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"content": "\u003cp>The 1966 film \u003cem>Batman: The Movie\u003c/em> was shot between the first and second seasons of the television show. It used the same sets as the TV show, the same characters, costumes, the same story formula, and — most importantly — adopted the same tonal \u003cem>jiu-jitsu\u003c/em>: high silliness executed with grave seriousness.\u003c/p>\n\u003cp>The film differed from the TV show in small ways, however: Julie Newmar had a scheduling conflict, so Lee Meriweather stepped into the sparkly catsuit. The bigger budget allowed Batman to trick himself out with a Batcyle, Batcopter and Batboat.\u003c/p>\n\u003cp>The film premiered at Austin’s Paramount Theatre on July 30, 1966. (Why Austin? The Batboat was reportedly built by an Austin-based company who got the studio to agree to hold its red-carpet premiere there.)\u003c/p>\n\u003cp>The film was a moderate success, making a little over over $2 million, not quite twice its budget. But the studio had expected more, because the country had spent the spring of 1966 in the grip of a fervid Batmania.\u003c/p>\n\u003cp>The launch of the show back in January had arrived at exactly the right cultural moment. The Pop-Art movement prized anything that was slick, colorful, and mass-produced; Susan Sontag’s “Notes on Camp” essay, published two years before, had had enough time to filter down from academia into the mainstream. The nation was also in the habit of looking to television for frothy, high-concept diversions like \u003cem>My Favorite Martian,\u003c/em> \u003cem>Bewitched\u003c/em>, and \u003cem>The Munsters\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The result was a full-on \u003cem>Batman\u003c/em> fad: Batman dresses, hairstyles, and a “Batusi” dance craze. Nightclubs threw \u003cem>Batman\u003c/em>-related events, and toy companies pumped out Bat-merch by the metric ton.\u003c/p>\n\u003cp>But by the time the film premiered, America had been getting two episodes of the TV series every week for months. And although the ratings were still strong and would remain so well into the show’s second season, the nation’s Batmania was beginning to cool. And the notion of schlepping out to a movie theater to watch an hour-and-a-half version of something that came into your home for free every week wasn’t quite the motivation executives thought it was.\u003c/p>\n\u003cp>Even so: to watch \u003cem>Batman: The Movie \u003c/em>today is to savor the essence of the TV show. To modern eyes, its plot seems overstuffed, its structure rigidly episodic, its pacing more languorous than strictly necessary, and yet the whole thing is so blithely and sublimely goofy any quibbles fall by the wayside.\u003c/p>\n\u003cp>For many years it was the only taste of the TV show widely available, as the episodes themselves remained tied up in endless rights negotiations with various guest stars — or their estates. Maybe that’s why the movie contains so many elements that have come to define the show in the public consciousness.\u003c/p>\n\u003cp>Viz:\u003c/p>\n\u003cul>\n\u003cli>Shark-repellent Bat-spray!\u003c/li>\n\u003cli>“Penguin, Joker, Riddler … and Catwoman too? The sum of the angles of that rectangle is \u003cem>MONSTROUS\u003c/em> to contemplate!”\u003c/li>\n\u003cli>“Gosh, Batman. The nobility of the almost-human porpoise!”\u003c/li>\n\u003cli>“Comrade Kitayna Ireyna Tatanya Kerenska Alisoff. I am from the \u003cem>Moscow Bugle\u003c/em>.”\u003c/li>\n\u003cli>“\u003ca href=\"https://twitter.com/search?q=ghweldon%20bomb&src=typd\" target=\"_blank\" rel=\"noopener\">Some days you just can’t get rid of a bomb\u003c/a>!”\u003c/li>\n\u003c/ul>\n\u003cp>Today, all the episodes are available on Blu-Ray and streaming video, as is the movie. But back when the movie the only way to see Adam West in his blue satin cape, it felt like \u003cem>Batman\u003c/em> methadone to me – a pale substitute for the episodes I’d loved as a kid. And yet it still works, because the central, defining archness of its tone is so artificial that it effectively untethers the film from its time. \u003cem>Batman: The Movie\u003c/em> should seem a lot more dated than it does, but on its fiftieth birthday it reminds us of an abiding truth:\u003c/p>\n\u003cp>Tastes change, drama grows dated, humor palls.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But silly is eternal. \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=The+%2760s+%27Batman%27+Movie+Just+Turned+50+And+Attention+Must+Be+Paid+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result was a full-on \u003cem>Batman\u003c/em> fad: Batman dresses, hairstyles, and a “Batusi” dance craze. Nightclubs threw \u003cem>Batman\u003c/em>-related events, and toy companies pumped out Bat-merch by the metric ton.\u003c/p>\n\u003cp>But by the time the film premiered, America had been getting two episodes of the TV series every week for months. And although the ratings were still strong and would remain so well into the show’s second season, the nation’s Batmania was beginning to cool. And the notion of schlepping out to a movie theater to watch an hour-and-a-half version of something that came into your home for free every week wasn’t quite the motivation executives thought it was.\u003c/p>\n\u003cp>Even so: to watch \u003cem>Batman: The Movie \u003c/em>today is to savor the essence of the TV show. To modern eyes, its plot seems overstuffed, its structure rigidly episodic, its pacing more languorous than strictly necessary, and yet the whole thing is so blithely and sublimely goofy any quibbles fall by the wayside.\u003c/p>\n\u003cp>For many years it was the only taste of the TV show widely available, as the episodes themselves remained tied up in endless rights negotiations with various guest stars — or their estates. Maybe that’s why the movie contains so many elements that have come to define the show in the public consciousness.\u003c/p>\n\u003cp>Viz:\u003c/p>\n\u003cul>\n\u003cli>Shark-repellent Bat-spray!\u003c/li>\n\u003cli>“Penguin, Joker, Riddler … and Catwoman too? The sum of the angles of that rectangle is \u003cem>MONSTROUS\u003c/em> to contemplate!”\u003c/li>\n\u003cli>“Gosh, Batman. The nobility of the almost-human porpoise!”\u003c/li>\n\u003cli>“Comrade Kitayna Ireyna Tatanya Kerenska Alisoff. I am from the \u003cem>Moscow Bugle\u003c/em>.”\u003c/li>\n\u003cli>“\u003ca href=\"https://twitter.com/search?q=ghweldon%20bomb&src=typd\" target=\"_blank\" rel=\"noopener\">Some days you just can’t get rid of a bomb\u003c/a>!”\u003c/li>\n\u003c/ul>\n\u003cp>Today, all the episodes are available on Blu-Ray and streaming video, as is the movie. But back when the movie the only way to see Adam West in his blue satin cape, it felt like \u003cem>Batman\u003c/em> methadone to me – a pale substitute for the episodes I’d loved as a kid. And yet it still works, because the central, defining archness of its tone is so artificial that it effectively untethers the film from its time. \u003cem>Batman: The Movie\u003c/em> should seem a lot more dated than it does, but on its fiftieth birthday it reminds us of an abiding truth:\u003c/p>\n\u003cp>Tastes change, drama grows dated, humor palls.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But silly is eternal. \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=The+%2760s+%27Batman%27+Movie+Just+Turned+50+And+Attention+Must+Be+Paid+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Halfway through \u003cem>Tallulah\u003c/em>, an unwieldy but affecting showcase for Ellen Page and Allison Janney, Lu (Page), a drifter suddenly confronted by an enormous responsibility stares up at blue sky above Washington Square Park and muses about gravity. What if it just stopped? What if we left these earthly bounds and floated off into the ether? It’s not a suicidal fantasy on Lu’s part, though circumstances have landed her in a terrible spot. She just wants to be free.\u003c/p>\n\u003cp>Written and directed by Sian Heder, an \u003cem>Orange is the New Black\u003c/em> staff writer making her feature debut, \u003cem>Tallulah\u003c/em> is a movie about the burdens of motherhood, of young adulthood, and of being a woman period. Heder and her cast work hard to make those themes land through the drama, which insistently finds connections between strangers of different generations who are thrown into the same crisis. Yet it’s also the type of movie that turns Lu’s dream of weightlessness into a clunky visual motif, not trusting us to understand characters that it imagines so thoroughly.\u003c/p>\n\u003cp>The too-muchness signaled by that metaphor carries over into the plotting, which survives a few hiccups and major contrivances to find its emotional center. First seen dashing away from a roadside bar with stolen liquor, the free-spirited Lu lives in a van with her boyfriend Nico (Evan Jonigkeit) and dreams idly of climbing the Himalayas, which she’s pretty sure are in India. The couple has spent two years eating out of dumpsters and begging truckers for shower tickets; Nico wants to settle down and Lu wants to continue down the open road.\u003c/p>\n\u003cp>Cue the cosmic record-scratch.\u003c/p>\n\u003cp>After Nico splits in the middle of the night, Lu drives to New York City in search of his mother, Margo (Janney), whom he intended to visit. Still penniless, Lu scavenges the halls of a fancy hotel for room service scraps, but winds up getting pulled into a situation that changes the course of her life. Mistaking her for housekeeping, Carolyn (Tammy Blanchard), a drunk, hapless trophy wife, ropes her into looking after her one-year-old daughter while she goes out on a date. Lu takes the assignment out of pity — as well as the piles of loose cash and jewelry in the room — but winds up taking the baby, too, when Carolyn comes back wasted and in no condition to care for her kid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Little about Lu’s kidnapping makes sense — even if you accept her as a poor decision-maker, you have to get past her allergy to commitment — but she persuades Margo that the baby is her granddaughter, which is enough to get her through the door. The two have trouble getting along at first, given that Margo, set to sign divorce papers for a husband who left her for another man, doesn’t exactly want the company. While they tentatively bond around this beautiful, apple-cheeked lie, a frantic Carolyn summons the police and Child Protective Services, who vow to track her baby down, but have some questions about her fitness for motherhood.\u003c/p>\n\u003cp>https://youtu.be/8WSz2s-Gemc\u003c/p>\n\u003cp>\u003cem>Tallulah\u003c/em> cracks open several more cans of worms, too, expanding to include Margo’s flirtations with her apartment doorman, an awkward dinner with Margo’s soon-to-be ex-husband and live-in boyfriend, and a surprising chunk of time devoted to Carolyn and the investigation. The absence of strong narrative through-line makes the film feel diffuse and overstuffed, like a television season crammed into a two-hour window. But a word like “overstuffed” throws a darker shade on the generosity that’s the film’s greatest strength, owed to Heder’s commitment to writing three fully realized women and the troubles they have in liberating themselves — if, indeed, they want to be liberated at all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Page and Janney, in particular, have terrific chemistry together, because both actresses are exceptionally good at leavening dramatic crises without undercutting their seriousness. There’s a humor and deftness to \u003cem>Tallulah\u003c/em> that the story wouldn’t seem to accommodate easily, given the desperation that unifies these characters around a kidnapped toddler. That Heder’s warts-and-all vision of maternal ambivalence lacks focus and concision seems partly by design, a refusal to oversimplify these women for the sake of narrative expedience. They’re screwed up. They’re good-hearted. They’re human.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Little about Lu’s kidnapping makes sense — even if you accept her as a poor decision-maker, you have to get past her allergy to commitment — but she persuades Margo that the baby is her granddaughter, which is enough to get her through the door. The two have trouble getting along at first, given that Margo, set to sign divorce papers for a husband who left her for another man, doesn’t exactly want the company. While they tentatively bond around this beautiful, apple-cheeked lie, a frantic Carolyn summons the police and Child Protective Services, who vow to track her baby down, but have some questions about her fitness for motherhood.\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/8WSz2s-Gemc'\n title='//www.youtube.com/embed/8WSz2s-Gemc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Tallulah\u003c/em> cracks open several more cans of worms, too, expanding to include Margo’s flirtations with her apartment doorman, an awkward dinner with Margo’s soon-to-be ex-husband and live-in boyfriend, and a surprising chunk of time devoted to Carolyn and the investigation. The absence of strong narrative through-line makes the film feel diffuse and overstuffed, like a television season crammed into a two-hour window. But a word like “overstuffed” throws a darker shade on the generosity that’s the film’s greatest strength, owed to Heder’s commitment to writing three fully realized women and the troubles they have in liberating themselves — if, indeed, they want to be liberated at all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Page and Janney, in particular, have terrific chemistry together, because both actresses are exceptionally good at leavening dramatic crises without undercutting their seriousness. There’s a humor and deftness to \u003cem>Tallulah\u003c/em> that the story wouldn’t seem to accommodate easily, given the desperation that unifies these characters around a kidnapped toddler. That Heder’s warts-and-all vision of maternal ambivalence lacks focus and concision seems partly by design, a refusal to oversimplify these women for the sake of narrative expedience. They’re screwed up. They’re good-hearted. They’re human.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>She’s back.\u003c/p>\n\u003cp>Earlier this week actor and comedian Leslie Jones decided she’d had enough of Twitter trolls targeting her because she dared to co-star in a reboot of the 1984 film, \u003cem>Ghostbusters\u003c/em>.\u003c/p>\n\u003cp>She was tired of being called ugly and savage, and being compared to gorillas and apes.\u003c/p>\n\u003cp>She was tired of being called a coon.\u003c/p>\n\u003cp>She’d had enough. She was tired.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755261962674696192\u003c/p>\n\u003cp>So \u003ca href=\"http://www.slate.com/blogs/browbeat/2016/07/19/leslie_jones_tweets_were_a_powerful_response_to_an_insane_torrent_of_hate.html\" target=\"_blank\" rel=\"noopener\">Leslie retweeted screenshots\u003c/a> of some of the racist and sexist tweets piled up in her Twitter mentions, then she threw up two fingas and peace’d out.\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755271004520349698\u003c/p>\n\u003cp>And, it’s a shame. A shame that she couldn’t be in the world — just exist — minding her own business, entertaining fans and pursuing her craft, without having all that hate hurled at her via social media.\u003c/p>\n\u003cp>Two days later, Jones returned, encouraged by the support she had received and also admitting she was unable to resist the pull of the platform.