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"content": "\u003cp>The legal saga of the monkey selfie continues: On Wednesday, a federal judge said the macaque who famously snapped a picture of himself cannot be declared the owner of the image’s copyright.\u003c/p>\n\u003cp>At least, until Congress says otherwise.\u003c/p>\n\u003cp>There’s “no indication” that the Copyright Act extends to animals, U.S. District Judge William Orrick wrote in a tentative opinion issued Wednesday in federal court in San Francisco.\u003c/p>\n\u003cp>“I’m not the person to weigh into this. This is an issue for Congress and the president,” Orrick said from the bench, \u003ca href=\"http://arstechnica.com/tech-policy/2016/01/judge-says-monkey-cannot-own-copyright-to-famous-selfies/\">according to Ars Technica\u003c/a>. “If they think animals should have the right of copyright they’re free, I think, under the Constitution, to do that.”\u003c/p>\n\u003cp>The photo in question was taken in 2011 on the Indonesian island of Sulawesi, with a camera owned by nature photographer David Slater. But Slater didn’t trip the shutter: the macaque did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, some outlets — including Wikipedia — maintain that no one owns the copyright to the photo and have been using it as an image \u003ca href=\"https://commons.wikimedia.org/wiki/Macaca#/media/File:Macaca_nigra_self-portrait.jpg\">in the public domain\u003c/a>.\u003c/p>\n\u003cp>The People for the Ethical Treatment of Animals filed a lawsuit last year on behalf of the monkey — which it calls Naruto — arguing that, in fact, Naruto owns the copyright (which PETA is offering to administer on the monkey’s behalf).\u003c/p>\n\u003cp>The U.S. Copyright Office, since the dispute began, has specifically listed “a photograph taken by a monkey” as an example of an item that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/08/22/342419651/who-owns-a-monkey-s-selfie-no-one-can-u-s-says\">cannot be copyrighted\u003c/a>.\u003c/p>\n\u003cp>Slater, meanwhile, has a British copyright for the photo, which he says should be honored worldwide, The Associated Press reports.\u003c/p>\n\u003cp>He asked the court to dismiss PETA’s claim.\u003c/p>\n\u003cp>“The only pertinent fact in this case is that Plaintiff is a monkey suing for copyright infringement,” Slater’s lawyer wrote. “[I]magining a monkey as the copyright ‘author’ in Title 17 of the United States Code is a farcical journey Dr. Seuss might have written.”\u003c/p>\n\u003cp>(The whole motion, filed on behalf of Slater and his company, is an entertaining read. “Monkey see, monkey sue.”)\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>“If the humans purporting to act on Plaintiff’s behalf wish for copyright to be among the areas of law where non-human animals have standing, they should make that dubious case to Congress — not the federal courts,” the lawyer continued.\u003c/p>\n\u003cp>And Judge Orrick appears to agree — not necessarily with the Seussian nature of the claim, but with the argument that it’s up to Congress to make this call.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Naruto’s supporters aren’t giving up, the AP reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Jeff Kerr, general counsel for PETA, said the organization will continue fighting for the monkey’s rights.\u003c/p>\n\u003cp>” ‘Despite this setback, legal history was made today because we argued to a federal court why Naruto should be the owner of the copyright rather than been seen as a piece of property himself,’ Kerr said. ‘This case is also exposing the hypocrisy of those who exploit animals for their own gain.’ ”\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=Monkey+Can%27t+Own+Copyright+To+His+Selfie%2C+Federal+Judge+Says+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a result, some outlets — including Wikipedia — maintain that no one owns the copyright to the photo and have been using it as an image \u003ca href=\"https://commons.wikimedia.org/wiki/Macaca#/media/File:Macaca_nigra_self-portrait.jpg\">in the public domain\u003c/a>.\u003c/p>\n\u003cp>The People for the Ethical Treatment of Animals filed a lawsuit last year on behalf of the monkey — which it calls Naruto — arguing that, in fact, Naruto owns the copyright (which PETA is offering to administer on the monkey’s behalf).\u003c/p>\n\u003cp>The U.S. Copyright Office, since the dispute began, has specifically listed “a photograph taken by a monkey” as an example of an item that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/08/22/342419651/who-owns-a-monkey-s-selfie-no-one-can-u-s-says\">cannot be copyrighted\u003c/a>.\u003c/p>\n\u003cp>Slater, meanwhile, has a British copyright for the photo, which he says should be honored worldwide, The Associated Press reports.\u003c/p>\n\u003cp>He asked the court to dismiss PETA’s claim.\u003c/p>\n\u003cp>“The only pertinent fact in this case is that Plaintiff is a monkey suing for copyright infringement,” Slater’s lawyer wrote. “[I]magining a monkey as the copyright ‘author’ in Title 17 of the United States Code is a farcical journey Dr. Seuss might have written.”\u003c/p>\n\u003cp>(The whole motion, filed on behalf of Slater and his company, is an entertaining read. “Monkey see, monkey sue.”)\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>“If the humans purporting to act on Plaintiff’s behalf wish for copyright to be among the areas of law where non-human animals have standing, they should make that dubious case to Congress — not the federal courts,” the lawyer continued.\u003c/p>\n\u003cp>And Judge Orrick appears to agree — not necessarily with the Seussian nature of the claim, but with the argument that it’s up to Congress to make this call.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Naruto’s supporters aren’t giving up, the AP reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Jeff Kerr, general counsel for PETA, said the organization will continue fighting for the monkey’s rights.\u003c/p>\n\u003cp>” ‘Despite this setback, legal history was made today because we argued to a federal court why Naruto should be the owner of the copyright rather than been seen as a piece of property himself,’ Kerr said. ‘This case is also exposing the hypocrisy of those who exploit animals for their own gain.’ ”\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=Monkey+Can%27t+Own+Copyright+To+His+Selfie%2C+Federal+Judge+Says+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At Code Switch, we like movies. We like to talk about movies. (Apologies to the newscast folks who have to sit near us.) Recently, we got into this big discussion about movies we watched over and over again growing up — not just because they’re good, but also because, in one way or another, they reflected our lives as people of color in the United States.\u003c/p>\n\u003cp>When I was a kid in Southern California, there were several films that helped me make sense of what it meant to grow up Mexican in the States. If you’re Latino and have seen these, you probably quote from them liberally. If you haven’t, go watch them this weekend!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Born in East L.A.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When I was growing up, my family often visited Tijuana, a two-hour drive south of our house in Orange County. I knew we were getting close when \u003ca href=\"http://articles.latimes.com/1991-08-31/local/me-1096_1_illegal-immigrants\" target=\"_blank\" rel=\"noopener\">the freeway divider suddenly shot up 6 feet\u003c/a>, a barrier to discourage migrants who’d already hopped the fence from making it across Interstate 5. It let us know we were entering the borderlands.\u003c/p>\n\u003cp>Right around this point, my mom would turn to the back seat and say something like, “You know, your dad came through here.” Then my dad would tell us stories of crossing into the U.S. in the ’70s, hiding from Border Patrol under bridges or curled up in the trunk of a car. In his retelling of these cat-and-mouse chases, he was always just a little bit cannier than his pursuers. He wanted to get into the U.S. more than they wanted to keep him out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His stories always reminded me of \u003cem>Born in East L.A\u003c/em>. The film, written, directed by and starring Cheech Marin, is a satire about a Los Angeles-born Chicano named Rudy who gets mistakenly rounded up during an immigration raid at a factory and deported. He ends up stuck in Tijuana because immigration officers don’t believe he’s a U.S. citizen. Hilarity ensues as Rudy tries again and again to get home.\u003c/p>\n\u003cp>In one scene, after hopping the border fence, Rudy is trekking through the hills of southern San Diego County with a bush strapped to his back. When he spots a Border Patrol agent, he crouches down like a desert scrub. Thinking he’s in the clear, he ditches the disguise. Then he sees another agent. He ducks behind some nearby foliage in the nick of time. But it turns out he’s dived right into a Border Patrol truck that’s also in disguise — as a much larger bush. Back to Mexico!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KQXR3AeuN5g\u003c/p>\n\u003cp>\u003cem>Born in East L.A.\u003c/em> was made at a time when illegal immigration into the U.S. was on the rise, and so was border enforcement. By 1987, when the movie hit theaters, crossing at San Diego was a lot harder than when my 15-year-old dad first tried it in 1975 (though not nearly as hard as it is today). Rudy’s repeated failures to cross reflected this. But the movie’s more incisive point was the absurdity of Rudy’s dilemma: He’d been deported from his own country, and then had to sneak back in.\u003c/p>\n\u003cp>Marin’s movie was hilarious, but also a warning about how anti-immigrant sentiment can become a convenient proxy for anti-Latino racism. That’s one reason \u003cem>Born in East L.A.\u003c/em> remains as relevant today as it was in 1987.\u003c/p>\n\u003cp>Over the holidays, I drove my dad (a U.S. citizen since the early ’90s) to the Tijuana airport. Today, whenever we’re near the border, we often remark on how tall the fence has gotten. Could he have crossed if it had been like this back then? I asked him.\u003c/p>\n\u003cp>“Oooh, no, no, no.”\u003c/p>\n\u003cp>As my dad got out of the car to cross into Mexico, I double-checked to make sure he had his passport.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Family, Mi Familia \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>My Family, Mi Familia\u003c/em> tells the story of the Sanchez family over three generations. It starts with the patriarch’s migration from Mexico to Los Angeles in the early 20th century and tracks the Sanchezes through the 1980s, by which point the family is undeniably American, yet still struggling with the complexities of what it means to call yourself American if you aren’t white.\u003c/p>\n\u003cp>Along the way, the Sanchezes deal with illegal deportations during the Depression, police brutality and racial tension during the ’50s, and anxieties around assimilation when one of the Sanchez sons is engaged to a white woman in the ’80s.\u003c/p>\n\u003cp>There is nothing remarkable about my favorite scene in the movie. It has no bearing on the plot. But I love it because it captured a detail of bicultural Mexican-American life so small, so seemingly perfunctory, that only a writer who lived it would have cared, let alone had the cultural knowledge, to write it into a screenplay. (Director and co-writer Gregory Nava \u003ca href=\"http://www.mediumraretv.org/2013/04/interview-with-gregory-nava-2/\" target=\"_blank\" rel=\"noopener\">grew up in San Diego but regularly crossed the border\u003c/a> to visit family in Tijuana).\u003c/p>\n\u003cp>In my favorite scene, it’s 1950s Los Angeles and the Sanchez family is sitting in their living room, its walls painted a bright pink common in Mexican-American households. They realize \u003cem>I Love Lucy\u003c/em> is starting — “Hey, it’s time for Lucy!” “I love that show, \u003cem>mamá\u003c/em>!”\u003cstrong> —\u003c/strong> and they flip on the TV. A little later, they’ll hear gunshots outside, leading to the film’s most tragic scene, but my favorite part of the whole movie is when they tune in to watch that zany redhead and her antics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xsX7TKRZwmI\u003c/p>\n\u003cp>Why? Because growing up, “Put on Lucy!” was a constant refrain in our house, too — most recently on Christmas Day, in fact. \u003cem>I Love Lucy\u003c/em> has been my mom’s favorite show since she was a girl growing up in the \u003cem>barrios\u003c/em> of Orange County. Lucy was hysterical, and she and Ricky Ricardo \u003ca href=\"http://www.npr.org/sections/codeswitch/2014/02/15/276526212/love-in-technicolor-interracial-families-on-television\" target=\"_blank\" rel=\"noopener\">were network television’s first mixed-race couple\u003c/a>. For most Americans, his hot-blooded, and, yes, stereotypical, fits of anger, spewed in Spanish, were meaningless gibberish. But unlike many viewers, my mom actually understood what he was saying, which made it even funnier.