003c/em>word\u003cem> about Fallon’s paternity, I will personally attach tiny hand grenades to each of the wheels on her roller skates, watch her do one of her ever-loving pirouettes, and \u003c/em>applaud\u003cem> as she \u003c/em>explodes\u003cem> into a thousand smithereens!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>Trust me, you can hear it in her voice: Evil is her bubble bath, and she’s luxuriating in it up to her neck.\u003c/p>\n\u003cp>Granted, the many anti-hero shows we have today are a \u003cem>lot\u003c/em> more nuanced and wise about the human condition than a show like \u003cem>Dynasty\u003c/em> ever was. Of course they are. But they’re also a \u003cem>lot\u003c/em> less fun.\u003c/p>\n\u003cp>That’s because we intellectually empathize with an anti-hero … but we \u003cem>love \u003c/em>a hiss-worthy villain.\u003c/p>\n\u003cp>That’s key to understanding why \u003cem>The Walking Dead\u003c/em> and \u003cem>Game of Thrones\u003c/em> are two of TV’s most-watched programs right now. Not because of their monsters — the zombies and fire-breathing dragons are gimmicks — but because they both feature old-fashioned villains: men and women with elaborate plans, who are fun to watch.\u003c/p>\n\u003cp>For two seasons on \u003cem>The Walking Dead\u003c/em> a character called The Governor proved himself a unimaginably nasty villain to the show’s main characters; when it returns in October, look for a character called Negan to fill that slot, in a particularly brutal fashion.\u003c/p>\n\u003cp>And of all the many characters on \u003cem>Game of Thrones\u003c/em>, it’s only Cersei Lannister, Queen of the Seven Kingdoms, who positively revels in the kind scheming, self-satisfied, unapologetic villainy TV used to do so well:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>The only way to keep the small folk loyal is to make certain they fear you more than they do the enemy. Remember that, if you ever hope to become queen.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>See? \u003cem>That’s\u003c/em> more like it. I perhaps don’t need to point out that as she says all that, she swirls and guzzles a huge goblet of red wine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alexis would be proud. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+Did+TV%27s+Villains+Go%3F+Monsters%2C+Anti-Heroes+And+Alexis+Colby+Carrington&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Janus Island, despite its rocky hilltops, patches of farmland, and ample beaches, can’t be found on a map. That’s because it doesn’t exist. But to be fair to Janus, most real-life remote islands aren’t easy to find on maps either, unless you know what you’re looking for.\u003c/p>\n\u003cp>The gorgeous new period drama \u003cem>The Light Between Oceans\u003c/em> does know what it’s looking for. Set on the fictitious Janus, which lies some distance from the Australian coast, the film understands the romance and the mystique that arises from picturesque isolation. Literature’s greatest names have long routed their heroes to islands, and the movie demonstrates the setting’s great durability. It builds a gripping morality play, with characters as fierce and hardened as the choppy waves that crash onto the shore from all directions.\u003c/p>\n\u003cp>https://youtu.be/w51IR_BFGyc\u003c/p>\n\u003cp>The lighthouse keeper on this godforsaken paradise is Tom, played by Michael Fassbender with tight lips and a weary stare. He’s a stoic WWI veteran with no family and a fat ton of survivor’s remorse. These qualities would seem to make him the ideal candidate for such a solitary gig, but lighthouse keepers, we’re told, fare better when they have companions to help tend to the chores. (The previous one had conjured images of his dead wife to keep him company.) So it’s good for work when Tom quickly falls for Isabel (Alicia Vikander), the pretty young woman in the closest port town who’s OK with the isolation—and the broken piano in the keeper’s house—but desperately wants a family. Two heartbreaking miscarriages follow, with silent funerals as the island wind rattles the plain wooden crosses. The edge of the world seems to reject all attempts to populate it.\u003c/p>\n\u003cp>An unexpected gift soon washes ashore. It would be foolish to give away too much of what follows this divine intervention, but don’t believe the ads for this movie billing it as a mere romance. Readers of the novel by M.L. Stedman, from which the film is adapted, will know what sorts of decisions await Tom and Isabel, both out on Janus where only God is around to judge, and back in town where the repercussions will grow over the years. The story is airtight, with not an action or background detail wasted. As a grieving mother on the mainland (Rachel Weisz) begins to factor into things, a fascinating spiritual element takes shape: What is the just and righteous decision, and what is the self-serving decision, and what if they are secretly the same?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The skill of the leads is such that we can ask these questions without straying too far from the film itself. Any number of readings are possible in the performances of the red-hot, perfectly cast Fassbender and Vikander, who each depict their characters as withdrawn even when they’re being intimate, and who can open up deep rifts in their relationship without saying a word. At one crucial moment Vikander lets out a scream of such primal fury, a wail of possession, that it shatters the bones. It’s a selfish, even childlike reaction to something she herself did wrong, yet we never think of Isabel as a cheat. She’s human, and her wounds are deep, and she’s chosen the wrong way to fill them.