\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/756224822879846400\u003c/p>\n\u003cp>Still, I get why Leslie initially shut it down and walked away.\u003c/p>\n\u003cp>I am fat. I have been fat for much of my life (I was on my first diet at 5), give or take a few years in college and 2013 when I lost more than 50 pounds by white knuckling it through a low-carb, high deprivation diet (I gained that weight back).\u003c/p>\n\u003cp>Needless to say, neither I nor Leslie fit the mainstream beauty ideal: thin body, fair skin, long, straight, blonde hair. And that’s OK.\u003c/p>\n\u003cp>But it’s one thing to not fit the beauty ideal — because, hey, work what your mama gave you and all that — and it’s something else to have a constant stream of vitriol coming at you attacking how you look. That’s enough to shake someone with even the highest self-esteem. I know if I opened my Twitter account and saw my mentions filled with that kind of hate, it would hurt (and writing this I am likely opening myself up to it. Sigh).\u003c/p>\n\u003cp>Once Leslie rang the alarm, many people \u003ca href=\"https://twitter.com/hashtag/LoveforLeslieJ?src=hash&ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">tweeted their support\u003c/a>, including Vanessa De Luca, editor-in-chief of the African-American fashion, lifestyle and beauty magazine \u003ca href=\"http://www.essence.com/\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a>, actor Kerry Washington, and Bernice King, daughter of Martin Luther King Jr.\u003c/p>\n\u003cp>https://twitter.com/Vanessa_KDeLuca/status/755825219852443648\u003c/p>\n\u003cp>https://twitter.com/BerniceKing/status/755799284927172608\u003c/p>\n\u003cp>https://twitter.com/kerrywashington/status/755611187270721536\u003c/p>\n\u003cp>In the wake of all this, Twitter \u003ca href=\"https://ww2.kqed.org/pop/2016/07/21/internet-tantrum-of-the-week-why-freemilo-is-kinda-funny-but-really-important/\" target=\"_blank\" rel=\"noopener\">permanently suspended the account of Milo Yiannopoulos\u003c/a>, a conservative commentator, for his role in what they say was a campaign to target Leslie with abusive tweets. Yiannopoulos says he did nothing wrong and that “Twitter’s permanent suspension of my account makes a mockery of their claims to be a free speech platform.”\u003c/p>\n\u003cp>I’m glad Leslie came back to Twitter, though, and here’s why. As Ijeoma Oluo \u003ca href=\"https://www.theguardian.com/commentisfree/2016/jul/19/leslie-jones-twitter-abuse-deliberate-campaign-hate?CMP=share_btn_tw\">wrote in The Guardian\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>This woman, this dark-skinned black woman — who didn’t even have the courtesy to be “conventionally” attractive by their standards — had the audacity to star in an all-female remake of a beloved white-dude film? Of course she must pay by being forced off of the internet — a platform essential to those in public life today.\u003c/p>\n\u003cp>These abusers know the power of the internet, and it’s access to that power that they hope to consolidate for themselves and deny women like Jones with their abuse. For many of us, our very livelihoods are at stake. My writing career is dependent on the internet. This is the same for many women, people of color, disabled people, and LGBT people who have long been denied access to traditional press.\u003c/p>\n\u003c/blockquote>\n\u003cp>I don’t know what makes trolls attack so viciously on social media. Is it that they don’t like it that some women — in this case a 6-ft.-tall, larger than size zero dark-skinned black woman — are confident and comfortable with themselves?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows, but now that Leslie has returned and is once again engaging on social media with her fans, maybe she can reach out to help some of the women who \u003cem>aren’t\u003c/em> comedians or actors in summer blockbuster movies navigate troll attacks. \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=Turns+Out%2C+Fighting+Fat+Shaming+And+Racist+Trolls+Is+Also+A+Ghostbuster%27s+Job&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Still, I get why Leslie initially shut it down and walked away.\u003c/p>\n\u003cp>I am fat. I have been fat for much of my life (I was on my first diet at 5), give or take a few years in college and 2013 when I lost more than 50 pounds by white knuckling it through a low-carb, high deprivation diet (I gained that weight back).\u003c/p>\n\u003cp>Needless to say, neither I nor Leslie fit the mainstream beauty ideal: thin body, fair skin, long, straight, blonde hair. And that’s OK.\u003c/p>\n\u003cp>But it’s one thing to not fit the beauty ideal — because, hey, work what your mama gave you and all that — and it’s something else to have a constant stream of vitriol coming at you attacking how you look. That’s enough to shake someone with even the highest self-esteem. I know if I opened my Twitter account and saw my mentions filled with that kind of hate, it would hurt (and writing this I am likely opening myself up to it. Sigh).\u003c/p>\n\u003cp>Once Leslie rang the alarm, many people \u003ca href=\"https://twitter.com/hashtag/LoveforLeslieJ?src=hash&ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">tweeted their support\u003c/a>, including Vanessa De Luca, editor-in-chief of the African-American fashion, lifestyle and beauty magazine \u003ca href=\"http://www.essence.com/\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a>, actor Kerry Washington, and Bernice King, daughter of Martin Luther King Jr.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the wake of all this, Twitter \u003ca href=\"https://ww2.kqed.org/pop/2016/07/21/internet-tantrum-of-the-week-why-freemilo-is-kinda-funny-but-really-important/\" target=\"_blank\" rel=\"noopener\">permanently suspended the account of Milo Yiannopoulos\u003c/a>, a conservative commentator, for his role in what they say was a campaign to target Leslie with abusive tweets. Yiannopoulos says he did nothing wrong and that “Twitter’s permanent suspension of my account makes a mockery of their claims to be a free speech platform.”\u003c/p>\n\u003cp>I’m glad Leslie came back to Twitter, though, and here’s why. As Ijeoma Oluo \u003ca href=\"https://www.theguardian.com/commentisfree/2016/jul/19/leslie-jones-twitter-abuse-deliberate-campaign-hate?CMP=share_btn_tw\">wrote in The Guardian\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>This woman, this dark-skinned black woman — who didn’t even have the courtesy to be “conventionally” attractive by their standards — had the audacity to star in an all-female remake of a beloved white-dude film? Of course she must pay by being forced off of the internet — a platform essential to those in public life today.\u003c/p>\n\u003cp>These abusers know the power of the internet, and it’s access to that power that they hope to consolidate for themselves and deny women like Jones with their abuse. For many of us, our very livelihoods are at stake. My writing career is dependent on the internet. This is the same for many women, people of color, disabled people, and LGBT people who have long been denied access to traditional press.\u003c/p>\n\u003c/blockquote>\n\u003cp>I don’t know what makes trolls attack so viciously on social media. Is it that they don’t like it that some women — in this case a 6-ft.-tall, larger than size zero dark-skinned black woman — are confident and comfortable with themselves?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows, but now that Leslie has returned and is once again engaging on social media with her fans, maybe she can reach out to help some of the women who \u003cem>aren’t\u003c/em> comedians or actors in summer blockbuster movies navigate troll attacks. \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=Turns+Out%2C+Fighting+Fat+Shaming+And+Racist+Trolls+Is+Also+A+Ghostbuster%27s+Job&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Making an \u003cem>Absolutely Fabulous\u003c/em> movie in 2016, over 20 years after the cheerfully vulgar British sitcom became a cult sensation, seems both absurdly late and entirely in keeping with the spirit of the show. After all, Edina “Eddy” Monsoon and Patricia “Patsy” Stone, a pair of unrepentant boozers on the fringes of the fashion world, have never known cultural cachet. It only follows, then, that a big-screen version of their exploits would not be particularly hip or in-demand, but a continuation of the bawdy obliviousness that have made them such a treasure over the years. They are perpetually out of time, which in their case is another way of saying “timeless.”\u003c/p>\n\u003cp>https://youtu.be/Dj3ZWhlmexw\u003c/p>\n\u003cp>“Sixty is the new 40,” Eddy declares, bridging the gap between the show’s premiere in late 1992 and \u003cem>Absolutely Fabulous: The Movie\u003c/em>, in which she and Patsy want nothing more than to “keep the party going.” This ungainly, catch-as-catch-can feature isn’t a comfortable expansion of the series, but there’s a brightness and spontaneity to it that forgives its many lapses, because each new scene brings the possibility of a filthy one-liner or a bizarre comic setpiece. Here’s a movie that gives you Jon Hamm, as himself, shuddering over memories of the “English rose” who deflowered him and a club full of drag queens doing a karaoke chorus of “At Seventeen.” Resistance is futile.\u003c/p>\n\u003cp>Leading a principal cast that has stayed with AbFab from the beginning, creator/star Jennifer Saunders and Joanna Lumley return as Eddy and Patsy, respectively, two women still clinging to a lifestyle they cannot afford. With Eddy’s PR business dwindling to just a few D-list clients — all of whom are angry over her neglect — her credit cards are “broken” and she doesn’t have any cash, which is such a foreign concept to Patsy that she refers to it as “hand money.” Nonetheless, the two wake up hungover every morning, dutifully self-administer Botox injections and liposuction treatments, and head out in search of the next gold mine.\u003c/p>\n\u003cp>After hearing word that Kate Moss (also appearing, gamely, as herself) is looking for representation, Eddy crashes an exclusive party to corner her perspective client, but winds up bumping her off a balcony and into the Thames. With Britain’s greatest fashion icon missing and presumed dead, Eddy and Patsy endure the indignities of coach class and fly to the French Riviera, simultaneously fleeing justice and gaining new opportunities to pursue a big score. They don’t have a plan. Their thinking seems to be that if they keep rubbing elbows with the elite, something will come up. Perhaps requiring a fake mustache.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saunders’ script accommodates \u003cem>AbFab\u003c/em> veterans like Julia Sawalha as Eddy’s scolding daughter Saffron (Julia Sawalha), June Whitfield as her blinkered mother, and Jane Horrocks as the flighty Bubble, who’s introduced wearing an outfit of inflatable hashtags. None of these characters are particularly well-served, given how much Eddy and Patsy are on the move, and Saunders’ approach to screenwriting isn’t all that dissimilar to the merry, improvised bungling that get her characters through life. The increased scale of an \u003cem>Absolutely Fabulous\u003c/em> movie allows Saunders and company to trample through scenic locales and roll out cameos by Moss, Hamm, Rebel Wilson, and other recognizable faces, but it mostly sticks to basics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not that there’s anything wrong with that. Saunders and Lumley are a wonderful team — Eddy constantly seeking to improve her status and salve her insecurities, Patsy casually devouring all the pills and champagne she can get — and they have a particular gift for the “ooooooo” laugh, gags that pleasantly shock without crossing the line. Their characters’ refusal to change as the world trends past them is as funny now as it was in the early ’90s; nothing will stop Patsy from smoking cigarettes in public, for example, only now she calls it “vaping.” Twenty years from now, 80 might be the new 60 for Saunders and Lumley’s lovable creations. Little will have changed. The party keeps going.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Making an \u003cem>Absolutely Fabulous\u003c/em> movie in 2016, over 20 years after the cheerfully vulgar British sitcom became a cult sensation, seems both absurdly late and entirely in keeping with the spirit of the show. After all, Edina “Eddy” Monsoon and Patricia “Patsy” Stone, a pair of unrepentant boozers on the fringes of the fashion world, have never known cultural cachet. It only follows, then, that a big-screen version of their exploits would not be particularly hip or in-demand, but a continuation of the bawdy obliviousness that have made them such a treasure over the years. They are perpetually out of time, which in their case is another way of saying “timeless.”\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/Dj3ZWhlmexw'\n title='//www.youtube.com/embed/Dj3ZWhlmexw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Sixty is the new 40,” Eddy declares, bridging the gap between the show’s premiere in late 1992 and \u003cem>Absolutely Fabulous: The Movie\u003c/em>, in which she and Patsy want nothing more than to “keep the party going.” This ungainly, catch-as-catch-can feature isn’t a comfortable expansion of the series, but there’s a brightness and spontaneity to it that forgives its many lapses, because each new scene brings the possibility of a filthy one-liner or a bizarre comic setpiece. Here’s a movie that gives you Jon Hamm, as himself, shuddering over memories of the “English rose” who deflowered him and a club full of drag queens doing a karaoke chorus of “At Seventeen.” Resistance is futile.\u003c/p>\n\u003cp>Leading a principal cast that has stayed with AbFab from the beginning, creator/star Jennifer Saunders and Joanna Lumley return as Eddy and Patsy, respectively, two women still clinging to a lifestyle they cannot afford. With Eddy’s PR business dwindling to just a few D-list clients — all of whom are angry over her neglect — her credit cards are “broken” and she doesn’t have any cash, which is such a foreign concept to Patsy that she refers to it as “hand money.” Nonetheless, the two wake up hungover every morning, dutifully self-administer Botox injections and liposuction treatments, and head out in search of the next gold mine.\u003c/p>\n\u003cp>After hearing word that Kate Moss (also appearing, gamely, as herself) is looking for representation, Eddy crashes an exclusive party to corner her perspective client, but winds up bumping her off a balcony and into the Thames. With Britain’s greatest fashion icon missing and presumed dead, Eddy and Patsy endure the indignities of coach class and fly to the French Riviera, simultaneously fleeing justice and gaining new opportunities to pursue a big score. They don’t have a plan. Their thinking seems to be that if they keep rubbing elbows with the elite, something will come up. Perhaps requiring a fake mustache.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saunders’ script accommodates \u003cem>AbFab\u003c/em> veterans like Julia Sawalha as Eddy’s scolding daughter Saffron (Julia Sawalha), June Whitfield as her blinkered mother, and Jane Horrocks as the flighty Bubble, who’s introduced wearing an outfit of inflatable hashtags. None of these characters are particularly well-served, given how much Eddy and Patsy are on the move, and Saunders’ approach to screenwriting isn’t all that dissimilar to the merry, improvised bungling that get her characters through life. The increased scale of an \u003cem>Absolutely Fabulous\u003c/em> movie allows Saunders and company to trample through scenic locales and roll out cameos by Moss, Hamm, Rebel Wilson, and other recognizable faces, but it mostly sticks to basics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not that there’s anything wrong with that. Saunders and Lumley are a wonderful team — Eddy constantly seeking to improve her status and salve her insecurities, Patsy casually devouring all the pills and champagne she can get — and they have a particular gift for the “ooooooo” laugh, gags that pleasantly shock without crossing the line. Their characters’ refusal to change as the world trends past them is as funny now as it was in the early ’90s; nothing will stop Patsy from smoking cigarettes in public, for example, only now she calls it “vaping.” Twenty years from now, 80 might be the new 60 for Saunders and Lumley’s lovable creations. Little will have changed. The party keeps going.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "When You're a Nomad, You Need Portable Art",