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Nava pumped the film full of these seemingly insignificant details. And the cumulative effect was that \u003cem>My Family\u003c/em> \u003cstrong>\u003c/strong>became a richly textured film in which many Mexicans and Mexican-Americans could see bits and pieces of their own families, even if not every aspect of its story mirrored their own.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Selena\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Selena’s music was the soundtrack of our Sunday mornings. Actually, it was our alarm clock. When “Amor Prohibido” started blasting from the dining room stereo — and I mean really blasting, with my mom singing along — my brother and I knew it was time to get up and do our chores.\u003c/p>\n\u003cp>When the Tejano music pop star was shot and killed at age 23 in 1995, it’s not a stretch to say it felt like losing family. A few years ago, a friend and I were talking about where we were when we learned that Yolanda Saldívar, the president of Selena’s fan club, had shot her. I remembered sitting in the living room with my parents watching coverage of the standoff between Saldívar and police on a Spanish-language news channel.\u003c/p>\n\u003cp>The memory was vivid: Saldívar had barricaded herself in her truck, tears flowing, a gun in one hand, a phone in the other as she spoke to a police negotiator. “Look at what I’ve done to my best friend!” she sobbed. “I want to talk to my mother!”\u003c/p>\n\u003cp>I told my friend I remembered Saldívar’s shaky, miserable words like it was yesterday.\u003c/p>\n\u003cp>“They didn’t show that on the news,” she said.\u003c/p>\n\u003cp>“Yeah, they did,” I said.\u003c/p>\n\u003cp>“No, that was only in the movie.”\u003c/p>\n\u003cp>It hit me. She was right. The camera crews that showed up the day Selena died were far from the action. There’s no way they could have picked up what Saldívar was saying to the cops. How had I misremembered that?\u003c/p>\n\u003cp>\u003cem>Selena\u003c/em> the movie, which came out in 1997, two years after the singer’s death, cemented her legacy as Mexican America’s darling. It told the story of her childhood and her rise to fame. It painted a portrait of a talented, sexy yet wholesome, humble, almost flawless star cut down in the prime of her life. As kids, we watched the movie constantly. And at some point, \u003cem>Selena\u003c/em> the movie imprinted on my childhood in a way that became almost indistinguishable from Selena in real life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_e-w4GB0AZ8\u003c/p>\n\u003cp>This was true for a lot of Mexican- and Latino-Americans. The late Lupe Ontiveros, who portrayed Yolanda Saldívar in the movie, once said that for years after the film came out, \u003ca href=\"http://www.nytimes.com/2012/07/28/arts/television/lupe-ontiveros-69-desperate-housewives-actress-dies.html?_r=2\" target=\"_blank\" rel=\"noopener\">Selena’s fans would hiss at her when she was in public places\u003c/a>. She would have to explain that she shared their feelings.\u003c/p>\n\u003cp>A friend of mine in college had a picture of Selena on his desk — except it wasn’t Selena. It was a picture of Jennifer Lopez as Selena in the movie. I never asked whether he knew that, although now I wonder.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Today, many of the references we make to Selena when talking about her come from the movie, not from her own mouth or things that actually happened. Say this line to any U.S.-raised Mexican child of the ’90s — “Anything for Salinas!” — and he or she will tell you it was spoken \u003ca href=\"https://www.youtube.com/watch?v=ZwDlsyOL_Kg\" target=\"_blank\" rel=\"noopener\">by two awestruck and sheepish \u003cem>cholos\u003c/em> who helped out\u003c/a> when Selena’s tour bus got stuck in a ditch.\u003c/p>\n\u003cp>Did that even really happen? I have no idea. And I guess I don’t really care. For young fans like us, \u003cem>Selena\u003c/em> the movie mattered almost as much as Selena’s music because it gave us a way to connect with her story. When Selena died, we were old enough to love her, but too young to fully grasp her importance to our community. Then the movie came out, and we understood.\u003c/p>\n\u003cp>—\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These are only a few of the Mexican-American movies I watched growing up. There are a bunch more — \u003cem>La Bamba, El Norte, Stand and Deliver\u003c/em>. What movies did you watch as a little person of color, and why were they important for you? Let us know in the comments or tweet us \u003ca href=\"https://twitter.com/NPRCodeSwitch/\">@nprcodeswitch\u003c/a>. \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=%27Mi+Familia%27+In+Movies%3A+Films+Mexican-American+Millennials+Grew+Up+On&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The bush-disguise bit in 'Born in East L.A.' The murder scene in 'Selena.' I watched these dozens of times as a kid, but as an adult, they've come to mean more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Code Switch, we like movies. We like to talk about movies. (Apologies to the newscast folks who have to sit near us.) Recently, we got into this big discussion about movies we watched over and over again growing up — not just because they’re good, but also because, in one way or another, they reflected our lives as people of color in the United States.\u003c/p>\n\u003cp>When I was a kid in Southern California, there were several films that helped me make sense of what it meant to grow up Mexican in the States. If you’re Latino and have seen these, you probably quote from them liberally. If you haven’t, go watch them this weekend!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Born in East L.A.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When I was growing up, my family often visited Tijuana, a two-hour drive south of our house in Orange County. I knew we were getting close when \u003ca href=\"http://articles.latimes.com/1991-08-31/local/me-1096_1_illegal-immigrants\" target=\"_blank\" rel=\"noopener\">the freeway divider suddenly shot up 6 feet\u003c/a>, a barrier to discourage migrants who’d already hopped the fence from making it across Interstate 5. It let us know we were entering the borderlands.\u003c/p>\n\u003cp>Right around this point, my mom would turn to the back seat and say something like, “You know, your dad came through here.” Then my dad would tell us stories of crossing into the U.S. in the ’70s, hiding from Border Patrol under bridges or curled up in the trunk of a car. In his retelling of these cat-and-mouse chases, he was always just a little bit cannier than his pursuers. He wanted to get into the U.S. more than they wanted to keep him out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His stories always reminded me of \u003cem>Born in East L.A\u003c/em>. The film, written, directed by and starring Cheech Marin, is a satire about a Los Angeles-born Chicano named Rudy who gets mistakenly rounded up during an immigration raid at a factory and deported. He ends up stuck in Tijuana because immigration officers don’t believe he’s a U.S. citizen. Hilarity ensues as Rudy tries again and again to get home.\u003c/p>\n\u003cp>In one scene, after hopping the border fence, Rudy is trekking through the hills of southern San Diego County with a bush strapped to his back. When he spots a Border Patrol agent, he crouches down like a desert scrub. Thinking he’s in the clear, he ditches the disguise. Then he sees another agent. He ducks behind some nearby foliage in the nick of time. But it turns out he’s dived right into a Border Patrol truck that’s also in disguise — as a much larger bush. Back to Mexico!\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/KQXR3AeuN5g'\n title='//www.youtube.com/embed/KQXR3AeuN5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Born in East L.A.\u003c/em> was made at a time when illegal immigration into the U.S. was on the rise, and so was border enforcement. By 1987, when the movie hit theaters, crossing at San Diego was a lot harder than when my 15-year-old dad first tried it in 1975 (though not nearly as hard as it is today). Rudy’s repeated failures to cross reflected this. But the movie’s more incisive point was the absurdity of Rudy’s dilemma: He’d been deported from his own country, and then had to sneak back in.\u003c/p>\n\u003cp>Marin’s movie was hilarious, but also a warning about how anti-immigrant sentiment can become a convenient proxy for anti-Latino racism. That’s one reason \u003cem>Born in East L.A.\u003c/em> remains as relevant today as it was in 1987.\u003c/p>\n\u003cp>Over the holidays, I drove my dad (a U.S. citizen since the early ’90s) to the Tijuana airport. Today, whenever we’re near the border, we often remark on how tall the fence has gotten. Could he have crossed if it had been like this back then? I asked him.\u003c/p>\n\u003cp>“Oooh, no, no, no.”\u003c/p>\n\u003cp>As my dad got out of the car to cross into Mexico, I double-checked to make sure he had his passport.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Family, Mi Familia \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>My Family, Mi Familia\u003c/em> tells the story of the Sanchez family over three generations. It starts with the patriarch’s migration from Mexico to Los Angeles in the early 20th century and tracks the Sanchezes through the 1980s, by which point the family is undeniably American, yet still struggling with the complexities of what it means to call yourself American if you aren’t white.\u003c/p>\n\u003cp>Along the way, the Sanchezes deal with illegal deportations during the Depression, police brutality and racial tension during the ’50s, and anxieties around assimilation when one of the Sanchez sons is engaged to a white woman in the ’80s.\u003c/p>\n\u003cp>There is nothing remarkable about my favorite scene in the movie. It has no bearing on the plot. But I love it because it captured a detail of bicultural Mexican-American life so small, so seemingly perfunctory, that only a writer who lived it would have cared, let alone had the cultural knowledge, to write it into a screenplay. (Director and co-writer Gregory Nava \u003ca href=\"http://www.mediumraretv.org/2013/04/interview-with-gregory-nava-2/\" target=\"_blank\" rel=\"noopener\">grew up in San Diego but regularly crossed the border\u003c/a> to visit family in Tijuana).\u003c/p>\n\u003cp>In my favorite scene, it’s 1950s Los Angeles and the Sanchez family is sitting in their living room, its walls painted a bright pink common in Mexican-American households. They realize \u003cem>I Love Lucy\u003c/em> is starting — “Hey, it’s time for Lucy!” “I love that show, \u003cem>mamá\u003c/em>!”\u003cstrong> —\u003c/strong> and they flip on the TV. A little later, they’ll hear gunshots outside, leading to the film’s most tragic scene, but my favorite part of the whole movie is when they tune in to watch that zany redhead and her antics.\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/xsX7TKRZwmI'\n title='//www.youtube.com/embed/xsX7TKRZwmI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Why? Because growing up, “Put on Lucy!” was a constant refrain in our house, too — most recently on Christmas Day, in fact. \u003cem>I Love Lucy\u003c/em> has been my mom’s favorite show since she was a girl growing up in the \u003cem>barrios\u003c/em> of Orange County. Lucy was hysterical, and she and Ricky Ricardo \u003ca href=\"http://www.npr.org/sections/codeswitch/2014/02/15/276526212/love-in-technicolor-interracial-families-on-television\" target=\"_blank\" rel=\"noopener\">were network television’s first mixed-race couple\u003c/a>. For most Americans, his hot-blooded, and, yes, stereotypical, fits of anger, spewed in Spanish, were meaningless gibberish. But unlike many viewers, my mom actually understood what he was saying, which made it even funnier.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Nava pumped the film full of these seemingly insignificant details. And the cumulative effect was that \u003cem>My Family\u003c/em> \u003cstrong>\u003c/strong>became a richly textured film in which many Mexicans and Mexican-Americans could see bits and pieces of their own families, even if not every aspect of its story mirrored their own.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Selena\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Selena’s music was the soundtrack of our Sunday mornings. Actually, it was our alarm clock. When “Amor Prohibido” started blasting from the dining room stereo — and I mean really blasting, with my mom singing along — my brother and I knew it was time to get up and do our chores.