\u003c/p>\n\u003cp>Director Derek Cianfrance previously made \u003cem>Blue Valentine\u003c/em>, a time-scrambled tale of love gone wrong,\u003cem> \u003c/em>and \u003ca href=\"http://www.npr.org/2013/03/28/175284851/the-place-beyond-the-pines-its-a-far-piece\" target=\"_blank\" rel=\"noopener\">\u003cem>The Place Beyond the Pines\u003c/em>\u003c/a>, a multi-generational crime saga. In the past, he has favored an intense, often furious brand of imagery that uses showy technique to approximate deep human emotion without ever quite arriving at real humanity. (Feel Ryan Gosling’s pain! \u003cem>Feel\u003c/em> it!) But here, Cianfrance has found material that complements him well, because the stripped-down story forces him to put his visual style to good use. He does wonders with close-ups from behind, in three-quarter profile, setting the relationships between his leads off-kilter in subtle ways. And because setting your movie on an island is a waste if you can’t bathe everything in natural light, he turns the film (shot on Tasmania and New Zealand) into magic-hour playtime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Light Between Oceans\u003c/em> drifts off-course in the ending, which drags on for one epilogue too many and operates under the ancient Hollywood sailor’s mistaken belief that a touch of schmaltz cures all wounds. Yet the film remains an uncharted island of gripping narrative power and visual splendor, beckoning us to dock at its shore.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janus Island, despite its rocky hilltops, patches of farmland, and ample beaches, can’t be found on a map. That’s because it doesn’t exist. But to be fair to Janus, most real-life remote islands aren’t easy to find on maps either, unless you know what you’re looking for.\u003c/p>\n\u003cp>The gorgeous new period drama \u003cem>The Light Between Oceans\u003c/em> does know what it’s looking for. Set on the fictitious Janus, which lies some distance from the Australian coast, the film understands the romance and the mystique that arises from picturesque isolation. Literature’s greatest names have long routed their heroes to islands, and the movie demonstrates the setting’s great durability. It builds a gripping morality play, with characters as fierce and hardened as the choppy waves that crash onto the shore from all directions.\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/w51IR_BFGyc'\n title='//www.youtube.com/embed/w51IR_BFGyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The lighthouse keeper on this godforsaken paradise is Tom, played by Michael Fassbender with tight lips and a weary stare. He’s a stoic WWI veteran with no family and a fat ton of survivor’s remorse. These qualities would seem to make him the ideal candidate for such a solitary gig, but lighthouse keepers, we’re told, fare better when they have companions to help tend to the chores. (The previous one had conjured images of his dead wife to keep him company.) So it’s good for work when Tom quickly falls for Isabel (Alicia Vikander), the pretty young woman in the closest port town who’s OK with the isolation—and the broken piano in the keeper’s house—but desperately wants a family. Two heartbreaking miscarriages follow, with silent funerals as the island wind rattles the plain wooden crosses. The edge of the world seems to reject all attempts to populate it.\u003c/p>\n\u003cp>An unexpected gift soon washes ashore. It would be foolish to give away too much of what follows this divine intervention, but don’t believe the ads for this movie billing it as a mere romance. Readers of the novel by M.L. Stedman, from which the film is adapted, will know what sorts of decisions await Tom and Isabel, both out on Janus where only God is around to judge, and back in town where the repercussions will grow over the years. The story is airtight, with not an action or background detail wasted. As a grieving mother on the mainland (Rachel Weisz) begins to factor into things, a fascinating spiritual element takes shape: What is the just and righteous decision, and what is the self-serving decision, and what if they are secretly the same?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The skill of the leads is such that we can ask these questions without straying too far from the film itself. Any number of readings are possible in the performances of the red-hot, perfectly cast Fassbender and Vikander, who each depict their characters as withdrawn even when they’re being intimate, and who can open up deep rifts in their relationship without saying a word. At one crucial moment Vikander lets out a scream of such primal fury, a wail of possession, that it shatters the bones. It’s a selfish, even childlike reaction to something she herself did wrong, yet we never think of Isabel as a cheat. She’s human, and her wounds are deep, and she’s chosen the wrong way to fill them.\u003c/p>\n\u003cp>Director Derek Cianfrance previously made \u003cem>Blue Valentine\u003c/em>, a time-scrambled tale of love gone wrong,\u003cem> \u003c/em>and \u003ca href=\"http://www.npr.org/2013/03/28/175284851/the-place-beyond-the-pines-its-a-far-piece\" target=\"_blank\" rel=\"noopener\">\u003cem>The Place Beyond the Pines\u003c/em>\u003c/a>, a multi-generational crime saga. In the past, he has favored an intense, often furious brand of imagery that uses showy technique to approximate deep human emotion without ever quite arriving at real humanity. (Feel Ryan Gosling’s pain! \u003cem>Feel\u003c/em> it!) But here, Cianfrance has found material that complements him well, because the stripped-down story forces him to put his visual style to good use. He does wonders with close-ups from behind, in three-quarter profile, setting the relationships between his leads off-kilter in subtle ways. And because setting your movie on an island is a waste if you can’t bathe everything in natural light, he turns the film (shot on Tasmania and New Zealand) into magic-hour playtime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Light Between Oceans\u003c/em> drifts off-course in the ending, which drags on for one epilogue too many and operates under the ancient Hollywood sailor’s mistaken belief that a touch of schmaltz cures all wounds. Yet the film remains an uncharted island of gripping narrative power and visual splendor, beckoning us to dock at its shore.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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