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"content": "\u003cp>Think of it as art to go — and on the go.\u003c/p>\n\u003cp>That’s the theme for the exhibition “\u003ca href=\"https://artbma.org/exhibitions/2016-design-for-mobile-living\" target=\"_blank\" rel=\"noopener\">Designs for Mobile Living: Art from Eastern Africa\u003c/a>” at the Baltimore Museum of Art. There are a mere 28 objects, ranging from brightly decorated shields and glass-beaded belts for carrying spears to finely crafted necklaces and painstakingly carved drinking vessels. But individually and together the objects demonstrate how nomadic cultures in the region of the Great Rift Valley, where Kenya borders Tanzania, imbue even the most functional objects with artistic style and cultural identity.\u003c/p>\n\u003cp>In cultures that tend to livestock, like the Maasai, Samburu, Somali and Turkana groups represented here, “everyone is in motion,” says exhibition organizer Kevin Tervala. And every possession must be carried along as they go with their animals from place to place.\u003c/p>\n\u003cp>Heavy or unwieldy art objects — like an enormous brass abstract sculpture he points to in a neighboring gallery — would be impractical in their culture, Tervala says. Instead, he says, “creative drives translate into what people wear, what they use.”\u003c/p>\n\u003cp>“Even the most humble object,” he says, like a cradle-shaped, curved bowl, has been carefully carved and is attached to a leather strap to carry easily over the shoulder. A shield fashioned out of the wrinkled, rippled hide of a rhinoceros shows an appreciation of texture — and also proclaims the warrior status of the man who wielded it: Although the hides of camel, goat and cow could also be used, hippos and rhinos are harder to kill. In the example in the exhibit, you can also see the tiny holes where spears hit and pricked the surface.\u003c/p>\n\u003cfigure id=\"attachment_11819299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg\" alt=\"A man's belt, known as "Enkeene Pus," from the Maasai region of Tanzania and dating to the mid-20th century.\" width=\"800\" height=\"456\" class=\"size-medium wp-image-11819299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d.jpg 1258w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man’s belt, known as “Enkeene Pus,” from the Maasai region of Tanzania and dating to the mid-20th century. \u003ccite>(Photo: Courtesy of Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The names of the artists are not known, nor for the most part are the exact years from which each work dates. But the materials, colors and patterns suggest a general timeline approximating when they were made, in what geographical area and by what group.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For instance, before Europeans arrived to colonize and proselytize in the 19th century, most objects were monochromatic or used muted colors from vegetable dyes. That changed when the Europeans came, bringing glass beads in many colors. “That helped artistic possibilities to take off,” says Tervala.\u003c/p>\n\u003cp>Belts, jewelry, clothing and other items began to burst with colorful beaded patterns. By the 20th century, each group favored its own color combinations and shapes and developed its own “look” to stand out, says Tervala.\u003c/p>\n\u003cp>Turkana jewelry, for example, is decorated with solid blocks of red, white and blue beads. By contrast, Maasai objects use red, white, blue, orange and green glass beads arranged in triangles, rectangles and pie-chart shapes. There’s no missing the Western influence in a Maasai bracelet designed in the shape of a wristwatch.\u003c/p>\n\u003cp>Know the clues to look for, and you could even decipher a woman’s marital status. Samburu wives wear necklaces featuring a vertical row of red glass beads strung with a giraffe’s tail. A necklace worn by a Turkana married woman is altogether different, featuring three dangling bull’s-eye-shaped pendants in alternating color patterns. The absence of extensive beadwork suggests the object has come from a more northern area, where there was less exposure to European trade, and more traditional decorative methods remained dominant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nineteen of the 28 items on display come from the museum, the others from a private collector. Most are being shown in public for the first time, says Tervala, who is pursuing a Ph.D. in African studies and art history at Harvard. Focusing on the art and design, not just the purpose, of the objects highlights the diversity of African art, he says. It helps you see “there is art in everything.” \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=When+You%27re+A+Nomad%2C+You+Need+Portable+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of it as art to go — and on the go.\u003c/p>\n\u003cp>That’s the theme for the exhibition “\u003ca href=\"https://artbma.org/exhibitions/2016-design-for-mobile-living\" target=\"_blank\" rel=\"noopener\">Designs for Mobile Living: Art from Eastern Africa\u003c/a>” at the Baltimore Museum of Art. There are a mere 28 objects, ranging from brightly decorated shields and glass-beaded belts for carrying spears to finely crafted necklaces and painstakingly carved drinking vessels. But individually and together the objects demonstrate how nomadic cultures in the region of the Great Rift Valley, where Kenya borders Tanzania, imbue even the most functional objects with artistic style and cultural identity.\u003c/p>\n\u003cp>In cultures that tend to livestock, like the Maasai, Samburu, Somali and Turkana groups represented here, “everyone is in motion,” says exhibition organizer Kevin Tervala. And every possession must be carried along as they go with their animals from place to place.\u003c/p>\n\u003cp>Heavy or unwieldy art objects — like an enormous brass abstract sculpture he points to in a neighboring gallery — would be impractical in their culture, Tervala says. Instead, he says, “creative drives translate into what people wear, what they use.”\u003c/p>\n\u003cp>“Even the most humble object,” he says, like a cradle-shaped, curved bowl, has been carefully carved and is attached to a leather strap to carry easily over the shoulder. A shield fashioned out of the wrinkled, rippled hide of a rhinoceros shows an appreciation of texture — and also proclaims the warrior status of the man who wielded it: Although the hides of camel, goat and cow could also be used, hippos and rhinos are harder to kill. In the example in the exhibit, you can also see the tiny holes where spears hit and pricked the surface.\u003c/p>\n\u003cfigure id=\"attachment_11819299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg\" alt=\"A man's belt, known as "Enkeene Pus," from the Maasai region of Tanzania and dating to the mid-20th century.\" width=\"800\" height=\"456\" class=\"size-medium wp-image-11819299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d.jpg 1258w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man’s belt, known as “Enkeene Pus,” from the Maasai region of Tanzania and dating to the mid-20th century. \u003ccite>(Photo: Courtesy of Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The names of the artists are not known, nor for the most part are the exact years from which each work dates. But the materials, colors and patterns suggest a general timeline approximating when they were made, in what geographical area and by what group.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For instance, before Europeans arrived to colonize and proselytize in the 19th century, most objects were monochromatic or used muted colors from vegetable dyes. That changed when the Europeans came, bringing glass beads in many colors. “That helped artistic possibilities to take off,” says Tervala.\u003c/p>\n\u003cp>Belts, jewelry, clothing and other items began to burst with colorful beaded patterns. By the 20th century, each group favored its own color combinations and shapes and developed its own “look” to stand out, says Tervala.\u003c/p>\n\u003cp>Turkana jewelry, for example, is decorated with solid blocks of red, white and blue beads. By contrast, Maasai objects use red, white, blue, orange and green glass beads arranged in triangles, rectangles and pie-chart shapes. There’s no missing the Western influence in a Maasai bracelet designed in the shape of a wristwatch.\u003c/p>\n\u003cp>Know the clues to look for, and you could even decipher a woman’s marital status. Samburu wives wear necklaces featuring a vertical row of red glass beads strung with a giraffe’s tail. A necklace worn by a Turkana married woman is altogether different, featuring three dangling bull’s-eye-shaped pendants in alternating color patterns. The absence of extensive beadwork suggests the object has come from a more northern area, where there was less exposure to European trade, and more traditional decorative methods remained dominant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nineteen of the 28 items on display come from the museum, the others from a private collector. Most are being shown in public for the first time, says Tervala, who is pursuing a Ph.D. in African studies and art history at Harvard. Focusing on the art and design, not just the purpose, of the objects highlights the diversity of African art, he says. It helps you see “there is art in everything.” \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=When+You%27re+A+Nomad%2C+You+Need+Portable+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You watch hundreds of hours of television, they call you a lazy slob. A computer does it, and it’s a technological success story.\u003c/p>\n\u003cp>That is the case for \u003ca href=\"http://web.mit.edu/vondrick/prediction.pdf\" target=\"_blank\" rel=\"noopener\">a new algorithm\u003c/a> from MIT’s Computer Science and Artificial Intelligence Laboratory. Researchers fed the program 600 hours of YouTube videos and television shows like \u003cem>The Office\u003c/em>, \u003cem>Desperate Housewives\u003c/em> and \u003cem>Scrubs\u003c/em> to see if it could learn about and predict certain human interactions — hugs, kisses, high-fives and handshakes.\u003c/p>\n\u003cp>The algorithm uses an artificial intelligence technique called “\u003ca href=\"http://www.npr.org/sections/13.7/2016/05/24/479272650/the-future-of-ai-is-something-different-this-time\" target=\"_blank\" rel=\"noopener\">deep learning\u003c/a>” to create its own understanding of the patterns that make up human interaction. Given raw, unlabeled data, the machine is asked to figure out on its own what is important and what is not. It’s a mechanism that humans naturally develop over the course of their lives by picking up clues in the social interactions of those around them.\u003c/p>\n\u003cp>“Humans don’t need to have someone give us thousands of examples of things saying, ‘This is a kiss.’ We just need a few examples,” says \u003ca href=\"http://web.mit.edu/vondrick/\" target=\"_blank\" rel=\"noopener\">Carl Vondrick\u003c/a>, a doctoral candidate at MIT and one of the researchers on the project. “So what’s powerful about this is that it can learn its own rules.”\u003c/p>\n\u003cp>To test the computer, they showed it a video of people who are one second away from doing one of the four interactions. The computer creates several possible future scenarios, and uses what it has learned to guess what will happen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The computer guessed correctly 43 percent of the time; humans were correct 71 percent of the time in the same test. Vondrick believes that the system will be even more successful the more content it consumes — 600 hours is only 25 days.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AR3hY9iB5-I\u003c/p>\n\u003cp>Vondrick hopes to give the system much more video to learn from, and to ask it to predict more complex interactions. If it becomes advanced enough, the technology could be used to create intelligent security cameras that could automatically call an ambulance if someone is about to get injured, or the police as a crime is taking place.\u003c/p>\n\u003cp>This technology could also bring us closer to robots that interact with us like \u003ca href=\"http://www.smithsonianmag.com/history/recapping-the-jetsons-episode-08-roseys-boyfriend-120640948/?no-ist\" target=\"_blank\" rel=\"noopener\">The Jetsons’ maid, Rosey\u003c/a>.\u003c/p>\n\u003cp>“If you want a robot to interact in your home, it needs some basic ability to predict the future,” Vondrick says. “For example, if you were about to sit down in a chair, you don’t want the robot to pull the chair out away from you as you’re sitting down.”\u003c/p>\n\u003cp>Vondrick’s team \u003ca href=\"http://people.csail.mit.edu/torralba/publications/evt_pred_eccv2010.pdf\" target=\"_blank\" rel=\"noopener\">isn’t the first\u003c/a> to create a \u003ca href=\"https://www.ri.cmu.edu/pub_files/2014/3/egpaper_final.pdf\" target=\"_blank\" rel=\"noopener\">video prediction\u003c/a> algorithm, but theirs is the most accurate to date.\u003c/p>\n\u003cp>“It’s not hugely different from some other things that people have done, but they’ve gotten substantially better results out of it than people have in this area before,” says \u003ca href=\"http://homes.cs.washington.edu/~pedrod/\" target=\"_blank\" rel=\"noopener\">Pedro Domingos\u003c/a>, a professor at the University of Washington and an expert in machine learning.\u003c/p>\n\u003cp>One of the reasons the computer was so successful is that it uses what Vondrick calls “visual representations.” In the past, some video prediction algorithms have attempted to create a pixel-by-pixel representation of possible future scenarios, which Vondrick says is a difficult task.\u003c/p>\n\u003cp>“It’s hard for even a professional painter to paint something realistic,” he says. “So we were arguing that it wasn’t necessary to actually render the full future. Instead you could try to predict an abstract version of the image.”\u003c/p>\n\u003cp>The abstract images allow the computer to picture objects and actions more generally. For example, it can tell that an image contains a face or a chair, rather than a collection of colors to interpret. Domingos says it’s the same \u003ca href=\"https://research.facebook.com/publications/deepface-closing-the-gap-to-human-level-performance-in-face-verification/\" target=\"_blank\" rel=\"noopener\">basic technology Facebook uses\u003c/a> to guess which of your friends should be tagged in your photos.