\u003c/p>\n\u003cp>When the Tejano music pop star was shot and killed at age 23 in 1995, it’s not a stretch to say it felt like losing family. A few years ago, a friend and I were talking about where we were when we learned that Yolanda Saldívar, the president of Selena’s fan club, had shot her. I remembered sitting in the living room with my parents watching coverage of the standoff between Saldívar and police on a Spanish-language news channel.\u003c/p>\n\u003cp>The memory was vivid: Saldívar had barricaded herself in her truck, tears flowing, a gun in one hand, a phone in the other as she spoke to a police negotiator. “Look at what I’ve done to my best friend!” she sobbed. “I want to talk to my mother!”\u003c/p>\n\u003cp>I told my friend I remembered Saldívar’s shaky, miserable words like it was yesterday.\u003c/p>\n\u003cp>“They didn’t show that on the news,” she said.\u003c/p>\n\u003cp>“Yeah, they did,” I said.\u003c/p>\n\u003cp>“No, that was only in the movie.”\u003c/p>\n\u003cp>It hit me. She was right. The camera crews that showed up the day Selena died were far from the action. There’s no way they could have picked up what Saldívar was saying to the cops. How had I misremembered that?\u003c/p>\n\u003cp>\u003cem>Selena\u003c/em> the movie, which came out in 1997, two years after the singer’s death, cemented her legacy as Mexican America’s darling. It told the story of her childhood and her rise to fame. It painted a portrait of a talented, sexy yet wholesome, humble, almost flawless star cut down in the prime of her life. As kids, we watched the movie constantly. And at some point, \u003cem>Selena\u003c/em> the movie imprinted on my childhood in a way that became almost indistinguishable from Selena in real life.\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/_e-w4GB0AZ8'\n title='//www.youtube.com/embed/_e-w4GB0AZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This was true for a lot of Mexican- and Latino-Americans. The late Lupe Ontiveros, who portrayed Yolanda Saldívar in the movie, once said that for years after the film came out, \u003ca href=\"http://www.nytimes.com/2012/07/28/arts/television/lupe-ontiveros-69-desperate-housewives-actress-dies.html?_r=2\" target=\"_blank\" rel=\"noopener\">Selena’s fans would hiss at her when she was in public places\u003c/a>. She would have to explain that she shared their feelings.\u003c/p>\n\u003cp>A friend of mine in college had a picture of Selena on his desk — except it wasn’t Selena. It was a picture of Jennifer Lopez as Selena in the movie. I never asked whether he knew that, although now I wonder.\u003cstrong>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>Today, many of the references we make to Selena when talking about her come from the movie, not from her own mouth or things that actually happened. Say this line to any U.S.-raised Mexican child of the ’90s — “Anything for Salinas!” — and he or she will tell you it was spoken \u003ca href=\"https://www.youtube.com/watch?v=ZwDlsyOL_Kg\" target=\"_blank\" rel=\"noopener\">by two awestruck and sheepish \u003cem>cholos\u003c/em> who helped out\u003c/a> when Selena’s tour bus got stuck in a ditch.\u003c/p>\n\u003cp>Did that even really happen? I have no idea. And I guess I don’t really care. For young fans like us, \u003cem>Selena\u003c/em> the movie mattered almost as much as Selena’s music because it gave us a way to connect with her story. When Selena died, we were old enough to love her, but too young to fully grasp her importance to our community. Then the movie came out, and we understood.\u003c/p>\n\u003cp>—\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These are only a few of the Mexican-American movies I watched growing up. There are a bunch more — \u003cem>La Bamba, El Norte, Stand and Deliver\u003c/em>. What movies did you watch as a little person of color, and why were they important for you? Let us know in the comments or tweet us \u003ca href=\"https://twitter.com/NPRCodeSwitch/\">@nprcodeswitch\u003c/a>. \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=%27Mi+Familia%27+In+Movies%3A+Films+Mexican-American+Millennials+Grew+Up+On&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pierre Boulez, the French composer and conductor whose career spanned from the avant-garde post-World War II era to the computer age, has died, according to the French culture ministry. He was 90. Boulez famously challenged his peers and his audience to rethink their ideas of sound and harmony.\u003c/p>\n\u003cp>In his music, Boulez often created rich and contrasting layers that were built on musical traditions from Asia and Africa, and on the 12-tone technique pioneered by Arnold Schoenberg — as in his 1955 work, \u003cem>Le Marteau sans maître\u003c/em> (The Hammer Without a Master).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MS82nF85_gA\u003c/p>\n\u003cp>“I see music as a kind of continuity, like a big tree,” Boulez told NPR in 2000. “Of course there are many branches, many different directions. I think music is in constant evolution, and there is nothing absolutely fixed and rigidly determined.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/deceptivecadence/2015/03/26/395318157/the-sensuous-radical-pierre-boulez-at-90\" target=\"_blank\" rel=\"noopener\">NPR’s Tom Huizenga cited the quote\u003c/a> in a piece last year examining the composer’s rebellious roots: Boulez once disrupted a Stravinsky concert, and later said that opera’s problems could be solved by blowing up opera houses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Boulez also had a knack for polemics — for instance, \u003ca href=\"http://www.theguardian.com/music/tomserviceblog/2012/jul/16/pierre-boulez-contemporary-music-guide\">The Guardian\u003c/a> referenced this quote: “anyone who has not felt… the necessity of the dodecaphonic [12-tone] language is OF NO USE.”\u003c/p>\n\u003cp>But the oft-repeated idea that his music was centered in mathematics is a bit overblown, Boulez \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4649345\" target=\"_blank\" rel=\"noopener\">told Fresh Air host Terry Gross in 2005\u003c/a>.\u003c/p>\n\u003cp>Saying that a musical language always includes both rational and irrational parts, he noted, “What I tried to find, that’s freedom — but a freedom which is based on discipline.”\u003c/p>\n\u003cp>Boulez, who won 26 Grammy awards, had a prodigiously broad musical reach. In the 1970s, he founded the IRCAM music and science research center at the Pompidou Center in Paris. That’s where, in 1984, he \u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">conducted music from Frank Zappa’s album \u003c/a>\u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">The Perfect Stranger\u003c/a>.\u003c/p>\n\u003cp>Born in 1925, Boulez studied at the Paris Conservatory under Olivier Messiaen and René Leibowitz, before embarking on a career that perpetually sought new and modern approaches to music.\u003c/p>\n\u003cp>He emerged as a conductor in the late 1950s, and for a stretch of years in the 1970s, he served as both the chief conductor of the BBC Symphony Orchestra and as the music director of the New York Philharmonic. He also had a long relationship with the Chicago Symphony Orchestra, which in 2006 named him conductor emeritus.\u003c/p>\n\u003cp>Discussing Boulez’s work on the podium back in 2010, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=126668117\" target=\"_blank\" rel=\"noopener\">Fresh Air’s Lloyd Schwartz wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boulez is famous for his amazing ear. He lets you hear every detail. But there are two other Boulez qualities he isn’t often given credit for. One is his innate and effortless sense of the right style. In Boulez’s hands, Haydn’s symphony — for a change — actually sounds Viennese.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As for his famous statement that opera houses should be blown up, Boulez told \u003cem>Fresh Air\u003c/em> in 2005 that he was only joking. The headlines that followed, he said, missed the humor in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That was very funny to me,” Boulez said. “A number of times I have heard this quote. I thought I would have said only one sentence in my life.” \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=Composer+Pierre+Boulez%2C+A+Revered+Iconoclast%2C+Has+Died+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pierre Boulez, the French composer and conductor whose career spanned from the avant-garde post-World War II era to the computer age, has died, according to the French culture ministry. He was 90. Boulez famously challenged his peers and his audience to rethink their ideas of sound and harmony.\u003c/p>\n\u003cp>In his music, Boulez often created rich and contrasting layers that were built on musical traditions from Asia and Africa, and on the 12-tone technique pioneered by Arnold Schoenberg — as in his 1955 work, \u003cem>Le Marteau sans maître\u003c/em> (The Hammer Without a Master).\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/MS82nF85_gA'\n title='//www.youtube.com/embed/MS82nF85_gA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I see music as a kind of continuity, like a big tree,” Boulez told NPR in 2000. “Of course there are many branches, many different directions. I think music is in constant evolution, and there is nothing absolutely fixed and rigidly determined.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/deceptivecadence/2015/03/26/395318157/the-sensuous-radical-pierre-boulez-at-90\" target=\"_blank\" rel=\"noopener\">NPR’s Tom Huizenga cited the quote\u003c/a> in a piece last year examining the composer’s rebellious roots: Boulez once disrupted a Stravinsky concert, and later said that opera’s problems could be solved by blowing up opera houses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Boulez also had a knack for polemics — for instance, \u003ca href=\"http://www.theguardian.com/music/tomserviceblog/2012/jul/16/pierre-boulez-contemporary-music-guide\">The Guardian\u003c/a> referenced this quote: “anyone who has not felt… the necessity of the dodecaphonic [12-tone] language is OF NO USE.”\u003c/p>\n\u003cp>But the oft-repeated idea that his music was centered in mathematics is a bit overblown, Boulez \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4649345\" target=\"_blank\" rel=\"noopener\">told Fresh Air host Terry Gross in 2005\u003c/a>.\u003c/p>\n\u003cp>Saying that a musical language always includes both rational and irrational parts, he noted, “What I tried to find, that’s freedom — but a freedom which is based on discipline.”\u003c/p>\n\u003cp>Boulez, who won 26 Grammy awards, had a prodigiously broad musical reach. In the 1970s, he founded the IRCAM music and science research center at the Pompidou Center in Paris. That’s where, in 1984, he \u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">conducted music from Frank Zappa’s album \u003c/a>\u003ca href=\"http://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">The Perfect Stranger\u003c/a>.\u003c/p>\n\u003cp>Born in 1925, Boulez studied at the Paris Conservatory under Olivier Messiaen and René Leibowitz, before embarking on a career that perpetually sought new and modern approaches to music.\u003c/p>\n\u003cp>He emerged as a conductor in the late 1950s, and for a stretch of years in the 1970s, he served as both the chief conductor of the BBC Symphony Orchestra and as the music director of the New York Philharmonic. He also had a long relationship with the Chicago Symphony Orchestra, which in 2006 named him conductor emeritus.\u003c/p>\n\u003cp>Discussing Boulez’s work on the podium back in 2010, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=126668117\" target=\"_blank\" rel=\"noopener\">Fresh Air’s Lloyd Schwartz wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boulez is famous for his amazing ear. He lets you hear every detail. But there are two other Boulez qualities he isn’t often given credit for. One is his innate and effortless sense of the right style. In Boulez’s hands, Haydn’s symphony — for a change — actually sounds Viennese.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As for his famous statement that opera houses should be blown up, Boulez told \u003cem>Fresh Air\u003c/em> in 2005 that he was only joking. The headlines that followed, he said, missed the humor in the statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That was very funny to me,” Boulez said. “A number of times I have heard this quote. I thought I would have said only one sentence in my life.” \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=Composer+Pierre+Boulez%2C+A+Revered+Iconoclast%2C+Has+Died+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "#WhereIsRey? She's On Her Way, Says Hasbro",
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"content": "\u003cp>\u003cem>Star Wars: The Force Awakens\u003c/em> revolves around the story of staff-wielding scavenger Rey.\u003c/p>\n\u003cp>(That's hardly a spoiler; she's \u003ca href=\"http://www.eonline.com/news/707676/star-wars-the-force-awakens-new-poster-revealed-before-first-trailer-find-out-which-major-star-is-missing\" target=\"_blank\">front-and-center in the movie poster\u003c/a>, after all.)\u003c/p>\n\u003cp>But in the world of \u003cem>Star Wars \u003c/em>toys, Rey's been hard to find — and fans took to social media, under the hashtags #WheresRey and #WhereisRey, to complain about all the movie merchandise that left her out.\u003c/p>\n\u003cp>Target's \u003cem>Star Wars \u003c/em>figurine 6-pack? Finn, Chewbacca, Poe, Kylo Ren and two unnamed characters: a Stormtrooper officer and a First Order TIE fighter.\u003c/p>\n\u003cp>Central heroine: \u003ca href=\"http://www.target.com/p/star-wars-the-force-awakens-6-action-figure-pack/-/A-17294971\" target=\"_blank\">Nowhere in sight\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/JamieFord/status/664824284938809345\u003c/p>\n\u003cp>Hasbro's \"Battle Action\" Millennium Falcon? Comes with \u003ca href=\"http://www.hasbro.com/en-us/product/star-wars-the-force-awakens-battle-action-millennium-falcon:4C779CBB-5056-9047-F500-253B7076D3FF\" target=\"_blank\">Chewie, Finn and BB-8\u003c/a>: Rey's gotta hitch another ride.\u003c/p>\n\u003cp>\"The soccer ball gets more love,\" complained one fan \u003ca href=\"https://twitter.com/CorporateMalice/status/681893309372076032\">on Twitter.\u003c/a>\u003c/p>\n\u003cp>Bedspread? \u003ca href=\"https://twitter.com/HKhug/status/681311984873160705\" target=\"_blank\">No Rey\u003c/a>. Disney store display? \u003ca href=\"https://twitter.com/acnally/status/681502669219971072\" target=\"_blank\">No Rey\u003c/a>. Barnes and Noble bobbleheads? \u003ca href=\"https://twitter.com/shanegreer/status/681138520023547904\" target=\"_blank\">No Rey\u003c/a>. Walgreens shelves? \u003ca href=\"https://twitter.com/laflaneuse/status/682366514016595968\" target=\"_blank\">No Rey\u003c/a>.\u003c/p>\n\u003cp>In some of the Rey-less displays, \u003ca href=\"http://thenerdybird.com/more-star-wars-force-awakens-rey-merchandise-than-you-can-shake-a-staff-at/\" target=\"_blank\">her products\u003c/a> might not have been stocked by individual stores — or may have sold out.\u003c/p>\n\u003cp>But in many other cases, \u003ca href=\"http://www.gq.com/story/star-wars-toys-wheres-rey\" target=\"_blank\">toys featuring her simply hadn't been released\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/holden/status/679126771472531458\u003c/p>\n\u003cp>The new Star Wars Monopoly game was one of the most egregious offenders. It features four characters: Finn, Luke Skywalker, Kylo Ren and Darth Vader.\u003c/p>\n\u003cp>That's two characters from the new films, and two from the classic trilogy, says Hasbro. Or to look at it another way, that's — OK, OK, \u003cem>now \u003c/em>it's time for a \u003cstrong>spoiler warning\u003c/strong> from here on out — two key characters from \u003cem>The Force Awakens\u003c/em>, one dude who's on screen for, like, a minute tops, and one character who is literally \u003cem>dead \u003c/em>and appears only as a crumpled helmet and a super unhealthy hero-obsession.\u003c/p>\n\u003cp>And no Rey, the star of the film.\u003c/p>\n\u003cp>The Monopoly game was targeted by many #WheresRey tweets — and by a letter from an 8-year-old fan who pointed out Rey's essential role in the film's plot.\u003c/p>\n\u003cp>https://twitter.com/CarrieMGoldman/status/684112303806111745\u003c/p>\n\u003cp>After the backlash, Hasbro has set a new course.\u003c/p>\n\u003cp>\"We love the passion fans have for Rey, and are happy to announce that we will be making a running change to include her in the Monopoly: Star Wars game available later this year,\" the game company said in a statement. The news was \u003ca href=\"http://www.ew.com/article/2016/01/05/star-wars-monopoly-game-adding-rey\" target=\"_blank\">first announced by EW on Tuesday night\u003c/a>.\u003c/p>\n\u003cp>Hasbro said Rey was not initially included in the game to \"avoid revealing a key plotline\" — an argument some found specious, since she was clearly going to be a central character based solely on early promotional materials.\u003c/p>\n\u003cp>(And as \u003cem>The Guardian \u003c/em>pointed out, Hasbro's explanatory note was clearly not written by a true fan: \u003ca href=\"http://www.theguardian.com/film/2016/jan/06/hasbro-monopoly-rey-star-wars-the-force-awakens-spoilers\" target=\"_blank\">They confused the Rebel Alliance and The Resistance in their statement\u003c/a>.)\u003c/p>\n\u003cp>Hasbro also points out that Rey is featured in \u003cem>Star Wars\u003c/em>-branded games of Hands Down, Guess Who and Chess, and that two new Rey action figures will be arriving in stores this month.\u003c/p>\n\u003cp>Meanwhile, Lego featured Rey in its line from the start — as a \u003ca href=\"http://shop.lego.com/en-US/Rey-75113\" target=\"_blank\">standalone figure\u003c/a>, \u003ca href=\"http://shop.lego.com/en-US/Rey-s-Speeder-75099\" target=\"_blank\">with her speeder\u003c/a> and as part of the \u003ca href=\"http://shop.lego.com/en-US/Millennium-Falcon-75105\" target=\"_blank\">Millennium Falcon set\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All three products are currently out of stock.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%23WhereIsRey%3F+She%27s+On+Her+Way%2C+Says+Hasbro&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Hasbro's \"Battle Action\" Millennium Falcon? Comes with \u003ca href=\"http://www.hasbro.com/en-us/product/star-wars-the-force-awakens-battle-action-millennium-falcon:4C779CBB-5056-9047-F500-253B7076D3FF\" target=\"_blank\">Chewie, Finn and BB-8\u003c/a>: Rey's gotta hitch another ride.\u003c/p>\n\u003cp>\"The soccer ball gets more love,\" complained one fan \u003ca href=\"https://twitter.com/CorporateMalice/status/681893309372076032\">on Twitter.\u003c/a>\u003c/p>\n\u003cp>Bedspread? \u003ca href=\"https://twitter.com/HKhug/status/681311984873160705\" target=\"_blank\">No Rey\u003c/a>. Disney store display? \u003ca href=\"https://twitter.com/acnally/status/681502669219971072\" target=\"_blank\">No Rey\u003c/a>. Barnes and Noble bobbleheads? \u003ca href=\"https://twitter.com/shanegreer/status/681138520023547904\" target=\"_blank\">No Rey\u003c/a>. Walgreens shelves? \u003ca href=\"https://twitter.com/laflaneuse/status/682366514016595968\" target=\"_blank\">No Rey\u003c/a>.\u003c/p>\n\u003cp>In some of the Rey-less displays, \u003ca href=\"http://thenerdybird.com/more-star-wars-force-awakens-rey-merchandise-than-you-can-shake-a-staff-at/\" target=\"_blank\">her products\u003c/a> might not have been stocked by individual stores — or may have sold out.\u003c/p>\n\u003cp>But in many other cases, \u003ca href=\"http://www.gq.com/story/star-wars-toys-wheres-rey\" target=\"_blank\">toys featuring her simply hadn't been released\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The new Star Wars Monopoly game was one of the most egregious offenders. It features four characters: Finn, Luke Skywalker, Kylo Ren and Darth Vader.\u003c/p>\n\u003cp>That's two characters from the new films, and two from the classic trilogy, says Hasbro. Or to look at it another way, that's — OK, OK, \u003cem>now \u003c/em>it's time for a \u003cstrong>spoiler warning\u003c/strong> from here on out — two key characters from \u003cem>The Force Awakens\u003c/em>, one dude who's on screen for, like, a minute tops, and one character who is literally \u003cem>dead \u003c/em>and appears only as a crumpled helmet and a super unhealthy hero-obsession.\u003c/p>\n\u003cp>And no Rey, the star of the film.\u003c/p>\n\u003cp>The Monopoly game was targeted by many #WheresRey tweets — and by a letter from an 8-year-old fan who pointed out Rey's essential role in the film's plot.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After the backlash, Hasbro has set a new course.\u003c/p>\n\u003cp>\"We love the passion fans have for Rey, and are happy to announce that we will be making a running change to include her in the Monopoly: Star Wars game available later this year,\" the game company said in a statement. The news was \u003ca href=\"http://www.ew.com/article/2016/01/05/star-wars-monopoly-game-adding-rey\" target=\"_blank\">first announced by EW on Tuesday night\u003c/a>.\u003c/p>\n\u003cp>Hasbro said Rey was not initially included in the game to \"avoid revealing a key plotline\" — an argument some found specious, since she was clearly going to be a central character based solely on early promotional materials.\u003c/p>\n\u003cp>(And as \u003cem>The Guardian \u003c/em>pointed out, Hasbro's explanatory note was clearly not written by a true fan: \u003ca href=\"http://www.theguardian.com/film/2016/jan/06/hasbro-monopoly-rey-star-wars-the-force-awakens-spoilers\" target=\"_blank\">They confused the Rebel Alliance and The Resistance in their statement\u003c/a>.)\u003c/p>\n\u003cp>Hasbro also points out that Rey is featured in \u003cem>Star Wars\u003c/em>-branded games of Hands Down, Guess Who and Chess, and that two new Rey action figures will be arriving in stores this month.\u003c/p>\n\u003cp>Meanwhile, Lego featured Rey in its line from the start — as a \u003ca href=\"http://shop.lego.com/en-US/Rey-75113\" target=\"_blank\">standalone figure\u003c/a>, \u003ca href=\"http://shop.lego.com/en-US/Rey-s-Speeder-75099\" target=\"_blank\">with her speeder\u003c/a> and as part of the \u003ca href=\"http://shop.lego.com/en-US/Millennium-Falcon-75105\" target=\"_blank\">Millennium Falcon set\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All three products are currently out of stock.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%23WhereIsRey%3F+She%27s+On+Her+Way%2C+Says+Hasbro&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Over 10 Years, 2 Filmmakers Documented the 'Making' of a Murderer",
"headTitle": "Over 10 Years, 2 Filmmakers Documented the ‘Making’ of a Murderer | KQED",
"content": "\u003cp>The era of the real-life whodunit\u003csup>\u003c/sup> series is upon us. The podcast \u003ca href=\"https://serialpodcast.org/season-one/1/the-alibi\" target=\"_blank\" rel=\"noopener\">Serial\u003c/a> first attracted legions of listeners drawn to the question of whether a young man should have been put in prison for the murder of his former high school girlfriend. HBO’s documentary \u003ca href=\"http://www.thejinxhbo.com/\" target=\"_blank\" rel=\"noopener\">The Jinx\u003c/a> focused on a trail of murdered and missing intimates of a troubled scion of a wealthy family.\u003c/p>\n\u003cp>Now, there’s the new Netflix series, \u003cem>Making a Murderer, \u003c/em>about a man named Steven Avery. In 2003, after 18 years in prison, DNA evidence proved Avery didn’t commit the brutal sexual assault he’d been accused of. Avery was freed, and it appeared that a long injustice had finally come to end.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/461908092/461997787\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In the 10 years Moira Demos and Laura Ricciardi spent making this 10-part series, they came to know Avery and his world in rural Manitowoc County, Wis.\u003c/p>\n\u003cp>“This is a part of the country that’s dominated by dairy farms, and his family ran the junkyard,” Demos tells NPR’s Renee Montagne. “He grew up working on his family’s salvage yard, he did not graduate high school. … They were sort of the marginalized folk from the wrong side of the tracks.”\u003c/p>\n\u003cfigure id=\"attachment_11222929\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b.jpg\" rel=\"attachment wp-att-11222929\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg\" alt=\"Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of 'Making a Murderer.'\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-11222929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of ‘Making a Murderer.’ \u003ccite>(Courtesy: Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teenager, Demos says, Avery made a series of bad choices — for example, burglarizing a local tavern with his friends. “These are felonies, but when you look at the actual report, it’s about breaking in and making a cheese sandwich and stealing some beer,” Demos says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the accusations against Avery were about to get much more serious. A feud with his own cousin escalated to the point that she was spreading nasty and humiliating rumors about him. Avery had had enough, and one night he ran her off a country road and pointed a gun at her. He says the gun wasn’t loaded, but she was the wrong person to intimidate. “She was married to a sheriff’s deputy, and there’s certainly a line that he crossed there, that it became personal,” Demos says.\u003c/p>\n\u003cp>Not long after, a prominent woman in the town was sexually attacked and badly beaten while jogging along the lake. Avery was arrested just hours later. The documentary follows in great detail how detectives went about making the charges stick, even ignoring the suggestion by one officer that a known violent sex offender was responsible.