\u003c/p>\n\u003cp>In a second experiment, the computer is shown an image and is asked to predict what object will appear five seconds later. For example, if it sees someone approaching a sink, it might guess that the person will soon be using soap. The computer performed 30 percent better than previous attempts, but it was still right only 11 percent of the time.\u003c/p>\n\u003cp>Domingos says the MIT team’s algorithm is among a handful that are moving computers closer to being able to understand images in the way that humans can, which is a harder task than it may seem.\u003c/p>\n\u003cp>“We human beings tend to take vision for granted,” Domingos says. “But evolution spent 500 million years developing vision, and a third of your brain is devoted to vision … all sorts of stuff is happening in [each image,] it’s really hard to extract the objects and the people and the action.”\u003c/p>\n\u003cp>So if a computer is going to learn about human interaction from videos, why go with the social fumbling of \u003ca href=\"http://www.imdb.com/character/ch0009719/\" target=\"_blank\" rel=\"noopener\">Michael Scott\u003c/a> (\u003cem>The Office\u003c/em>) or the machinations of \u003ca href=\"http://www.imdb.com/character/ch0015608/?ref_=fn_al_ch_1\" target=\"_blank\" rel=\"noopener\">Edie Britt\u003c/a> (\u003cem>Desperate Housewives\u003c/em>)?\u003c/p>\n\u003cp>“We just wanted to use random videos from YouTube,” Vondrick said. “The reason for television is that it’s easy for us to get access to that data, and it’s somewhat realistic in terms of describing everyday situations.”\u003c/p>\n\u003cp>Vondrick plans to expose the algorithm to years’ worth of television, with the hopes that it will become even more sophisticated over time. Who knows, maybe it will become even more refined than \u003ca href=\"https://www.youtube.com/watch?v=6pwpNoRuuPY\" target=\"_blank\" rel=\"noopener\">the sitcoms themselves\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Riley Beggin is an intern with NPR’s investigations unit.\u003c/em> \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+Computer+Binge-Watched+TV+And+Learned+To+Predict+What+Happens+Next&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Researchers fed a program 600 hours of videos and TV shows to see if it could learn about and predict human interactions — hugs, kisses, high-fives and handshakes. It was right nearly half the time.",
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"title": "A Computer Binge-Watched TV and Learned to Predict What Happens Next | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You watch hundreds of hours of television, they call you a lazy slob. A computer does it, and it’s a technological success story.\u003c/p>\n\u003cp>That is the case for \u003ca href=\"http://web.mit.edu/vondrick/prediction.pdf\" target=\"_blank\" rel=\"noopener\">a new algorithm\u003c/a> from MIT’s Computer Science and Artificial Intelligence Laboratory. Researchers fed the program 600 hours of YouTube videos and television shows like \u003cem>The Office\u003c/em>, \u003cem>Desperate Housewives\u003c/em> and \u003cem>Scrubs\u003c/em> to see if it could learn about and predict certain human interactions — hugs, kisses, high-fives and handshakes.\u003c/p>\n\u003cp>The algorithm uses an artificial intelligence technique called “\u003ca href=\"http://www.npr.org/sections/13.7/2016/05/24/479272650/the-future-of-ai-is-something-different-this-time\" target=\"_blank\" rel=\"noopener\">deep learning\u003c/a>” to create its own understanding of the patterns that make up human interaction. Given raw, unlabeled data, the machine is asked to figure out on its own what is important and what is not. It’s a mechanism that humans naturally develop over the course of their lives by picking up clues in the social interactions of those around them.\u003c/p>\n\u003cp>“Humans don’t need to have someone give us thousands of examples of things saying, ‘This is a kiss.’ We just need a few examples,” says \u003ca href=\"http://web.mit.edu/vondrick/\" target=\"_blank\" rel=\"noopener\">Carl Vondrick\u003c/a>, a doctoral candidate at MIT and one of the researchers on the project. “So what’s powerful about this is that it can learn its own rules.”\u003c/p>\n\u003cp>To test the computer, they showed it a video of people who are one second away from doing one of the four interactions. The computer creates several possible future scenarios, and uses what it has learned to guess what will happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The computer guessed correctly 43 percent of the time; humans were correct 71 percent of the time in the same test. Vondrick believes that the system will be even more successful the more content it consumes — 600 hours is only 25 days.\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/AR3hY9iB5-I'\n title='//www.youtube.com/embed/AR3hY9iB5-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Vondrick hopes to give the system much more video to learn from, and to ask it to predict more complex interactions. If it becomes advanced enough, the technology could be used to create intelligent security cameras that could automatically call an ambulance if someone is about to get injured, or the police as a crime is taking place.\u003c/p>\n\u003cp>This technology could also bring us closer to robots that interact with us like \u003ca href=\"http://www.smithsonianmag.com/history/recapping-the-jetsons-episode-08-roseys-boyfriend-120640948/?no-ist\" target=\"_blank\" rel=\"noopener\">The Jetsons’ maid, Rosey\u003c/a>.\u003c/p>\n\u003cp>“If you want a robot to interact in your home, it needs some basic ability to predict the future,” Vondrick says. “For example, if you were about to sit down in a chair, you don’t want the robot to pull the chair out away from you as you’re sitting down.”\u003c/p>\n\u003cp>Vondrick’s team \u003ca href=\"http://people.csail.mit.edu/torralba/publications/evt_pred_eccv2010.pdf\" target=\"_blank\" rel=\"noopener\">isn’t the first\u003c/a> to create a \u003ca href=\"https://www.ri.cmu.edu/pub_files/2014/3/egpaper_final.pdf\" target=\"_blank\" rel=\"noopener\">video prediction\u003c/a> algorithm, but theirs is the most accurate to date.\u003c/p>\n\u003cp>“It’s not hugely different from some other things that people have done, but they’ve gotten substantially better results out of it than people have in this area before,” says \u003ca href=\"http://homes.cs.washington.edu/~pedrod/\" target=\"_blank\" rel=\"noopener\">Pedro Domingos\u003c/a>, a professor at the University of Washington and an expert in machine learning.\u003c/p>\n\u003cp>One of the reasons the computer was so successful is that it uses what Vondrick calls “visual representations.” In the past, some video prediction algorithms have attempted to create a pixel-by-pixel representation of possible future scenarios, which Vondrick says is a difficult task.\u003c/p>\n\u003cp>“It’s hard for even a professional painter to paint something realistic,” he says. “So we were arguing that it wasn’t necessary to actually render the full future. Instead you could try to predict an abstract version of the image.”\u003c/p>\n\u003cp>The abstract images allow the computer to picture objects and actions more generally. For example, it can tell that an image contains a face or a chair, rather than a collection of colors to interpret. Domingos says it’s the same \u003ca href=\"https://research.facebook.com/publications/deepface-closing-the-gap-to-human-level-performance-in-face-verification/\" target=\"_blank\" rel=\"noopener\">basic technology Facebook uses\u003c/a> to guess which of your friends should be tagged in your photos.\u003c/p>\n\u003cp>In a second experiment, the computer is shown an image and is asked to predict what object will appear five seconds later. For example, if it sees someone approaching a sink, it might guess that the person will soon be using soap. The computer performed 30 percent better than previous attempts, but it was still right only 11 percent of the time.\u003c/p>\n\u003cp>Domingos says the MIT team’s algorithm is among a handful that are moving computers closer to being able to understand images in the way that humans can, which is a harder task than it may seem.\u003c/p>\n\u003cp>“We human beings tend to take vision for granted,” Domingos says. “But evolution spent 500 million years developing vision, and a third of your brain is devoted to vision … all sorts of stuff is happening in [each image,] it’s really hard to extract the objects and the people and the action.”\u003c/p>\n\u003cp>So if a computer is going to learn about human interaction from videos, why go with the social fumbling of \u003ca href=\"http://www.imdb.com/character/ch0009719/\" target=\"_blank\" rel=\"noopener\">Michael Scott\u003c/a> (\u003cem>The Office\u003c/em>) or the machinations of \u003ca href=\"http://www.imdb.com/character/ch0015608/?ref_=fn_al_ch_1\" target=\"_blank\" rel=\"noopener\">Edie Britt\u003c/a> (\u003cem>Desperate Housewives\u003c/em>)?\u003c/p>\n\u003cp>“We just wanted to use random videos from YouTube,” Vondrick said. “The reason for television is that it’s easy for us to get access to that data, and it’s somewhat realistic in terms of describing everyday situations.”\u003c/p>\n\u003cp>Vondrick plans to expose the algorithm to years’ worth of television, with the hopes that it will become even more sophisticated over time. Who knows, maybe it will become even more refined than \u003ca href=\"https://www.youtube.com/watch?v=6pwpNoRuuPY\" target=\"_blank\" rel=\"noopener\">the sitcoms themselves\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Riley Beggin is an intern with NPR’s investigations unit.\u003c/em> \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+Computer+Binge-Watched+TV+And+Learned+To+Predict+What+Happens+Next&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At LA's MOCA, a Celebrated Chef Serves Up Dinner as Art Installation",
"headTitle": "At LA’s MOCA, a Celebrated Chef Serves Up Dinner as Art Installation | KQED",
"content": "\u003cp>Many chefs think of themselves as artists in the kitchen. Craig Thornton has taken it to another level: For the past five months, he’s been serving up multi-course meals as part of a room-size installation at the prestigious Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>Thornton, 34, is a cult figure in LA’s booming food scene. And for this pop-up dining experiment, he whipped up a rococo menu. A typical dish — if typical is a word that even applies — might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin.\u003c/p>\n\u003cfigure id=\"attachment_11803314\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg\" alt=\"Chef Craig Thornton, 34, is something of a cult figure in LA's food scene.\" width=\"640\" height=\"512\" class=\"size-large wp-image-11803314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chef Craig Thornton, 34, is something of a cult figure in LA’s food scene. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was just one of nine elaborate dishes served within MOCA’s Geffen Contemporary location, in what looked like the set of a dystopian Disney film — a space replete with taxidermied deer, wolves and peacocks arranged in a forest of cherry trees, some of them burnt. \u003cem>Wolvesmouth: Taxa\u003c/em>, as this unorthodox eating experience was called, just closed after a five-month residency. It was the most recent iteration of a roving restaurant that Thornton has run for years — sometimes in warehouses, sometimes in apartments and usually with more amenities.\u003c/p>\n\u003cp>“We’re cooking in the middle of a museum with no running water,” Thornton said ruefully during a recent dinner. “I mean, we have to know how much water we’re using.” (The answer: 75 to 85 gallons per night.)\u003c/p>\n\u003cfigure id=\"attachment_11803315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg\" alt=\"Thornton's menu for 'Wolvesmouth: Taxa' featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin\" width=\"640\" height=\"360\" class=\"size-large wp-image-11803315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thornton’s menu for ‘Wolvesmouth: Taxa’ featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s funny to think that for the past several months, Thornton — a chef behind some of the most coveted reservations in Los Angeles — has had to finish each night lugging and emptying gallons of water into a tiny painters’ sink in the back of the museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ordinarily, dining on Thornton’s carefully curated meals means months of languishing on waitlists. But at MOCA — two seatings a night, three days a week — Angeleno foodies could pay $225 for a multisensory experience in which art and food were intended to be one seamless experience. For example, one massive sculpture, a 2,000-pound iceberg sculpted from Styrofoam, was planned to complement a dish of chili-seasoned shrimp — “the spice being this kind of metaphor for heat melting glaciers,” Thornton explained.\u003c/p>\n\u003cp>Along with silverware and napkins, diners were furnished with a manifesto of sorts that laid out the chef’s thoughts about greed, nature and decay. They were urged to contemplate what it means to consume, and to discuss those thoughts with each other and with the staff busily plating their dinners. Nearby, a sculpture depicts an oil spill and the taxidermied animals are depicted struggling in the muck.\u003c/p>\n\u003cfigure id=\"attachment_11803316\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg\" alt=\"Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11803316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a lot to take in as a viewer and as an eater,” says Carolina Miranda, an art critic for the \u003cem>Los Angeles Times\u003c/em>. “I think if you could think of a crazy action movie on the palate, I think that’s almost what he’s going for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a city known for both cutting-edge food and contemporary art, Miranda says it’s smart for MOCA to lure patrons with an over-the top immersive experience. \u003cem>Wolvesmouth:Taxa\u003c/em> was Part 3 of a planned series of nine culinary installations taking place over the next few years. Thornton says the 10th will combine elements of all of the dinners that preceded it. \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=At+LA%27s+MOCA%2C+A+Celebrated+Chef+Serves+Up+Dinner+As+Art+Installation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Craig Thornton is behind some of the most coveted meal reservations in LA. For the past five months, he's been melding dining, sculpture and taxidermy at the city's Museum of Contemporary Art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many chefs think of themselves as artists in the kitchen. Craig Thornton has taken it to another level: For the past five months, he’s been serving up multi-course meals as part of a room-size installation at the prestigious Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>Thornton, 34, is a cult figure in LA’s booming food scene. And for this pop-up dining experiment, he whipped up a rococo menu. A typical dish — if typical is a word that even applies — might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin.\u003c/p>\n\u003cfigure id=\"attachment_11803314\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg\" alt=\"Chef Craig Thornton, 34, is something of a cult figure in LA's food scene.\" width=\"640\" height=\"512\" class=\"size-large wp-image-11803314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chef Craig Thornton, 34, is something of a cult figure in LA’s food scene. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was just one of nine elaborate dishes served within MOCA’s Geffen Contemporary location, in what looked like the set of a dystopian Disney film — a space replete with taxidermied deer, wolves and peacocks arranged in a forest of cherry trees, some of them burnt. \u003cem>Wolvesmouth: Taxa\u003c/em>, as this unorthodox eating experience was called, just closed after a five-month residency. It was the most recent iteration of a roving restaurant that Thornton has run for years — sometimes in warehouses, sometimes in apartments and usually with more amenities.\u003c/p>\n\u003cp>“We’re cooking in the middle of a museum with no running water,” Thornton said ruefully during a recent dinner. “I mean, we have to know how much water we’re using.” (The answer: 75 to 85 gallons per night.)\u003c/p>\n\u003cfigure id=\"attachment_11803315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg\" alt=\"Thornton's menu for 'Wolvesmouth: Taxa' featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin\" width=\"640\" height=\"360\" class=\"size-large wp-image-11803315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thornton’s menu for ‘Wolvesmouth: Taxa’ featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s funny to think that for the past several months, Thornton — a chef behind some of the most coveted reservations in Los Angeles — has had to finish each night lugging and emptying gallons of water into a tiny painters’ sink in the back of the museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ordinarily, dining on Thornton’s carefully curated meals means months of languishing on waitlists. But at MOCA — two seatings a night, three days a week — Angeleno foodies could pay $225 for a multisensory experience in which art and food were intended to be one seamless experience. For example, one massive sculpture, a 2,000-pound iceberg sculpted from Styrofoam, was planned to complement a dish of chili-seasoned shrimp — “the spice being this kind of metaphor for heat melting glaciers,” Thornton explained.\u003c/p>\n\u003cp>Along with silverware and napkins, diners were furnished with a manifesto of sorts that laid out the chef’s thoughts about greed, nature and decay. They were urged to contemplate what it means to consume, and to discuss those thoughts with each other and with the staff busily plating their dinners. Nearby, a sculpture depicts an oil spill and the taxidermied animals are depicted struggling in the muck.\u003c/p>\n\u003cfigure id=\"attachment_11803316\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg\" alt=\"Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11803316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a lot to take in as a viewer and as an eater,” says Carolina Miranda, an art critic for the \u003cem>Los Angeles Times\u003c/em>. “I think if you could think of a crazy action movie on the palate, I think that’s almost what he’s going for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a city known for both cutting-edge food and contemporary art, Miranda says it’s smart for MOCA to lure patrons with an over-the top immersive experience. \u003cem>Wolvesmouth:Taxa\u003c/em> was Part 3 of a planned series of nine culinary installations taking place over the next few years. Thornton says the 10th will combine elements of all of the dinners that preceded it. \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=At+LA%27s+MOCA%2C+A+Celebrated+Chef+Serves+Up+Dinner+As+Art+Installation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Crusty Kiwi And A Troubled Teen Head Into The Wild In 'Hunt For The Wilderpeople'",
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"content": "\u003cp>A wannabe-gangster foster kid develops an uneasy bond with a reluctant parental figure as they trek through the New Zealand bush in \u003cem>Hunt for the Wilderpeople\u003c/em>, a familiar sort of coming-of-age movie made more interesting by the uniqueness of its setting and its off-kilter Kiwi humor. The film has already broken box office records in its native New Zealand. It’s a bit too tame to catch fire here in the same way, however, despite writer-director Taika Waititi’s growing track record as a cult comedy hero.\u003c/p>\n\u003cp>https://youtu.be/tICv8QH3oM0\u003c/p>\n\u003cp>The mischief starts with Ricky (Julian Dennison), an overweight, undisciplined 13-year-old Maori boy who’s blazed through a series of foster homes and reached the end of the line. He’s taken under the wing of an older couple: Bella (Rima Te Wiata), who wins the young man over with unrelenting sweetness, and Hec (Sam Neill), who hunts critters in the woods and wants nothing to do with this obnoxious kid. At first, Hec’s position seems reasonable: Ricky is a poorly defined character, introduced to us as a little hellion who’s terrorized half the country before pulling an abrupt 180 in the first ten minutes and becoming a haiku-writing softie who’s only looking for love. When a series of events causes Ricky and Hec to set off into the wild, some slightly off-color male bonding ensues.\u003c/p>\n\u003cp>Neill makes for a pretty great crusty outcast, even if he isn’t given much to do beyond the broadest outlines of an outdoorsman persona. The chemistry between him and Dennison helps propel the story as the two are chased, \u003cem>The Fugitive\u003c/em>-style, by a relentless figure from social services played by the great Rachel House.\u003c/p>\n\u003cp>“I’m the Terminator, and you’re Sarah Connor,” she barks at Ricky from the other side of a gorge, in possibly the least threatening smack talk ever. Because the authorities suspect kidnapping or worse, Ricky and Hec are forced to stick it out in the bush, hunting for food as, back in civilization, their legend grows. (The film’s title comes from Ricky’s comment that he and Hec are engaged in a lengthy state of migration, like the wildebeest.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tonally, \u003cem>Wilderpeople\u003c/em> is more in line with Waititi’s earlier, character-based humorous narratives \u003cem>Boy and Eagle Vs. Shark\u003c/em> than his howlingly funny vampire mockumentary \u003cem>What We Do In The Shadows\u003c/em>. \u003cem>Shadows \u003c/em>was a laugh-delivery machine; this one, based on the children’s novel \u003cem>Wild Pork and Watercress\u003c/em> by New Zealand author Barry Crump, takes itself slightly more seriously. But there’s still a healthy dose of the familiar Kiwi deadpan we know from stuff like \u003cem>Flight of the Conchords\u003c/em> (which makes sense, as Waititi directed several episodes). Ricky names his dog “Tupac”, thinks every conflict should end in a blaze of gunfire, and is horrified when his sweet, dotty “aunt” suddenly whips out a bush knife and slaughters a deer. And Rhys Darby, a master of character-based comedy, gets a grade-A cameo as a nutty survivalist who’s terrified of filling out government forms.\u003c/p>\n\u003cp>There’s nothing new in Waititi’s treatment of characters like these, and the staging of more fast-paced moments — like a climactic, \u003cem>Mad Max\u003c/em>-style car chase — is too awkward to be exciting. But the film’s subject offers an ideal opportunity to bask in nice crane shots of the country’s untamed beauty. There’s something charming about a lo-fi approach to New Zealand after the last decade-plus of big-budget grandeur via the \u003cem>Lord of the Rings\u003c/em> and \u003cem>Hobbit\u003c/em> series. It reminds us that even when you’re not pretending the country is some glamorous magical kingdom—well, it still kind of is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Waititi is next set to direct the third entry in Marvel’s \u003cem>Thor\u003c/em> films, a series of epically bland proportions that (even by Marvel standards) hasn’t been especially kind to any distinct directorial vision. But perhaps if we suddenly see the Norse God hunting wild boar in the woods, we’ll know something of the director’s individual spirit has prevailed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A wannabe-gangster foster kid develops an uneasy bond with a reluctant parental figure as they trek through the New Zealand bush in \u003cem>Hunt for the Wilderpeople\u003c/em>, a familiar sort of coming-of-age movie made more interesting by the uniqueness of its setting and its off-kilter Kiwi humor. The film has already broken box office records in its native New Zealand. It’s a bit too tame to catch fire here in the same way, however, despite writer-director Taika Waititi’s growing track record as a cult comedy hero.\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/tICv8QH3oM0'\n title='//www.youtube.com/embed/tICv8QH3oM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The mischief starts with Ricky (Julian Dennison), an overweight, undisciplined 13-year-old Maori boy who’s blazed through a series of foster homes and reached the end of the line. He’s taken under the wing of an older couple: Bella (Rima Te Wiata), who wins the young man over with unrelenting sweetness, and Hec (Sam Neill), who hunts critters in the woods and wants nothing to do with this obnoxious kid. At first, Hec’s position seems reasonable: Ricky is a poorly defined character, introduced to us as a little hellion who’s terrorized half the country before pulling an abrupt 180 in the first ten minutes and becoming a haiku-writing softie who’s only looking for love. When a series of events causes Ricky and Hec to set off into the wild, some slightly off-color male bonding ensues.\u003c/p>\n\u003cp>Neill makes for a pretty great crusty outcast, even if he isn’t given much to do beyond the broadest outlines of an outdoorsman persona. The chemistry between him and Dennison helps propel the story as the two are chased, \u003cem>The Fugitive\u003c/em>-style, by a relentless figure from social services played by the great Rachel House.\u003c/p>\n\u003cp>“I’m the Terminator, and you’re Sarah Connor,” she barks at Ricky from the other side of a gorge, in possibly the least threatening smack talk ever. Because the authorities suspect kidnapping or worse, Ricky and Hec are forced to stick it out in the bush, hunting for food as, back in civilization, their legend grows. (The film’s title comes from Ricky’s comment that he and Hec are engaged in a lengthy state of migration, like the wildebeest.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tonally, \u003cem>Wilderpeople\u003c/em> is more in line with Waititi’s earlier, character-based humorous narratives \u003cem>Boy and Eagle Vs. Shark\u003c/em> than his howlingly funny vampire mockumentary \u003cem>What We Do In The Shadows\u003c/em>. \u003cem>Shadows \u003c/em>was a laugh-delivery machine; this one, based on the children’s novel \u003cem>Wild Pork and Watercress\u003c/em> by New Zealand author Barry Crump, takes itself slightly more seriously. But there’s still a healthy dose of the familiar Kiwi deadpan we know from stuff like \u003cem>Flight of the Conchords\u003c/em> (which makes sense, as Waititi directed several episodes). Ricky names his dog “Tupac”, thinks every conflict should end in a blaze of gunfire, and is horrified when his sweet, dotty “aunt” suddenly whips out a bush knife and slaughters a deer. And Rhys Darby, a master of character-based comedy, gets a grade-A cameo as a nutty survivalist who’s terrified of filling out government forms.\u003c/p>\n\u003cp>There’s nothing new in Waititi’s treatment of characters like these, and the staging of more fast-paced moments — like a climactic, \u003cem>Mad Max\u003c/em>-style car chase — is too awkward to be exciting. But the film’s subject offers an ideal opportunity to bask in nice crane shots of the country’s untamed beauty. There’s something charming about a lo-fi approach to New Zealand after the last decade-plus of big-budget grandeur via the \u003cem>Lord of the Rings\u003c/em> and \u003cem>Hobbit\u003c/em> series. It reminds us that even when you’re not pretending the country is some glamorous magical kingdom—well, it still kind of is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Waititi is next set to direct the third entry in Marvel’s \u003cem>Thor\u003c/em> films, a series of epically bland proportions that (even by Marvel standards) hasn’t been especially kind to any distinct directorial vision. But perhaps if we suddenly see the Norse God hunting wild boar in the woods, we’ll know something of the director’s individual spirit has prevailed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "About Face: On Beauty, Characters and Threading the Needle",
"headTitle": "About Face: On Beauty, Characters and Threading the Needle | KQED",
"content": "\u003cp>There is a myth that the most worshipped woman in popular culture is the one perceived as most perfectly beautiful, but that’s not so. What’s worshipped the most is the one who threads the needle most precisely such that she is almost impossibly beautiful, but something about her brings her toward you and into focus, close enough that you feel like you could touch her.\u003c/p>\n\u003cp>Consider the unintentionally funny opening of Rich Cohen’s recent \u003cem>Vanity Fair \u003c/em>\u003ca href=\"http://www.vanityfair.com/hollywood/2016/07/margot-robbie-cover-story\" target=\"_blank\" rel=\"noopener\">profile\u003c/a> of Margot Robbie, an interesting actress who is, among other things, about as conventionally beautiful as women get (and more power to her).\u003c/p>\n\u003cblockquote>\n\u003cp>“America is so far gone, we have to go to Australia to find a girl next door. In case you’ve missed it, her name is Margot Robbie. She is 26 and beautiful, not in that otherworldly, catwalk way but in a minor knock-around key, a blue mood, a slow dance. She is blonde but dark at the roots. She is tall but only with the help of certain shoes. She can be sexy and composed even while naked but only in character. As I said, she is from Australia. To understand her, you should think about what that means.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Margot Robbie, according to this paragraph, is beautiful in a kind of regular, ordinary, normal, accessible way, even though the profile is entirely illustrated with wet-babe swimsuit shots. Apparently she has dark roots (which, by the way, are generally the result of waiting to color your hair, and not of any particular mystique or genetic ta-da) and is tall if she happens to wear very high heels (which, by the way, is true of many women because of the basic interlocking logic of shoes and height). And she is from Australia, and we should think about what that means. (Spoiler alert: The thesis is that “Australia is America 50 years ago,” so I’m sure they’re looking forward to getting the Internet someday.)\u003c/p>\n\u003cp>What follows is something like you’d expect to find in late-night Margot Robbie fan fiction, in which you meet her and really, really get to know the woman behind the blue eyes and blond hair — you look at her in a new way. She touches your heart a tad. “We sat for a moment in silence,” Cohen says. “She was thinking of something; I was thinking of something else.” (Say countless readers in unison: “Yes, I suspect you were not thinking the same thing in this particular moment.”) Somehow, this piece ends without a gentle, rueful kiss on the forehead, but that’s sort of where it seems to be going for a while there.