\u003c/p>\n\u003cp>When Avery was exonerated by DNA evidence in 2003, he returned home to a crush of cameras and a family who always believed he was innocent. A series of damning news reports detailed how Avery had been railroaded, and he sued the county sheriff’s department.\u003c/p>\n\u003cp>Kim Ducat — a family member — believes that came back to haunt him. “They weren’t going to hand that man $36 million,” she says. “They weren’t going to be made a laughing stock — that’s for sure. … Something in my gut said: They’re not done with him. Something’s going to happen.”\u003c/p>\n\u003cp>Ducat was right. One of the most compelling elements of the series is how quickly Avery goes from being a local celebrity for his long-overdue release to someone who — just two years later — goes on trial for a grisly murder.\u003c/p>\n\u003cp>“We read the \u003cem>New York Times\u003c/em> headline \u003ca href=\"http://www.nytimes.com/2005/11/23/us/freed-by-dna-now-charged-in-new-crime.html\" target=\"_blank\" rel=\"noopener\">‘Freed by DNA, Now Charged in New Crime’\u003c/a> and immediately we recognized this as an unprecedented story,” Demos says. “But what we really recognized in Steven’s story was this valuable window through which to look at our system.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On parallels between the first and second case\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> We were trying really to explore the extent to which history might have been repeating itself here. Steven in the first case was arrested the very same day the victim was attacked, in just a matter of hours. … He had a pretty ironclad alibi — he was accounted for every minute of the day before the victim was attacked all the way through the time that law enforcement arrives at his house to arrest him.\u003c/p>\n\u003cp>So there was an interesting parallel between the arc of the first case and the arc of the second case and how law enforcement arguably handled both cases. And that got back to our original question of: Has the system evolved, and, if it has evolved, is anything now in place that wasn’t 20 years prior to stop a wrongful conviction from occurring?\u003c/p>\n\u003cp>\u003cstrong>On how the filmmakers got access \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> The way we reached out to potential subjects was to write letters to them. Letters of introduction to tell them why we thought they would have a valuable place in the story. We were really interested in hearing people’s firsthand accounts.\u003c/p>\n\u003cp>\u003cstrong>Demos:\u003c/strong> We were graduate film students at the time we started this, and we had no money, but what we did have was time. So we moved to Wisconsin. We lived there for nearly two years. So, you know, we were on the ground, there to cover anything that was happening, but also there to do research and to build relationships.\u003c/p>\n\u003cp>\u003cstrong>On whether they think Avery is innocent\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> My opinion is: We don’t know. There were so many questions about the quality of the investigation itself here. There was a glaring conflict of interest in this particular case, as we talked about earlier: Steven Avery had a $36 million lawsuit pending against … this county and former members of law enforcement. And here he was, back in the same system, charged with a serious crime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Demos: \u003c/strong>One of the things I learned from making this film is — through all of this and all of these different points of view — the humility to accept that I don’t know. And what seems more important to me is to be able to trust the process. \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=Over+10+Years%2C+2+Filmmakers+Documented+The+%27Making%27+Of+A+Murderer+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The era of the real-life whodunit\u003csup>\u003c/sup> series is upon us. The podcast \u003ca href=\"https://serialpodcast.org/season-one/1/the-alibi\" target=\"_blank\" rel=\"noopener\">Serial\u003c/a> first attracted legions of listeners drawn to the question of whether a young man should have been put in prison for the murder of his former high school girlfriend. HBO’s documentary \u003ca href=\"http://www.thejinxhbo.com/\" target=\"_blank\" rel=\"noopener\">The Jinx\u003c/a> focused on a trail of murdered and missing intimates of a troubled scion of a wealthy family.\u003c/p>\n\u003cp>Now, there’s the new Netflix series, \u003cem>Making a Murderer, \u003c/em>about a man named Steven Avery. In 2003, after 18 years in prison, DNA evidence proved Avery didn’t commit the brutal sexual assault he’d been accused of. Avery was freed, and it appeared that a long injustice had finally come to end.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/461908092/461997787\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In the 10 years Moira Demos and Laura Ricciardi spent making this 10-part series, they came to know Avery and his world in rural Manitowoc County, Wis.\u003c/p>\n\u003cp>“This is a part of the country that’s dominated by dairy farms, and his family ran the junkyard,” Demos tells NPR’s Renee Montagne. “He grew up working on his family’s salvage yard, he did not graduate high school. … They were sort of the marginalized folk from the wrong side of the tracks.”\u003c/p>\n\u003cfigure id=\"attachment_11222929\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b.jpg\" rel=\"attachment wp-att-11222929\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg\" alt=\"Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of 'Making a Murderer.'\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-11222929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/makin_bts_004_h_enl-f7ba9d7e6eaf063dee5ad7be3acde4b56434317b-960x639.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmakers Laura Ricciardi (left) and Moira Demos (right) work alongside Iris Ng on the set of ‘Making a Murderer.’ \u003ccite>(Courtesy: Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teenager, Demos says, Avery made a series of bad choices — for example, burglarizing a local tavern with his friends. “These are felonies, but when you look at the actual report, it’s about breaking in and making a cheese sandwich and stealing some beer,” Demos says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the accusations against Avery were about to get much more serious. A feud with his own cousin escalated to the point that she was spreading nasty and humiliating rumors about him. Avery had had enough, and one night he ran her off a country road and pointed a gun at her. He says the gun wasn’t loaded, but she was the wrong person to intimidate. “She was married to a sheriff’s deputy, and there’s certainly a line that he crossed there, that it became personal,” Demos says.\u003c/p>\n\u003cp>Not long after, a prominent woman in the town was sexually attacked and badly beaten while jogging along the lake. Avery was arrested just hours later. The documentary follows in great detail how detectives went about making the charges stick, even ignoring the suggestion by one officer that a known violent sex offender was responsible.\u003c/p>\n\u003cp>When Avery was exonerated by DNA evidence in 2003, he returned home to a crush of cameras and a family who always believed he was innocent. A series of damning news reports detailed how Avery had been railroaded, and he sued the county sheriff’s department.\u003c/p>\n\u003cp>Kim Ducat — a family member — believes that came back to haunt him. “They weren’t going to hand that man $36 million,” she says. “They weren’t going to be made a laughing stock — that’s for sure. … Something in my gut said: They’re not done with him. Something’s going to happen.”\u003c/p>\n\u003cp>Ducat was right. One of the most compelling elements of the series is how quickly Avery goes from being a local celebrity for his long-overdue release to someone who — just two years later — goes on trial for a grisly murder.\u003c/p>\n\u003cp>“We read the \u003cem>New York Times\u003c/em> headline \u003ca href=\"http://www.nytimes.com/2005/11/23/us/freed-by-dna-now-charged-in-new-crime.html\" target=\"_blank\" rel=\"noopener\">‘Freed by DNA, Now Charged in New Crime’\u003c/a> and immediately we recognized this as an unprecedented story,” Demos says. “But what we really recognized in Steven’s story was this valuable window through which to look at our system.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On parallels between the first and second case\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> We were trying really to explore the extent to which history might have been repeating itself here. Steven in the first case was arrested the very same day the victim was attacked, in just a matter of hours. … He had a pretty ironclad alibi — he was accounted for every minute of the day before the victim was attacked all the way through the time that law enforcement arrives at his house to arrest him.\u003c/p>\n\u003cp>So there was an interesting parallel between the arc of the first case and the arc of the second case and how law enforcement arguably handled both cases. And that got back to our original question of: Has the system evolved, and, if it has evolved, is anything now in place that wasn’t 20 years prior to stop a wrongful conviction from occurring?\u003c/p>\n\u003cp>\u003cstrong>On how the filmmakers got access \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> The way we reached out to potential subjects was to write letters to them. Letters of introduction to tell them why we thought they would have a valuable place in the story. We were really interested in hearing people’s firsthand accounts.\u003c/p>\n\u003cp>\u003cstrong>Demos:\u003c/strong> We were graduate film students at the time we started this, and we had no money, but what we did have was time. So we moved to Wisconsin. We lived there for nearly two years. So, you know, we were on the ground, there to cover anything that was happening, but also there to do research and to build relationships.\u003c/p>\n\u003cp>\u003cstrong>On whether they think Avery is innocent\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ricciardi:\u003c/strong> My opinion is: We don’t know. There were so many questions about the quality of the investigation itself here. There was a glaring conflict of interest in this particular case, as we talked about earlier: Steven Avery had a $36 million lawsuit pending against … this county and former members of law enforcement. And here he was, back in the same system, charged with a serious crime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Demos: \u003c/strong>One of the things I learned from making this film is — through all of this and all of these different points of view — the humility to accept that I don’t know. And what seems more important to me is to be able to trust the process. \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=Over+10+Years%2C+2+Filmmakers+Documented+The+%27Making%27+Of+A+Murderer+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Care to break the hearts of Game of Thrones fans everywhere? It might just take seven words:\u003c/p>\n\u003cp>“THE WINDS OF WINTER is not finished.”\u003c/p>\n\u003cp>So wrote George R.R. Martin in a \u003ca href=\"http://grrm.livejournal.com/465247.html\">lengthy blog post\u003c/a> published in the wee hours Saturday. The author had hoped to publish the sixth installment of his massively popular fantasy book series, \u003cem>A Song of Ice and Fire\u003c/em>, early in 2016 — which meant finishing and submitting the manuscript to his publishers before the end of 2015.\u003c/p>\n\u003cp>But Martin says those hopes have been dashed.\u003c/p>\n\u003cp>“You’re disappointed, and you’re not alone. My editors and publishers are disappointed, HBO is disappointed, my agents and foreign publishers and translators are disappointed,” Martin writes, “but no one could possibly be more disappointed than me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He notes that this was not the first deadline he has passed — Halloween holds that honor — but the New Year’s deadline may be the most consequential. Meeting it would have ensured that the manuscript cleared the necessary hurdles in time to be published before the end of March, he says — in other words, before the sixth season of \u003cem>Game of Thrones\u003c/em>, the HBO television show based on the books, is set to air in April.\u003c/p>\n\u003cp>“That almost certainly means that no, THE WINDS OF WINTER will not be published before the sixth season of GAME OF THRONES premieres in April,” he writes.\u003c/p>\n\u003cp>The question necessarily follows: Will the show get ahead of the notoriously twist-laden novels?\u003c/p>\n\u003caside class=\"pullquote alignright\">\nThe deadlines just stress me out.\u003cbr>\n\u003ccite>George R. R, Martin\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>“Maybe. Yes and no,” Martin writes. “For years my readers have been ahead of the viewers. This year, for some things, the reverse will be true.”