\u003c/p>\n\u003cp>The effort to position Margot Robbie as less “otherworldly” but more of a “knock-around” kind of girl because she has dark roots and isn’t all that tall is a perfect example of worshipping a woman by arguing that she threads the needle in just the right way. She delights us, but you can see a flicker of ordinariness that binds her to us when we feel ordinary ourselves. The ones who are beautiful with no ordinariness at all will be classified as cold. Or stuck-up. Or worse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It made an interesting companion piece with \u003cem>Variety \u003c/em>film critic Owen Gleiberman’s recent \u003ca href=\"http://variety.com/2016/film/columns/renee-zellweger-bridget-joness-baby-1201806603/\" target=\"_blank\" rel=\"noopener\">column\u003c/a> lamenting the way Renee Zellweger looks in the trailer for \u003cem>Bridget Jones’s Baby\u003c/em>. Gleiberman guesses (without, he acknowledges, any evidence other than his own sense of what she \u003cem>should \u003c/em>look like were she aging naturally) that Zellweger has had “work done.” That, of course, is in turn a way of implying “plastic surgery” without saying so — there’s work that isn’t surgery, but that probably isn’t what we’re talking about. Gleiberman says that Zellweger is unrecognizable as herself and goes on to generalize that when \u003cem>that\u003c/em> happens, it’s not the result of a celebrity trying to look her best or trying to stay the same, but of something far more nefarious: “It’s the result of a decision, an ideology, a rejection of the self.” That is a lot to conclude based on a trailer, but let’s follow it for a bit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5aaWY7rQS3I\u003c/p>\n\u003cp>What seems to have bummed Gleiberman out in the case of Zellweger is, he says, rooted in his appreciation of the way she looked in \u003cem>Jerry Maguire\u003c/em> — to him, she wasn’t pretty like a movie star, but was, as he puts it, “beautiful in the way an ordinary person is.” In other words: a needle-threader. He ascribes essentially all of her appeal in the film\u003cem> \u003c/em>to this fact, saying nothing about her acting in it at all, only that her ordinary looks (that’s not really true to begin with, I don’t think, but let’s posit that it’s true) were what made the story special, what gave it meaning. That Tom Cruise could fall for a woman so regular-looking, so not-Julia-Roberts. “This is what completes you,” he says in reference to the film’s most famous line, “someone who looks just like this.”\u003c/p>\n\u003cp>The piece ends in hope that in the third Bridget Jones movie, Bridget will look like “a gloriously ordinary person” rather than “someone who looks like she no longer wants to look like who she is.” That sentence subtly shifts the lamentable thing from \u003cem>how Renee Zellweger looks\u003c/em>, which might be deemed superficial, to \u003cem>how Renee Zellweger looks like she feels about how she looks\u003c/em>, which is meant — sincerely, I think — as compassionate\u003cem>. \u003c/em>It’s also a surprising thought, given that not wanting to look like who she was essentially defined Bridget Jones, whose diary is all about weight loss and getting a boyfriend.\u003c/p>\n\u003cp>In any event, if I follow the logic, it’s that it’s sad to see an ordinary-looking actress succumb to pressure to conform, in this case not because of the way Zellweger actually looks, but because the \u003cem>motives \u003c/em>Gleiberman ascribes to Zellweger the actress (rejection of self) are inconsistent with Bridget the character. He seems to find Bridget more confident and self-assured than I ever have, but again, let’s go with it.\u003c/p>\n\u003cp>Here’s the thing: Actors change how they look all the time. They go blond. They go brunette. They shave their heads. They grow weird mustaches, they grow long beards and shave them off, they gain weight and lose weight, they pierce things and get terrible haircuts. Men go from wiry to jacked and back. \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/04/21/151107477/what-zac-efrons-beard-means-for-men-and-women-in-hollywood\">Zac Efron\u003c/a> massively changed his image from a slender, nonthreatening teen wiggle-dancer to a scruffy brooder who could play a Marine. Joaquin Phoenix is \u003cem>often \u003c/em>unrecognizable compared to when last you saw him, depending on when last you saw him. Emma Stone already has an entire career’s worth of looks in her past.\u003c/p>\n\u003cp>It’s a lot to assume a substantial change in appearance, because it involves the face, can only be the result of “the rejection of the self.” It’s also a lot to assume that however different you think an actress looks, that’s how different she means to look — that if you cannot recognize her, she has chosen to be unrecognizable. (For the record, if it matters, I don’t happen to think Zellweger looks much different at all in the trailer from what I would expect an older Bridget to look like. I did think she looked different a couple of years ago, but people have all kinds of experiences, from beauty treatments to medication, that temporarily change their look.) It would be one thing to say, “Zellweger’s current look doesn’t fit Bridget.” It’s quite another to say, “I conclude that she’s doing this because she’s rejecting herself, and rejecting herself doesn’t fit Bridget.”\u003c/p>\n\u003cp>But ultimately, to place this much of Zellweger’s appeal in her physical face anyway, particularly through this pretty-but-in-a-not-\u003cem>that\u003c/em>-pretty-way lens, is assigning to ourselves a different relationship to her physical self than we probably ought to have. Actresses can change their faces if they want to, exactly as they can tattoo their bodies. They owe us nothing. It’s misdirection, I think, to analyze Zellweger’s self-worth as if she’s old insecure Bridget, crying on the couch again. If this is wrong for her because we are concerned for actresses’ well-being, then it’s equally wrong for an actress who’s playing an action hero or a glamorous goddess. But if it’s wrong because she owes us her 2001 face so that we can have pinchable-cheeked Bridget Jones the way we remember her, I don’t think that’s how faces work. Yours is yours; you may do with it as you like, and she may also. You then go to the movie or do not, but she doesn’t owe anyone any specific appearance at all.\u003c/p>\n\u003cp>Moreover, I’m not sure it’s more insidious (his word) to change your appearance substantially than it is to, as Gleiberman puts it, “nip and tuck” to avoid the appearance of aging and stay precisely as you are? Aging \u003cem>invites \u003c/em>the rejection of the self in the sense that it’s that same self, after all, that determinedly changes its appearance unless you intervene. Accepting that aging is natural requires accepting that a person whose appearance does \u003cem>not\u003c/em> change because of constant maintenance is not automatically more or less engaged in self-acceptance than someone who shows up with an entirely different nose. Choosing to push back against the naturally emerging visual manifestation of yourself — grayer, perhaps, or with more wrinkles — is certainly no \u003cem>less\u003c/em> emotionally fraught for many people than choosing to push back against the current version of yourself by coloring your hair or getting a tattoo or plumping your lips. People change how they present; it’s deeply personal.\u003c/p>\n\u003cp>A lot of people who lament cosmetic procedures in Hollywood say that they are — and in fact they consciously are — trying to take up for actresses who feel forced into it. And to them I would say this: If that’s the issue, even assuming you’re right, you’ll do more good by directing the anger at the problem, not at what your own analysis suggests the people affected by it do to survive.\u003c/p>\n\u003cp>Perhaps it’s vanity. Perhaps it’s pressure. Perhaps all that nipping and tucking that we don’t notice and dismiss as normal upkeep has blinded us to what it really looks like when actors age. How sure are we that we know what aging looks like in all cases? Have you ever been to a high school reunion?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No one wants anyone to feel \u003cem>forced\u003c/em> into a rejection of the self. Still, the narrower we make the path that a pretty/ordinary or pretty ordinary woman has to walk — engaged in constant but undetectable upkeep, naturally gorgeous but possessed of a mole or a crooked smile or something else that tells us she might have been next to us in the yearbook — the more, not less, brutal this entire business becomes. \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=About+Face%3A+On+Beauty%2C+Characters+And+Threading+The+Needle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a myth that the most worshipped woman in popular culture is the one perceived as most perfectly beautiful, but that’s not so. What’s worshipped the most is the one who threads the needle most precisely such that she is almost impossibly beautiful, but something about her brings her toward you and into focus, close enough that you feel like you could touch her.\u003c/p>\n\u003cp>Consider the unintentionally funny opening of Rich Cohen’s recent \u003cem>Vanity Fair \u003c/em>\u003ca href=\"http://www.vanityfair.com/hollywood/2016/07/margot-robbie-cover-story\" target=\"_blank\" rel=\"noopener\">profile\u003c/a> of Margot Robbie, an interesting actress who is, among other things, about as conventionally beautiful as women get (and more power to her).\u003c/p>\n\u003cblockquote>\n\u003cp>“America is so far gone, we have to go to Australia to find a girl next door. In case you’ve missed it, her name is Margot Robbie. She is 26 and beautiful, not in that otherworldly, catwalk way but in a minor knock-around key, a blue mood, a slow dance. She is blonde but dark at the roots. She is tall but only with the help of certain shoes. She can be sexy and composed even while naked but only in character. As I said, she is from Australia. To understand her, you should think about what that means.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Margot Robbie, according to this paragraph, is beautiful in a kind of regular, ordinary, normal, accessible way, even though the profile is entirely illustrated with wet-babe swimsuit shots. Apparently she has dark roots (which, by the way, are generally the result of waiting to color your hair, and not of any particular mystique or genetic ta-da) and is tall if she happens to wear very high heels (which, by the way, is true of many women because of the basic interlocking logic of shoes and height). And she is from Australia, and we should think about what that means. (Spoiler alert: The thesis is that “Australia is America 50 years ago,” so I’m sure they’re looking forward to getting the Internet someday.)\u003c/p>\n\u003cp>What follows is something like you’d expect to find in late-night Margot Robbie fan fiction, in which you meet her and really, really get to know the woman behind the blue eyes and blond hair — you look at her in a new way. She touches your heart a tad. “We sat for a moment in silence,” Cohen says. “She was thinking of something; I was thinking of something else.” (Say countless readers in unison: “Yes, I suspect you were not thinking the same thing in this particular moment.”) Somehow, this piece ends without a gentle, rueful kiss on the forehead, but that’s sort of where it seems to be going for a while there.\u003c/p>\n\u003cp>The effort to position Margot Robbie as less “otherworldly” but more of a “knock-around” kind of girl because she has dark roots and isn’t all that tall is a perfect example of worshipping a woman by arguing that she threads the needle in just the right way. She delights us, but you can see a flicker of ordinariness that binds her to us when we feel ordinary ourselves. The ones who are beautiful with no ordinariness at all will be classified as cold. Or stuck-up. Or worse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It made an interesting companion piece with \u003cem>Variety \u003c/em>film critic Owen Gleiberman’s recent \u003ca href=\"http://variety.com/2016/film/columns/renee-zellweger-bridget-joness-baby-1201806603/\" target=\"_blank\" rel=\"noopener\">column\u003c/a> lamenting the way Renee Zellweger looks in the trailer for \u003cem>Bridget Jones’s Baby\u003c/em>. Gleiberman guesses (without, he acknowledges, any evidence other than his own sense of what she \u003cem>should \u003c/em>look like were she aging naturally) that Zellweger has had “work done.” That, of course, is in turn a way of implying “plastic surgery” without saying so — there’s work that isn’t surgery, but that probably isn’t what we’re talking about. Gleiberman says that Zellweger is unrecognizable as herself and goes on to generalize that when \u003cem>that\u003c/em> happens, it’s not the result of a celebrity trying to look her best or trying to stay the same, but of something far more nefarious: “It’s the result of a decision, an ideology, a rejection of the self.” That is a lot to conclude based on a trailer, but let’s follow it for a bit.\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/5aaWY7rQS3I'\n title='//www.youtube.com/embed/5aaWY7rQS3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What seems to have bummed Gleiberman out in the case of Zellweger is, he says, rooted in his appreciation of the way she looked in \u003cem>Jerry Maguire\u003c/em> — to him, she wasn’t pretty like a movie star, but was, as he puts it, “beautiful in the way an ordinary person is.” In other words: a needle-threader. He ascribes essentially all of her appeal in the film\u003cem> \u003c/em>to this fact, saying nothing about her acting in it at all, only that her ordinary looks (that’s not really true to begin with, I don’t think, but let’s posit that it’s true) were what made the story special, what gave it meaning. That Tom Cruise could fall for a woman so regular-looking, so not-Julia-Roberts. “This is what completes you,” he says in reference to the film’s most famous line, “someone who looks just like this.”\u003c/p>\n\u003cp>The piece ends in hope that in the third Bridget Jones movie, Bridget will look like “a gloriously ordinary person” rather than “someone who looks like she no longer wants to look like who she is.” That sentence subtly shifts the lamentable thing from \u003cem>how Renee Zellweger looks\u003c/em>, which might be deemed superficial, to \u003cem>how Renee Zellweger looks like she feels about how she looks\u003c/em>, which is meant — sincerely, I think — as compassionate\u003cem>. \u003c/em>It’s also a surprising thought, given that not wanting to look like who she was essentially defined Bridget Jones, whose diary is all about weight loss and getting a boyfriend.\u003c/p>\n\u003cp>In any event, if I follow the logic, it’s that it’s sad to see an ordinary-looking actress succumb to pressure to conform, in this case not because of the way Zellweger actually looks, but because the \u003cem>motives \u003c/em>Gleiberman ascribes to Zellweger the actress (rejection of self) are inconsistent with Bridget the character. He seems to find Bridget more confident and self-assured than I ever have, but again, let’s go with it.\u003c/p>\n\u003cp>Here’s the thing: Actors change how they look all the time. They go blond. They go brunette. They shave their heads. They grow weird mustaches, they grow long beards and shave them off, they gain weight and lose weight, they pierce things and get terrible haircuts. Men go from wiry to jacked and back. \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/04/21/151107477/what-zac-efrons-beard-means-for-men-and-women-in-hollywood\">Zac Efron\u003c/a> massively changed his image from a slender, nonthreatening teen wiggle-dancer to a scruffy brooder who could play a Marine. Joaquin Phoenix is \u003cem>often \u003c/em>unrecognizable compared to when last you saw him, depending on when last you saw him. Emma Stone already has an entire career’s worth of looks in her past.\u003c/p>\n\u003cp>It’s a lot to assume a substantial change in appearance, because it involves the face, can only be the result of “the rejection of the self.” It’s also a lot to assume that however different you think an actress looks, that’s how different she means to look — that if you cannot recognize her, she has chosen to be unrecognizable. (For the record, if it matters, I don’t happen to think Zellweger looks much different at all in the trailer from what I would expect an older Bridget to look like. I did think she looked different a couple of years ago, but people have all kinds of experiences, from beauty treatments to medication, that temporarily change their look.) It would be one thing to say, “Zellweger’s current look doesn’t fit Bridget.” It’s quite another to say, “I conclude that she’s doing this because she’s rejecting herself, and rejecting herself doesn’t fit Bridget.”\u003c/p>\n\u003cp>But ultimately, to place this much of Zellweger’s appeal in her physical face anyway, particularly through this pretty-but-in-a-not-\u003cem>that\u003c/em>-pretty-way lens, is assigning to ourselves a different relationship to her physical self than we probably ought to have. Actresses can change their faces if they want to, exactly as they can tattoo their bodies. They owe us nothing. It’s misdirection, I think, to analyze Zellweger’s self-worth as if she’s old insecure Bridget, crying on the couch again. If this is wrong for her because we are concerned for actresses’ well-being, then it’s equally wrong for an actress who’s playing an action hero or a glamorous goddess. But if it’s wrong because she owes us her 2001 face so that we can have pinchable-cheeked Bridget Jones the way we remember her, I don’t think that’s how faces work. Yours is yours; you may do with it as you like, and she may also. You then go to the movie or do not, but she doesn’t owe anyone any specific appearance at all.\u003c/p>\n\u003cp>Moreover, I’m not sure it’s more insidious (his word) to change your appearance substantially than it is to, as Gleiberman puts it, “nip and tuck” to avoid the appearance of aging and stay precisely as you are? Aging \u003cem>invites \u003c/em>the rejection of the self in the sense that it’s that same self, after all, that determinedly changes its appearance unless you intervene. Accepting that aging is natural requires accepting that a person whose appearance does \u003cem>not\u003c/em> change because of constant maintenance is not automatically more or less engaged in self-acceptance than someone who shows up with an entirely different nose. Choosing to push back against the naturally emerging visual manifestation of yourself — grayer, perhaps, or with more wrinkles — is certainly no \u003cem>less\u003c/em> emotionally fraught for many people than choosing to push back against the current version of yourself by coloring your hair or getting a tattoo or plumping your lips. People change how they present; it’s deeply personal.\u003c/p>\n\u003cp>A lot of people who lament cosmetic procedures in Hollywood say that they are — and in fact they consciously are — trying to take up for actresses who feel forced into it. And to them I would say this: If that’s the issue, even assuming you’re right, you’ll do more good by directing the anger at the problem, not at what your own analysis suggests the people affected by it do to survive.\u003c/p>\n\u003cp>Perhaps it’s vanity. Perhaps it’s pressure. Perhaps all that nipping and tucking that we don’t notice and dismiss as normal upkeep has blinded us to what it really looks like when actors age. How sure are we that we know what aging looks like in all cases? Have you ever been to a high school reunion?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No one wants anyone to feel \u003cem>forced\u003c/em> into a rejection of the self. Still, the narrower we make the path that a pretty/ordinary or pretty ordinary woman has to walk — engaged in constant but undetectable upkeep, naturally gorgeous but possessed of a mole or a crooked smile or something else that tells us she might have been next to us in the yearbook — the more, not less, brutal this entire business becomes. \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=About+Face%3A+On+Beauty%2C+Characters+And+Threading+The+Needle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\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+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Her name is Riri Williams. She reverse-engineered her own version of the Iron Man battlesuit in her MIT dorm room, got kicked out, and struck out on her own to do the superhero thing. Clumsily at first, but she’s learning fast. So fast she’s impressing Tony Stark, who’s questioning his status as the Marvel Universe’s go-to, super-powered Campbell’s soup can. Readers first met her in the March issue of \u003cem>Invincible Iron Man\u003c/em>.\u003c/p>\n\u003cp>And \u003ca href=\"http://time.com/4394478/iron-man-riri-williams-tony-stark/?xid=homepage\" target=\"_blank\" rel=\"noopener\">according to an interview in \u003cem>TIME\u003c/em> with Brian Michael Bendis\u003c/a>, who’s writing both that \u003cem>Iron Man\u003c/em> title and this summer’s comics crossover event, \u003cem>Civil War II\u003c/em>, she’s about to take over for Tony Stark when \u003cem>Invincible Iron Man\u003c/em> relaunches in the fall.\u003c/p>\n\u003cp>It’s the latest in a series of moves that’s slowly but steadily transforming the Avengers’ roster from a team with more white dudes than a Harold Bloom syllabus into a super-group that more accurately reflects the world off of the comics page.\u003c/p>\n\u003cp>First came Miles Morales, a black Latino kid who stepped into the role of Spider-Man. Next came Kamala Khan, a teenage Muslim from New Jersey who assumed the title of Ms. Marvel, and America Chavez, a Latina lesbian who adopted the name of Golden Age hero Miss America. Recently Sam Wilson, the former Marvel hero The Falcon, took over as Captain America (not for the first time). Two years ago, Jane Foster, the girlfriend of Marvel’s resident God of Thunder, replaced him, becoming the female Thor.\u003c/p>\n\u003cfigure id=\"attachment_11781600\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg\" alt=\"The cover of 'Invincible Iron Man,' with art by Jeff Dekal\" width=\"640\" height=\"973\" class=\"size-large wp-image-11781600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-776x1180.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/ironman2.jpg 987w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Invincible Iron Man,’ with art by Jeff Dekal \u003ccite>(Courtesy: Marvel Comics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s worth noting that in every one of these cases, the new character has simply assumed an existing hero’s shtick. That’s because it takes years for brand-new characters to establish themselves, if they ever do; there’s certainly no guarantee readers will accept an original hero in a genre as steeped (read: wallowing) in history as mainstream superhero comics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having a new character take on the name and powers of a long-established hero offers an effective shortcut, and one that assures three different but coequal outcomes:\u003c/p>\n\u003cp>1. The sheer name-recognition of the superhero in question will generate coverage, like this blog post;\u003c/p>\n\u003cp>2. A subset of hardcore fans who believe superhero comics should be fixed in a permanent, “iconic” stasis (read: should always remain exactly the way they were when these fans were thirteen years old) will rise up in protest; and\u003c/p>\n\u003cp>3. Readers who have rarely seen themselves represented in superhero comics in such a high-profile way — people of color, LGBT people, people of different faiths — will at least investigate a new take on a character. Whether or not they stick with it depends, of course, entirely on the execution; representation does not guarantee readership, nor should it. But comics, like any medium, grow more interesting, more relevant, and more revelatory as they grow less monolithic. And that’s what moves like this set out to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that interview in TIME, Bendis was asked why it’s taken so long for changes like this to occur in comics. He said:\u003c/p>\n\u003cblockquote>\n\u003cp>Talking to \u003cem>any\u003c/em> of the older creators, it’s the thing they said they wish they’d done more of — reflecting the world around them. It just wasn’t where the world was at at that time. Now, when you have a young woman come up to you at a signing and say how happy she is to be represented in his universe, you know you’re moving in the right direction.\u003c/p>\n\u003c/blockquote>\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+Starkly+Different+Iron+Man%3A+Black%2C+Female%2C+And+15+Years+Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The great critic Robert Warshaw once pegged the gangster movie as “the \u003cem>no\u003c/em> to the great American \u003cem>yes\u003c/em> that is stamped so large over our official culture.”\u003c/p>\n\u003cp>Todd Solondz doesn’t make gangster films, but I can’t think of a better way to describe his corrosive domestic comedies — you absolutely should see \u003cem>Welcome to the Dollhouse\u003c/em>, \u003cem>Happiness\u003c/em>, \u003cem>Storytelling\u003c/em> or \u003cem>Palindromes\u003c/em>, but not if you need cheering up about the order of things. Solondz’s territory is the suburb, all tricked out in Have-A-Nice-Day primary colors, but that’s about it for American optimism. From then on it’s \u003cem>no, no, no\u003c/em> all the way for the benighted inhabitants of a crippled American Dream.\u003c/p>\n\u003cp>https://youtu.be/8C7OewoxnKI\u003c/p>\n\u003cp>Solondz doesn’t work in the realist mode — the star of his new movie is a traveling dachshund, cute as a button — but \u003cem>Wiener-Dog\u003c/em> cuts alarmingly close to the, uh, bone of our collective past, present and possible future. \u003cbr>We meet the titular dachshund circling a narrow cage at the pound, looking for comfort. She’s not alone: passed carelessly from hand to hand, the repeatedly renamed pooch serves as the connective tissue between a succession of suburbanites staggering through dark days.\u003c/p>\n\u003cp>Solondz has often used similar scenarios to take apart media-fed pieties about sexual abuse, pornography, abortion, the Holocaust. But Wiener-Dog’s foster parents seem lost and lonely, stuck in the mud of a disconnected anomie. Adopted into the clinically elegant home of a stressed couple (Julie Delpy and Tracy Letts), the dog soon wreaks graphically poopy havoc with their plans to console their small son (Keaton Nigel Cooke), a recent cancer survivor. Which may or may not be why the summarily dumped pooch is renamed Doody by a vet’s assistant named Dawn Wiener. Solondz loves to shift shapes: Memorably played by a teenaged Heather Matarazzo in \u003cem>Welcome to the Dollhouse\u003c/em>, Dawn is now realized by Greta Gerwig, a golden beauty hidden behind horrid glasses and dispiriting, unflattering threads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All grown up in theory, Dawn is kindly but boneless and unfocused, which may explain why she eagerly joins a former classmate and tormentor (Kieran Culkin) on an iffy road trip to the heartland with Doody in tow — until the dog is handed off to the love object’s brother (Connor Long), whose Down Syndrome is rigorously unsentimentalized. From there it’s a quick trot to Professor Schmerz (a very good Danny DeVito), a suffering film instructor and failed screenwriter. \u003cem>Schmerz\u003c/em> means “pain\u003cem>“\u003c/em> in German, so you get the picture, and soon the dog lands in the living room of an old woman played by Ellen Burstyn with a recalcitrant scowl and lank hair. Sick and embittered, she’s plagued by her leeching no-hoper of a granddaughter (Zosia Mamet) and a bunch of identical girlish apparitions, a Stepford Greek chorus reminding her of the better women she might have become on roads not taken.\u003c/p>\n\u003cp>Existentially speaking, Solondz gives no quarter, nor does he mince words about where we’re all headed. His vision of our predicament is bleakly funny and weirdly heartfelt. Ever the pessimist, he’s rarely a cynic. In interview after interview the director has made it clear that his sympathy for dweebs and failures everywhere is rooted in personal experience. And in \u003cem>Wiener-Dog\u003c/em> he’s far more likely to make short work of the film-theory mumbo-jumbo of hipster cinema students than of their hidebound professor, still beavering away at the principles of three-act structure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What do we believe in?” a small boy asks his glibly atheist mother near the beginning of \u003cem>Wiener-Dog\u003c/em>. “Truth, compassion, love,” she answers tenderly, while doling out heedless cruelty to a putative pet. Solondz may be asking who’s rescuing whom here. Is that a ray of hope speeding by these walking wounded, so preoccupied with their own miseries they fail to see that caring for others, canine or human, may be the only redemption? Or is it just a sausage dog on a skateboard?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The great critic Robert Warshaw once pegged the gangster movie as “the \u003cem>no\u003c/em> to the great American \u003cem>yes\u003c/em> that is stamped so large over our official culture.”\u003c/p>\n\u003cp>Todd Solondz doesn’t make gangster films, but I can’t think of a better way to describe his corrosive domestic comedies — you absolutely should see \u003cem>Welcome to the Dollhouse\u003c/em>, \u003cem>Happiness\u003c/em>, \u003cem>Storytelling\u003c/em> or \u003cem>Palindromes\u003c/em>, but not if you need cheering up about the order of things. Solondz’s territory is the suburb, all tricked out in Have-A-Nice-Day primary colors, but that’s about it for American optimism. From then on it’s \u003cem>no, no, no\u003c/em> all the way for the benighted inhabitants of a crippled American Dream.\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/8C7OewoxnKI'\n title='//www.youtube.com/embed/8C7OewoxnKI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Solondz doesn’t work in the realist mode — the star of his new movie is a traveling dachshund, cute as a button — but \u003cem>Wiener-Dog\u003c/em> cuts alarmingly close to the, uh, bone of our collective past, present and possible future. \u003cbr>We meet the titular dachshund circling a narrow cage at the pound, looking for comfort. She’s not alone: passed carelessly from hand to hand, the repeatedly renamed pooch serves as the connective tissue between a succession of suburbanites staggering through dark days.