\u003c/p>\n\u003cp>Ambiguities aside, Martin pledged to keep writing, to finish the book only when he feels it’s ready and to dispense with all the deadlines.\u003c/p>\n\u003cp>“When delivery will be, I can’t say. I’m not going to set another deadline for myself to trip over,” he writes. “The deadlines just stress me out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That is one sentiment this journalist, at least, can certainly sympathize with. \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=George+R.R.+Martin+Admits+%27Winter%27+Isn%27t+Coming+%E2%80%94+At+Least%2C+Not+For+A+While&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He notes that this was not the first deadline he has passed — Halloween holds that honor — but the New Year’s deadline may be the most consequential. Meeting it would have ensured that the manuscript cleared the necessary hurdles in time to be published before the end of March, he says — in other words, before the sixth season of \u003cem>Game of Thrones\u003c/em>, the HBO television show based on the books, is set to air in April.\u003c/p>\n\u003cp>“That almost certainly means that no, THE WINDS OF WINTER will not be published before the sixth season of GAME OF THRONES premieres in April,” he writes.\u003c/p>\n\u003cp>The question necessarily follows: Will the show get ahead of the notoriously twist-laden novels?\u003c/p>\n\u003caside class=\"pullquote alignright\">\nThe deadlines just stress me out.\u003cbr>\n\u003ccite>George R. R, Martin\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>“Maybe. Yes and no,” Martin writes. “For years my readers have been ahead of the viewers. This year, for some things, the reverse will be true.”\u003c/p>\n\u003cp>Ambiguities aside, Martin pledged to keep writing, to finish the book only when he feels it’s ready and to dispense with all the deadlines.\u003c/p>\n\u003cp>“When delivery will be, I can’t say. I’m not going to set another deadline for myself to trip over,” he writes. “The deadlines just stress me out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That is one sentiment this journalist, at least, can certainly sympathize with. \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=George+R.R.+Martin+Admits+%27Winter%27+Isn%27t+Coming+%E2%80%94+At+Least%2C+Not+For+A+While&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Natalie Cole, the Grammy award-winning singer and daughter of legendary crooner Nat King Cole, has died. She was 65.\u003c/p>\n\u003cp>According to a statement from her family, Cole passed away last night at a Los Angeles Hospital due to complications from ongoing medical issues, \u003ca href=\"http://bigstory.ap.org/article/6a4c103be2a74a2587334ec6eff65c13/natalie-cole-grammy-winning-singer-has-died\">The Associated Press reported\u003c/a>.\u003c/p>\n\u003cp>Cole’s longtime collaborator Tony Bennett confirmed the news to NPR Weekend Edition Saturday host Scott Simon after speaking with Cole’s family:\u003c/p>\n\u003cblockquote>\n\u003cp>”I am deeply saddened to hear of the passing of Natalie Cole as I have cherished the long friendship I had with her, her father Nat and the family over the years. Natalie was an exceptional jazz singer and it was an honor to have recorded and performed with her on several occasions. She was a lovely and generous person who will be greatly missed.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Cole recorded her first album in 1975 and quickly found success. That album included one of her biggest hits, “This Will Be,” which earned her her first Grammy award.\u003c/p>\n\u003cp>Cole struggled with substance abuse and a series of health problems, but re-emerged to deliver the 1991 album \u003cem>Unforgettable … with Love.\u003c/em> The hit song “Unforgettable” blended together recordings of her father and her own tracks, making it sound like the two were singing a duet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a 2013 \u003ca href=\"http://www.npr.org/2013/06/22/193947379/natalie-cole-takes-her-own-turn-en-espa-ol\">interview with Scott Simon\u003c/a> on \u003cem>Weekend Edition,\u003c/em> she spoke about the experience of starting out in the music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“When I first started to sing, the last thing I wanted to do was sing my dad’s music. … It took 15 years into my career before I felt comfortable and confident enough to even attempt it, singing my father’s music.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>You can listen to the rest of that interview here, where she discusses releasing an album in Spanish. \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=Singer+Natalie+Cole+Dead+At+65&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>They chat, they joke, they drive a classic 1963 Corvette. When President Obama appears on Jerry Seinfeld’s online show \u003cem>Comedians in Cars Getting Coffee\u003c/em>, their conversation topics range from nothing to the sanity of world leaders and the merits of profanity.\u003c/p>\n\u003cp>Much of the talk also centers on what it’s like for a guy to live in the Oval Office, the White House and a position of extreme power. A recurring theme: how a regular person adjusts to both the privilege and the stress that come with the presidency.\u003c/p>\n\u003cp>“Bad stuff, or stupid stuff, is happening constantly, right?” Obama says. “Every day. So you have to be able to just make fun of a lot of that, like: ‘That was even dumber and more annoying than usual.’ That’s when cursing is really useful.”\u003c/p>\n\u003cp>The show streams on Crackle; you can also \u003ca href=\"http://comediansincarsgettingcoffee.com/president-barack-obama-just-tell-him-you-re-the-president\" target=\"_blank\" rel=\"noopener\">watch the episode here\u003c/a>. (Crackle has disabled the embed option on this video.)\u003c/p>\n\u003cp>Some highlight questions:\u003c/p>\n\u003cul>\n\u003cli>“You ever go on eBay?”\u003c/li>\n\u003cli>“What sport is politics? Is it chess? Is it liar’s poker?”\u003c/li>\n\u003cli>“Have you ever touched a thermostat in here?”\u003c/li>\n\u003c/ul>\n\u003cp>And some of Obama’s answers:\u003c/p>\n\u003cul>\n\u003cli>“It’s not cool, generally, wandering around in my underwear.”\u003c/li>\n\u003cli>“They don’t put out suits. I have a closet like normal people do.”\u003c/li>\n\u003cli>“I do really well with the 0-8 demographic. They love me,” Obama says, crediting his ears — and the fact that small children like to say “Barackobama.” He adds, “It’s like a Nickelodeon thing.”\u003c/li>\n\u003c/ul>\n\u003cp>When Seinfeld asks Obama, “How many world leaders do you think are just completely out of their mind?” the president answers, “A pretty sizable percent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair were never allowed to leave the White House complex, although Obama did take a turn driving the Stingray — which bore a bumper sticker reading, “My other car is a 5 ton bulletproof limousine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As he did when he appeared on Zach Galifianakis’ show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/03/11/288995340/obama-goes-between-the-ferns-to-talk-with-zach-galifianakis\" target=\"_blank\" rel=\"noopener\">Between Two Ferns\u003c/a> last year, Obama briefly broke off from the comedy bits to tout the merits of his health care plan — prompting Seinfeld to turn away from his coffee and urge his viewers, “It’s a great thing. Please try Obamacare today.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Seinfeld+And+Obama%2C+Driving+A+Stingray+And+Getting+Coffee&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "President Obama appears on Jerry Seinfeld's online show \u003cem>Comedians in Cars Getting Coffee\u003c/em>. Sample question: \"How many world leaders do you think are just completely out of their mind?\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They chat, they joke, they drive a classic 1963 Corvette. When President Obama appears on Jerry Seinfeld’s online show \u003cem>Comedians in Cars Getting Coffee\u003c/em>, their conversation topics range from nothing to the sanity of world leaders and the merits of profanity.\u003c/p>\n\u003cp>Much of the talk also centers on what it’s like for a guy to live in the Oval Office, the White House and a position of extreme power. A recurring theme: how a regular person adjusts to both the privilege and the stress that come with the presidency.\u003c/p>\n\u003cp>“Bad stuff, or stupid stuff, is happening constantly, right?” Obama says. “Every day. So you have to be able to just make fun of a lot of that, like: ‘That was even dumber and more annoying than usual.’ That’s when cursing is really useful.”\u003c/p>\n\u003cp>The show streams on Crackle; you can also \u003ca href=\"http://comediansincarsgettingcoffee.com/president-barack-obama-just-tell-him-you-re-the-president\" target=\"_blank\" rel=\"noopener\">watch the episode here\u003c/a>. (Crackle has disabled the embed option on this video.)\u003c/p>\n\u003cp>Some highlight questions:\u003c/p>\n\u003cul>\n\u003cli>“You ever go on eBay?”\u003c/li>\n\u003cli>“What sport is politics? Is it chess? Is it liar’s poker?”\u003c/li>\n\u003cli>“Have you ever touched a thermostat in here?”\u003c/li>\n\u003c/ul>\n\u003cp>And some of Obama’s answers:\u003c/p>\n\u003cul>\n\u003cli>“It’s not cool, generally, wandering around in my underwear.”\u003c/li>\n\u003cli>“They don’t put out suits. I have a closet like normal people do.”\u003c/li>\n\u003cli>“I do really well with the 0-8 demographic. They love me,” Obama says, crediting his ears — and the fact that small children like to say “Barackobama.” He adds, “It’s like a Nickelodeon thing.”\u003c/li>\n\u003c/ul>\n\u003cp>When Seinfeld asks Obama, “How many world leaders do you think are just completely out of their mind?” the president answers, “A pretty sizable percent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair were never allowed to leave the White House complex, although Obama did take a turn driving the Stingray — which bore a bumper sticker reading, “My other car is a 5 ton bulletproof limousine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As he did when he appeared on Zach Galifianakis’ show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/03/11/288995340/obama-goes-between-the-ferns-to-talk-with-zach-galifianakis\" target=\"_blank\" rel=\"noopener\">Between Two Ferns\u003c/a> last year, Obama briefly broke off from the comedy bits to tout the merits of his health care plan — prompting Seinfeld to turn away from his coffee and urge his viewers, “It’s a great thing. Please try Obamacare today.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Seinfeld+And+Obama%2C+Driving+A+Stingray+And+Getting+Coffee&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "seeing-double-bob-mondello-picks-2015s-best-movies-2-at-a-time",
"title": "Seeing Double: Bob Mondello Picks 2015's Best Movies, 2 at a Time",
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"content": "\u003cp>I’m not sure why this happened, but as I assembled this year’s best-of list, I kept seeing matched sets: Two terrific desert movies, two swoon-inducing romances, two single-minded crusades by men who think they’re already dead, and even a pair of riveting mortgage crisis flicks (and what are the chances of that?). The doubleness is a good organizing principle, since my 10-best list nearly always turns into a 20-best — so here goes:\u003c/p>\n\u003cp>\u003cstrong>Two Desert Films: ‘\u003ca href=\"http://www.npr.org/2015/05/15/407071550/mad-max-reboot-is-a-gorgeous-scrap-metal-demolition-derby\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/01/444735099/ridley-scott-finds-an-optimistic-space-in-the-martian\" target=\"_blank\" rel=\"noopener\">The Martian\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/madmax-martians-800x307.jpg\" alt=\"(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in 'Mad Max: Fury Road.' (Right) Matt Damon in 'The Martian.'\" width=\"800\" height=\"307\" class=\"size-medium wp-image-11206825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-400x154.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-768x295.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in ‘Mad Max: Fury Road.’ (Right) Matt Damon in ‘The Martian.’ \u003ccite>(Left: Jasin Boland/Warner Bros. Right: Aidan Monaghan/20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mad Max: Fury Road\u003c/em> is a gorgeous, scrap-metal demolition derby — a popcorn picture with a surprising feminist twist: Tom Hardy’s Max is more or less a sidekick to Charlize Theron’s Furiosa.\u003c/p>\n\u003cp>Ridley Scott, meanwhile, makes conquering a desert on another planet downright cerebral. \u003cem>The Martian\u003c/em> is about an astronaut accidentally left for dead by a crew that won’t be able to get back to Mars for four years.\u003c/p>\n\u003cp>\u003cstrong>Two Beautifully Realized Love Stories: ‘\u003ca href=\"http://www.npr.org/2015/11/19/456507326/women-in-love-in-the-ravishing-carol\" target=\"_blank\" rel=\"noopener\">Carol\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/30/460946174/anomalisa-is-a-charlie-kaufman-movie-featuring-puppets-yes-its-weird?utm_medium=RSS&utm_campaign=moviereviews\" target=\"_blank\" rel=\"noopener\">Anomalisa\u003c/a>‘\u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Anomalisa\u003c/em> is about a motivational speaker who is convinced that everyone is the same, until he meets Lisa, who’s an anomaly. This extraordinary film is the latest weirdness from Charlie Kaufman, who gave us \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>. This time, his leads are puppets — figures in miniature with emotions writ grand.\u003c/p>\n\u003cp>\u003cem>Carol\u003c/em> is another love story uncommonly told. Director Todd Haynes has adapted a Patricia Highsmith novel about a love that dared not speak its name in the 1950s — a love between two women. Lush and sumptuous, \u003cem>Carol\u003c/em> is forever having its camera peer at these women through glass, mirrors and windshields, reflecting the way ’50s society \u003cem>saw\u003c/em> homosexuals while keeping them at a slight remove.\u003c/p>\n\u003cp>\u003cstrong>Two Cinematic Head Trips: ‘\u003ca href=\"http://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener\">Inside Out\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/23/460813004/an-icy-chill-from-the-past-threatens-a-steady-flame-in-45-years\" target=\"_blank\" rel=\"noopener\">45 Years\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/insideout-45years-800x266.jpg\" alt=\"(Left) Amy Poehler as Joy in 'Inside Out.' (Right) Charlotte Rampling in '45 Years.'\" width=\"800\" height=\"266\" class=\"size-medium wp-image-11206827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-400x133.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-768x255.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Amy Poehler as Joy in ‘Inside Out.’ (Right) Charlotte Rampling in ’45 Years.’ \u003ccite>(Left: Pixar/Disney. Right: Courtesy of Agatha A. Nitecka/IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pixar’s \u003cem>Inside Out\u003c/em> takes audiences literally inside the head of an 11-year-old girl by giving personalities to her emotions. And while \u003cem>Inside Out\u003c/em> expresses everything its heroine is thinking, the tragedy \u003cem>45 Years\u003c/em> gives us Charlotte Rampling as a wife who keeps her feelings bottled up. So much so, that when a revelation shakes her marriage, the film could almost be called “outside in.”\u003c/p>\n\u003cp>\u003cstrong>Two Brutal Historical Epics: ‘\u003ca href=\"http://www.npr.org/2015/12/18/460285985/shallow-focus-creates-depth-of-feeling-in-son-of-saul\" target=\"_blank\" rel=\"noopener\">Son Of Saul\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/25/460946566/revenant-reveals-a-breathtaking-punishing-saga-of-survival-and-revenge\" target=\"_blank\" rel=\"noopener\">The Revenant\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films feature men who risk everything because they figure they’re already dead: \u003cem>Son of Saul\u003c/em>‘s Saul because he’s in Auschwitz, and \u003cem>The Revenant\u003c/em>‘s 1820s fur trapper because he was left for dead by a man who also killed his son. Both of these films left me wrung-out.\u003c/p>\n\u003cp>\u003cstrong>Two Mortgage Crisis Films: ‘\u003ca href=\"http://www.npr.org/2015/09/25/443423954/99-homes-a-morality-play-built-on-foreclosures-and-evictions\" target=\"_blank\" rel=\"noopener\">99 Homes\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/10/459119984/the-guys-who-put-monster-bets-on-bad-outcomes-in-the-big-short\" target=\"_blank\" rel=\"noopener\">The Big Short\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films left me angry. I’d suggest you watch \u003cem>99 Homes\u003c/em> first. It’ll have you seething about predatory real estate brokers. Then, once you’ve become acquainted with the ordinary folks who were the housing bubble’s big losers, check out the guys who saw the crash coming and figured out how to profit from it in \u003cem>The Big Short.\u003c/em> It plays like a comic heist flick, but this heist had real-world consequences.\u003c/p>\n\u003cp>\u003cstrong>Two Eye-Openers From The Muslim World: ‘\u003ca href=\"http://www.npr.org/2015/01/29/381876506/timbuktu-stories-from-a-city-held-then-freed\" target=\"_blank\" rel=\"noopener\">Timbuktu\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/02/445048946/riding-rings-around-irans-censors-in-jafar-panahis-taxi\" target=\"_blank\" rel=\"noopener\">Taxi\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-800x258.jpg\" alt=\"(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in 'Timbuktu.' (Right) Director Jafar Panahi in 'Taxi'\" width=\"800\" height=\"258\" class=\"size-medium wp-image-11206823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-400x129.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-768x248.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in ‘Timbuktu.’ (Right) Director Jafar Panahi in ‘Taxi’ \u003ccite>( Left: Cohen Media Group. Right: Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Timbuktu\u003c/em> chronicles the confusion in Mali when jihadists issue conflicting edicts about worship and culture. They ban music, for instance, which leads to this line in the subtitles: “They are singing in praise of God and the prophet. Should I arrest them?”\u003c/p>\n\u003cp>The Iranian film \u003cem>Taxi\u003c/em> finds gentle comedy in a different set of contradictions: Internationally celebrated director Jafar Panahi is banned by his government from operating a camera, writing a script or directing a film. So what does he do? He drives a taxi with a camera on its dashboard, and lets Tehran’s dramas come to him. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Two Films That Exalt Journalists: ‘\u003ca href=\"http://www.npr.org/2015/11/06/454988021/all-star-spotlight-cast-creates-a-riveting-movie-about-investigative-journalism\" target=\"_blank\" rel=\"noopener\">Spotlight\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/03/27/395800345/photography-misery-and-beauty-in-the-salt-of-the-earth\" target=\"_blank\" rel=\"noopener\">The Salt Of The Earth\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Spotlight\u003c/em> is a sharply made newspaper procedural about a Pulitzer Prize-winning \u003cem>Boston Globe\u003c/em> investigation that documented not just sexual abuse by priests, but a cover-up by the Catholic Church.\u003c/p>\n\u003cp>The documentary \u003cem>The Salt of the Earth\u003c/em> also turns a spotlight on horrors — this one through the exquisite black-and-white images created by photojournalist Sebastiao Salgado. Salgado makes the world face up to landscapes of famine, drought and war by finding humanity in scenes of despair.\u003c/p>\n\u003cp>\u003cstrong>Two Feminine Perspectives On Sex And Maturity: ‘\u003ca href=\"http://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\" target=\"_blank\" rel=\"noopener\">Diary Of A Teenage Girl\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/sections/monkeysee/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener\">Trainwreck\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-800x285.jpg\" alt=\"(Left) Bel Powley in 'The Diary of a Teenage Girl.' (Right) Amy Schumer and Bill Hader in 'Trainwreck.'\" width=\"800\" height=\"285\" class=\"size-medium wp-image-11206824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-400x143.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-768x274.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Bel Powley in ‘The Diary of a Teenage Girl.’ (Right) Amy Schumer and Bill Hader in ‘Trainwreck.’ \u003ccite>(Left: Sony Pictures. Right: Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women have been having an extraordinary year in front of the camera, so it’s fitting that in two of the year’s best films they also excelled \u003cem>behind\u003c/em> the camera. Both Phoebe Gloeckner, who penned the autobiographical graphic novel on which \u003cem>The Diary of a Teenage Girl\u003c/em> is based, and director Marielle Heller contributed to giving that film a distinctly feminine teen outlook. And Amy Schumer’s script for her riotous comedy, \u003cem>Trainwreck,\u003c/em> about a woman who realizes she’s been undervaluing both her feelings and herself, gave her hilarious performance authority as well as laughs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And now that I’m tallying, let me mention some remarkable films that stood alone: \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a>, a brash story about trans prostitutes shot on iPhone 5s; \u003ca href=\"http://www.npr.org/2015/06/17/414674331/the-tribe-says-a-lot-about-violence-sex-and-love-without-a-single-word\" target=\"_blank\" rel=\"noopener\">The Tribe\u003c/a>, a wordless portrait of deaf juvenile delinquents; \u003ca href=\"http://www.npr.org/2015/12/16/460000968/star-wars-the-force-of-nostalgia-is-strong-with-this-one\" target=\"_blank\" rel=\"noopener\">Star Wars: The Force Awakens\u003c/a>, a little indie flick you might have heard of; and \u003ca href=\"http://www.npr.org/2015/06/04/411309872/a-simplified-brian-wilson-in-love-and-mercy\" target=\"_blank\" rel=\"noopener\">Love and Mercy\u003c/a>, the story of Beach Boy Brian Wilson, who struggled mightily with mental illness and played extravagantly with sound. I think about sound all day in my job, and \u003cem>Love and Mercy\u003c/em> made me reconsider everything I thought I knew. Not bad for the 20th film in a year full of good vibrations. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Seeing+Double%3A+Bob+Mondello+Picks+2015%27s+Best+Movies%2C+2+At+A+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "When NPR's movie critic sat down to write this year's best-of list, he kept seeing matched sets: two cinematic head trips, two brutal historical epics and even two riveting mortgage crisis flicks.",
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"title": "Seeing Double: Bob Mondello Picks 2015's Best Movies, 2 at a Time | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m not sure why this happened, but as I assembled this year’s best-of list, I kept seeing matched sets: Two terrific desert movies, two swoon-inducing romances, two single-minded crusades by men who think they’re already dead, and even a pair of riveting mortgage crisis flicks (and what are the chances of that?). The doubleness is a good organizing principle, since my 10-best list nearly always turns into a 20-best — so here goes:\u003c/p>\n\u003cp>\u003cstrong>Two Desert Films: ‘\u003ca href=\"http://www.npr.org/2015/05/15/407071550/mad-max-reboot-is-a-gorgeous-scrap-metal-demolition-derby\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/01/444735099/ridley-scott-finds-an-optimistic-space-in-the-martian\" target=\"_blank\" rel=\"noopener\">The Martian\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/madmax-martians-800x307.jpg\" alt=\"(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in 'Mad Max: Fury Road.' (Right) Matt Damon in 'The Martian.'\" width=\"800\" height=\"307\" class=\"size-medium wp-image-11206825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-400x154.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-768x295.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in ‘Mad Max: Fury Road.’ (Right) Matt Damon in ‘The Martian.’ \u003ccite>(Left: Jasin Boland/Warner Bros. Right: Aidan Monaghan/20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mad Max: Fury Road\u003c/em> is a gorgeous, scrap-metal demolition derby — a popcorn picture with a surprising feminist twist: Tom Hardy’s Max is more or less a sidekick to Charlize Theron’s Furiosa.\u003c/p>\n\u003cp>Ridley Scott, meanwhile, makes conquering a desert on another planet downright cerebral. \u003cem>The Martian\u003c/em> is about an astronaut accidentally left for dead by a crew that won’t be able to get back to Mars for four years.\u003c/p>\n\u003cp>\u003cstrong>Two Beautifully Realized Love Stories: ‘\u003ca href=\"http://www.npr.org/2015/11/19/456507326/women-in-love-in-the-ravishing-carol\" target=\"_blank\" rel=\"noopener\">Carol\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/30/460946174/anomalisa-is-a-charlie-kaufman-movie-featuring-puppets-yes-its-weird?utm_medium=RSS&utm_campaign=moviereviews\" target=\"_blank\" rel=\"noopener\">Anomalisa\u003c/a>‘\u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Anomalisa\u003c/em> is about a motivational speaker who is convinced that everyone is the same, until he meets Lisa, who’s an anomaly. This extraordinary film is the latest weirdness from Charlie Kaufman, who gave us \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>. This time, his leads are puppets — figures in miniature with emotions writ grand.