\u003c/p>\n\u003cp>Solondz has often used similar scenarios to take apart media-fed pieties about sexual abuse, pornography, abortion, the Holocaust. But Wiener-Dog’s foster parents seem lost and lonely, stuck in the mud of a disconnected anomie. Adopted into the clinically elegant home of a stressed couple (Julie Delpy and Tracy Letts), the dog soon wreaks graphically poopy havoc with their plans to console their small son (Keaton Nigel Cooke), a recent cancer survivor. Which may or may not be why the summarily dumped pooch is renamed Doody by a vet’s assistant named Dawn Wiener. Solondz loves to shift shapes: Memorably played by a teenaged Heather Matarazzo in \u003cem>Welcome to the Dollhouse\u003c/em>, Dawn is now realized by Greta Gerwig, a golden beauty hidden behind horrid glasses and dispiriting, unflattering threads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All grown up in theory, Dawn is kindly but boneless and unfocused, which may explain why she eagerly joins a former classmate and tormentor (Kieran Culkin) on an iffy road trip to the heartland with Doody in tow — until the dog is handed off to the love object’s brother (Connor Long), whose Down Syndrome is rigorously unsentimentalized. From there it’s a quick trot to Professor Schmerz (a very good Danny DeVito), a suffering film instructor and failed screenwriter. \u003cem>Schmerz\u003c/em> means “pain\u003cem>“\u003c/em> in German, so you get the picture, and soon the dog lands in the living room of an old woman played by Ellen Burstyn with a recalcitrant scowl and lank hair. Sick and embittered, she’s plagued by her leeching no-hoper of a granddaughter (Zosia Mamet) and a bunch of identical girlish apparitions, a Stepford Greek chorus reminding her of the better women she might have become on roads not taken.\u003c/p>\n\u003cp>Existentially speaking, Solondz gives no quarter, nor does he mince words about where we’re all headed. His vision of our predicament is bleakly funny and weirdly heartfelt. Ever the pessimist, he’s rarely a cynic. In interview after interview the director has made it clear that his sympathy for dweebs and failures everywhere is rooted in personal experience. And in \u003cem>Wiener-Dog\u003c/em> he’s far more likely to make short work of the film-theory mumbo-jumbo of hipster cinema students than of their hidebound professor, still beavering away at the principles of three-act structure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What do we believe in?” a small boy asks his glibly atheist mother near the beginning of \u003cem>Wiener-Dog\u003c/em>. “Truth, compassion, love,” she answers tenderly, while doling out heedless cruelty to a putative pet. Solondz may be asking who’s rescuing whom here. Is that a ray of hope speeding by these walking wounded, so preoccupied with their own miseries they fail to see that caring for others, canine or human, may be the only redemption? Or is it just a sausage dog on a skateboard?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sick of getting your view blocked at live shows by people holding up their phones? Apple was granted a patent yesterday for technology that can disable those cameras — at least in specific places.\u003c/p>\n\u003cp>The system mapped out in \u003ca href=\"http://pdfpiw.uspto.gov/.piw?PageNum=0&docid=09380225&IDKey=CD40D894D44F&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO2%2526Sect2%3DHITOFF%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html\" target=\"_blank\" rel=\"noopener\">this patent\u003c/a> would use infrared emitters to temporarily deactivate the photo and video capabilities on devices like mobile phones, laptops, stand-alone video or still cameras or any other “electronic device with an image sensor.” Venues, or those in charge of a given space, could post an infrared emitter to temporarily, and remotely, disable those recording functions on devices within the emission range.\u003c/p>\n\u003cfigure id=\"attachment_11758331\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/band_apple_.jpg\" alt=\"A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show.\" width=\"400\" height=\"571\" class=\"size-full wp-image-11758331\">\u003cfigcaption class=\"wp-caption-text\">A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show. \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within its patent application, Apple specifically laid out the technology’s use in the context of musicians and a live concert venue.\u003c/p>\n\u003cp>There are many ways in which the raw technology could make its way into the marketplace, but it’s easy to imagine how the technology, by itself, could be used to limit free expression. For instance, blockers could be installed in public spaces or in other places where visitors may want to snap a picture or record video. That could give governments, the military or police an easy means to shut down activists. On a less grave note, it could also be a vehicle for certain organizations — museums, for example — to maximize sales of their images, by preventing visitors from simply snapping their own.\u003c/p>\n\u003cp>It’s not all ominous, however. Another potential use detailed in the Apple patent lays out how this technology could provide a multimedia-rich experience to a user, in much the same way that a QR code on a commercial product works: Metadata could deliver detailed descriptions, hyperlinks, video and audio narratives and other materials to the person using the phone. (Unlike artists at a concert or actors on a screen, however, an object like the “Aztec water jug” used as the example in Apple’s patent could never claim royalties or other payments.)\u003c/p>\n\u003cfigure id=\"attachment_11758330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/aztec_apple.jpg\" alt=\"A drawing from Apple's new patent demonstrates its potential use in giving viewers more context\" width=\"400\" height=\"570\" class=\"size-full wp-image-11758330\">\u003cfigcaption class=\"wp-caption-text\">A drawing from Apple’s new patent demonstrates its potential use in giving viewers more context \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s a sign of the times that stakeholders like movie distributors and theaters, concert venues, presenting organizations and record companies, along with musicians, may increasingly look to technology to enact policy, rather than work out the issues by legal or social contracts with the public.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musicians and promoters have already been responding to fans taking pictures and filming videos at their shows in a variety of ways. Venues often post signs and inform the audience about such prohibitions, but increasingly, performers are taking matters into their own hands. Last month, a clip of Adele went viral in which the superstar English singer stopped mid-show to ask a woman in the audience — very politely — to \u003ca href=\"https://www.youtube.com/watch?v=Gg0pSgrtQJo\" target=\"_blank\" rel=\"noopener\">take down a tripod\u003c/a>. “Can you stop filming me with a video camera? Because I’m really here in real life,” the superstar English singer requested, adding, “I’d really like you to enjoy my show because there’s lots of people outside that couldn’t come in.”\u003c/p>\n\u003cp>As it is, certain artists require even media professionals to adhere to very specific and restrictive contracts. Last year, British photojournalist Joel Goodman took Taylor Swift to task over the agreements her management company allegedly required photographers to sign — which included a stipulation that the journalists’ equipment, including their cameras, \u003ca href=\"https://twitter.com/pixel8foto/status/612668240951668736\" target=\"_blank\" rel=\"noopener\">could be destroyed\u003c/a> if their conditions were not followed.\u003c/p>\n\u003cp>Other performers are taking physical measures with their fans, even before anyone whips out a phone. The Lumineers, Dave Chapelle and Alicia Keys are among the artists and entertainers who have begun using \u003ca href=\"https://www.washingtonpost.com/entertainment/alicia-keys-is-done-playing-nice-your-phone-is-getting-locked-up-at-her-shows-now/2016/06/16/366c15aa-33af-11e6-95c0-2a6873031302_story.html\" target=\"_blank\" rel=\"noopener\">neoprene pouches\u003c/a> made by a company called Yondr. When a fan walks into a live show venue that is using Yondr, he or she drops his or her phone into a pouch, which then locks up. If the fan needs to use the phone during the show, he or she needs to step outside and ask security to open the pouch with a special device.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s possible that Apple, which declined to comment for this story, has developed technology that surpasses the specific tools described in this patent application, which appears to have originally been filed in \u003ca href=\"http://bits.blogs.nytimes.com/2011/06/03/apple-patents-way-to-prevent-concert-piracy/\" target=\"_blank\" rel=\"noopener\">2009\u003c/a>. For example, Apple mobile devices now use \u003ca href=\"https://developer.apple.com/ibeacon/\">iBeacon\u003c/a>, which employs a Bluetooth signal as a platform for creating interactive experiences; the patent granted to Apple yesterday specifically references infrared, an older technology. \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+New+Apple+Patent+Could+Block+Fans+From+Taping+At+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sick of getting your view blocked at live shows by people holding up their phones? Apple was granted a patent yesterday for technology that can disable those cameras — at least in specific places.\u003c/p>\n\u003cp>The system mapped out in \u003ca href=\"http://pdfpiw.uspto.gov/.piw?PageNum=0&docid=09380225&IDKey=CD40D894D44F&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO2%2526Sect2%3DHITOFF%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsearch-bool.html\" target=\"_blank\" rel=\"noopener\">this patent\u003c/a> would use infrared emitters to temporarily deactivate the photo and video capabilities on devices like mobile phones, laptops, stand-alone video or still cameras or any other “electronic device with an image sensor.” Venues, or those in charge of a given space, could post an infrared emitter to temporarily, and remotely, disable those recording functions on devices within the emission range.\u003c/p>\n\u003cfigure id=\"attachment_11758331\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/band_apple_.jpg\" alt=\"A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show.\" width=\"400\" height=\"571\" class=\"size-full wp-image-11758331\">\u003cfigcaption class=\"wp-caption-text\">A drawing from the Apple patent specifically shows how the technology could prevent music fans from taping a live show. \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within its patent application, Apple specifically laid out the technology’s use in the context of musicians and a live concert venue.\u003c/p>\n\u003cp>There are many ways in which the raw technology could make its way into the marketplace, but it’s easy to imagine how the technology, by itself, could be used to limit free expression. For instance, blockers could be installed in public spaces or in other places where visitors may want to snap a picture or record video. That could give governments, the military or police an easy means to shut down activists. On a less grave note, it could also be a vehicle for certain organizations — museums, for example — to maximize sales of their images, by preventing visitors from simply snapping their own.\u003c/p>\n\u003cp>It’s not all ominous, however. Another potential use detailed in the Apple patent lays out how this technology could provide a multimedia-rich experience to a user, in much the same way that a QR code on a commercial product works: Metadata could deliver detailed descriptions, hyperlinks, video and audio narratives and other materials to the person using the phone. (Unlike artists at a concert or actors on a screen, however, an object like the “Aztec water jug” used as the example in Apple’s patent could never claim royalties or other payments.)\u003c/p>\n\u003cfigure id=\"attachment_11758330\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/aztec_apple.jpg\" alt=\"A drawing from Apple's new patent demonstrates its potential use in giving viewers more context\" width=\"400\" height=\"570\" class=\"size-full wp-image-11758330\">\u003cfigcaption class=\"wp-caption-text\">A drawing from Apple’s new patent demonstrates its potential use in giving viewers more context \u003ccite>(Photo: Courtesy of United States Patent And Trademark Office )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s a sign of the times that stakeholders like movie distributors and theaters, concert venues, presenting organizations and record companies, along with musicians, may increasingly look to technology to enact policy, rather than work out the issues by legal or social contracts with the public.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Musicians and promoters have already been responding to fans taking pictures and filming videos at their shows in a variety of ways. Venues often post signs and inform the audience about such prohibitions, but increasingly, performers are taking matters into their own hands. Last month, a clip of Adele went viral in which the superstar English singer stopped mid-show to ask a woman in the audience — very politely — to \u003ca href=\"https://www.youtube.com/watch?v=Gg0pSgrtQJo\" target=\"_blank\" rel=\"noopener\">take down a tripod\u003c/a>. “Can you stop filming me with a video camera? Because I’m really here in real life,” the superstar English singer requested, adding, “I’d really like you to enjoy my show because there’s lots of people outside that couldn’t come in.”\u003c/p>\n\u003cp>As it is, certain artists require even media professionals to adhere to very specific and restrictive contracts. Last year, British photojournalist Joel Goodman took Taylor Swift to task over the agreements her management company allegedly required photographers to sign — which included a stipulation that the journalists’ equipment, including their cameras, \u003ca href=\"https://twitter.com/pixel8foto/status/612668240951668736\" target=\"_blank\" rel=\"noopener\">could be destroyed\u003c/a> if their conditions were not followed.\u003c/p>\n\u003cp>Other performers are taking physical measures with their fans, even before anyone whips out a phone. The Lumineers, Dave Chapelle and Alicia Keys are among the artists and entertainers who have begun using \u003ca href=\"https://www.washingtonpost.com/entertainment/alicia-keys-is-done-playing-nice-your-phone-is-getting-locked-up-at-her-shows-now/2016/06/16/366c15aa-33af-11e6-95c0-2a6873031302_story.html\" target=\"_blank\" rel=\"noopener\">neoprene pouches\u003c/a> made by a company called Yondr. When a fan walks into a live show venue that is using Yondr, he or she drops his or her phone into a pouch, which then locks up. If the fan needs to use the phone during the show, he or she needs to step outside and ask security to open the pouch with a special device.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s possible that Apple, which declined to comment for this story, has developed technology that surpasses the specific tools described in this patent application, which appears to have originally been filed in \u003ca href=\"http://bits.blogs.nytimes.com/2011/06/03/apple-patents-way-to-prevent-concert-piracy/\" target=\"_blank\" rel=\"noopener\">2009\u003c/a>. For example, Apple mobile devices now use \u003ca href=\"https://developer.apple.com/ibeacon/\">iBeacon\u003c/a>, which employs a Bluetooth signal as a platform for creating interactive experiences; the patent granted to Apple yesterday specifically references infrared, an older technology. \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+New+Apple+Patent+Could+Block+Fans+From+Taping+At+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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