\u003c/p>\n\u003cp>\u003cem>Carol\u003c/em> is another love story uncommonly told. Director Todd Haynes has adapted a Patricia Highsmith novel about a love that dared not speak its name in the 1950s — a love between two women. Lush and sumptuous, \u003cem>Carol\u003c/em> is forever having its camera peer at these women through glass, mirrors and windshields, reflecting the way ’50s society \u003cem>saw\u003c/em> homosexuals while keeping them at a slight remove.\u003c/p>\n\u003cp>\u003cstrong>Two Cinematic Head Trips: ‘\u003ca href=\"http://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener\">Inside Out\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/23/460813004/an-icy-chill-from-the-past-threatens-a-steady-flame-in-45-years\" target=\"_blank\" rel=\"noopener\">45 Years\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/insideout-45years-800x266.jpg\" alt=\"(Left) Amy Poehler as Joy in 'Inside Out.' (Right) Charlotte Rampling in '45 Years.'\" width=\"800\" height=\"266\" class=\"size-medium wp-image-11206827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-400x133.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-768x255.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Amy Poehler as Joy in ‘Inside Out.’ (Right) Charlotte Rampling in ’45 Years.’ \u003ccite>(Left: Pixar/Disney. Right: Courtesy of Agatha A. Nitecka/IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pixar’s \u003cem>Inside Out\u003c/em> takes audiences literally inside the head of an 11-year-old girl by giving personalities to her emotions. And while \u003cem>Inside Out\u003c/em> expresses everything its heroine is thinking, the tragedy \u003cem>45 Years\u003c/em> gives us Charlotte Rampling as a wife who keeps her feelings bottled up. So much so, that when a revelation shakes her marriage, the film could almost be called “outside in.”\u003c/p>\n\u003cp>\u003cstrong>Two Brutal Historical Epics: ‘\u003ca href=\"http://www.npr.org/2015/12/18/460285985/shallow-focus-creates-depth-of-feeling-in-son-of-saul\" target=\"_blank\" rel=\"noopener\">Son Of Saul\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/25/460946566/revenant-reveals-a-breathtaking-punishing-saga-of-survival-and-revenge\" target=\"_blank\" rel=\"noopener\">The Revenant\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films feature men who risk everything because they figure they’re already dead: \u003cem>Son of Saul\u003c/em>‘s Saul because he’s in Auschwitz, and \u003cem>The Revenant\u003c/em>‘s 1820s fur trapper because he was left for dead by a man who also killed his son. Both of these films left me wrung-out.\u003c/p>\n\u003cp>\u003cstrong>Two Mortgage Crisis Films: ‘\u003ca href=\"http://www.npr.org/2015/09/25/443423954/99-homes-a-morality-play-built-on-foreclosures-and-evictions\" target=\"_blank\" rel=\"noopener\">99 Homes\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/10/459119984/the-guys-who-put-monster-bets-on-bad-outcomes-in-the-big-short\" target=\"_blank\" rel=\"noopener\">The Big Short\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films left me angry. I’d suggest you watch \u003cem>99 Homes\u003c/em> first. It’ll have you seething about predatory real estate brokers. Then, once you’ve become acquainted with the ordinary folks who were the housing bubble’s big losers, check out the guys who saw the crash coming and figured out how to profit from it in \u003cem>The Big Short.\u003c/em> It plays like a comic heist flick, but this heist had real-world consequences.\u003c/p>\n\u003cp>\u003cstrong>Two Eye-Openers From The Muslim World: ‘\u003ca href=\"http://www.npr.org/2015/01/29/381876506/timbuktu-stories-from-a-city-held-then-freed\" target=\"_blank\" rel=\"noopener\">Timbuktu\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/02/445048946/riding-rings-around-irans-censors-in-jafar-panahis-taxi\" target=\"_blank\" rel=\"noopener\">Taxi\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-800x258.jpg\" alt=\"(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in 'Timbuktu.' (Right) Director Jafar Panahi in 'Taxi'\" width=\"800\" height=\"258\" class=\"size-medium wp-image-11206823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-400x129.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-768x248.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in ‘Timbuktu.’ (Right) Director Jafar Panahi in ‘Taxi’ \u003ccite>( Left: Cohen Media Group. Right: Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Timbuktu\u003c/em> chronicles the confusion in Mali when jihadists issue conflicting edicts about worship and culture. They ban music, for instance, which leads to this line in the subtitles: “They are singing in praise of God and the prophet. Should I arrest them?”\u003c/p>\n\u003cp>The Iranian film \u003cem>Taxi\u003c/em> finds gentle comedy in a different set of contradictions: Internationally celebrated director Jafar Panahi is banned by his government from operating a camera, writing a script or directing a film. So what does he do? He drives a taxi with a camera on its dashboard, and lets Tehran’s dramas come to him. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Two Films That Exalt Journalists: ‘\u003ca href=\"http://www.npr.org/2015/11/06/454988021/all-star-spotlight-cast-creates-a-riveting-movie-about-investigative-journalism\" target=\"_blank\" rel=\"noopener\">Spotlight\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/03/27/395800345/photography-misery-and-beauty-in-the-salt-of-the-earth\" target=\"_blank\" rel=\"noopener\">The Salt Of The Earth\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Spotlight\u003c/em> is a sharply made newspaper procedural about a Pulitzer Prize-winning \u003cem>Boston Globe\u003c/em> investigation that documented not just sexual abuse by priests, but a cover-up by the Catholic Church.\u003c/p>\n\u003cp>The documentary \u003cem>The Salt of the Earth\u003c/em> also turns a spotlight on horrors — this one through the exquisite black-and-white images created by photojournalist Sebastiao Salgado. Salgado makes the world face up to landscapes of famine, drought and war by finding humanity in scenes of despair.\u003c/p>\n\u003cp>\u003cstrong>Two Feminine Perspectives On Sex And Maturity: ‘\u003ca href=\"http://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\" target=\"_blank\" rel=\"noopener\">Diary Of A Teenage Girl\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/sections/monkeysee/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener\">Trainwreck\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-800x285.jpg\" alt=\"(Left) Bel Powley in 'The Diary of a Teenage Girl.' (Right) Amy Schumer and Bill Hader in 'Trainwreck.'\" width=\"800\" height=\"285\" class=\"size-medium wp-image-11206824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-400x143.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-768x274.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Bel Powley in ‘The Diary of a Teenage Girl.’ (Right) Amy Schumer and Bill Hader in ‘Trainwreck.’ \u003ccite>(Left: Sony Pictures. Right: Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women have been having an extraordinary year in front of the camera, so it’s fitting that in two of the year’s best films they also excelled \u003cem>behind\u003c/em> the camera. Both Phoebe Gloeckner, who penned the autobiographical graphic novel on which \u003cem>The Diary of a Teenage Girl\u003c/em> is based, and director Marielle Heller contributed to giving that film a distinctly feminine teen outlook. And Amy Schumer’s script for her riotous comedy, \u003cem>Trainwreck,\u003c/em> about a woman who realizes she’s been undervaluing both her feelings and herself, gave her hilarious performance authority as well as laughs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now that I’m tallying, let me mention some remarkable films that stood alone: \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a>, a brash story about trans prostitutes shot on iPhone 5s; \u003ca href=\"http://www.npr.org/2015/06/17/414674331/the-tribe-says-a-lot-about-violence-sex-and-love-without-a-single-word\" target=\"_blank\" rel=\"noopener\">The Tribe\u003c/a>, a wordless portrait of deaf juvenile delinquents; \u003ca href=\"http://www.npr.org/2015/12/16/460000968/star-wars-the-force-of-nostalgia-is-strong-with-this-one\" target=\"_blank\" rel=\"noopener\">Star Wars: The Force Awakens\u003c/a>, a little indie flick you might have heard of; and \u003ca href=\"http://www.npr.org/2015/06/04/411309872/a-simplified-brian-wilson-in-love-and-mercy\" target=\"_blank\" rel=\"noopener\">Love and Mercy\u003c/a>, the story of Beach Boy Brian Wilson, who struggled mightily with mental illness and played extravagantly with sound. I think about sound all day in my job, and \u003cem>Love and Mercy\u003c/em> made me reconsider everything I thought I knew. Not bad for the 20th film in a year full of good vibrations. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Seeing+Double%3A+Bob+Mondello+Picks+2015%27s+Best+Movies%2C+2+At+A+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bill Cosby Charged with Felony Sex Crime Over 2004 Case",
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"content": "\u003cp>Narrowly beating a statute of limitations deadline to file charges, prosecutors in Pennsylvania announced a felony sexual assault charge against comedian Bill Cosby on Wednesday. A former Temple University employee says Cosby drugged and assaulted her in January of 2004.\u003c/p>\n\u003cp>Montgomery County, Pa., prosecutors have charged Cosby with aggravated indecent assault, a first-degree felony.\u003c/p>\n\u003cp>“These charges stem from a sexual assault,” according to prosecutor Kevin Steele, who said the assault occurred at Cosby’s house in Cheltenham, a Montgomery County township that’s just outside Philadelphia.\u003c/p>\n\u003cp>Steele said Cosby is expected to appear in court to be arraigned Wednesday afternoon; he also urged any other victims to contact his office.\u003c/p>\n\u003cp>Over the past year, Cosby has been accused of sexually abusing dozens of women. Cosby has denied those charges, and earlier this month, he filed lawsuits \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/14/459750910/bill-cosby-sues-women-who-accused-him-of-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">against seven of his accusers\u003c/a>, saying they had made up the claims to extract money from him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When NPR’s Scott Simon \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\" target=\"_blank\" rel=\"noopener\">asked Cosby about the allegations\u003c/a> against him during a November 2014 interview, the comedian refused to respond, shaking his head in silence.\u003c/p>\n\u003cp>Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against Cosby, 78.\u003c/p>\n\u003cp>\u003ca href=\"http://www.legis.state.pa.us/cfdocs/legis/LI/consCheck.cfm?txtType=HTM&ttl=18&div=0&chpt=31\" target=\"_blank\" rel=\"noopener\">Under state law\u003c/a>, aggravated indecent assault has a range of definitions, from having sexual contact with a person without their consent to doing so after an attacker has “substantially impaired the complainant’s power to appraise or control his or her conduct by administering or employing, without the knowledge of the complainant, drugs, intoxicants or other means for the purpose of preventing resistance.”\u003c/p>\n\u003cp>After the Temple employee, Andrea Constand, accused Cosby of sexually assaulting her in 2004, a Montgomery County prosecutor decided in 2005 that charges weren’t warranted in the case. But that prosecutor lost his re-election bid last month to Steele, who made pursuing charges against Cosby an issue in his campaign.\u003c/p>\n\u003cp>On Wednesday, Steele outlined a timeline of events in 2004, saying Cosby established a friendship with the victim and then made sexual advances that were rejected. After that, Cosby urged her to take pills and drink wine, Steele said.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.documentcloud.org/documents/2661361-Criminal-Complaint-William-Cosby.html\" target=\"_blank\" rel=\"noopener\">the criminal complaint filed Wednesday\u003c/a>, Constand “considered Cosby, thirty-seven years her senior, to be a mentor, and described instances in which he invited her to his home for dinner, invited her to restaurants, invited her to events, introduced her to people, and provided her with guidance and career advice.”\u003c/p>\n\u003cp>The 2005 investigation into Cosby led to a deposition in which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">Cosby admitted that he\u003c/a> had, as the Two-Way reported, “obtained the sedative Quaalude with the intent of giving the drug to women with whom he wanted to have sex, and he acknowledged giving it to at least one woman.”\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>That testimony became public this past summer, prompting new calls for charges against Cosby. Announcing the charges Wednesday, Steele said the decision was made after “new information” came to light in July.\u003c/p>\n\u003cp>Cosby gave his deposition in the course of a civil trial, before he and Constand reached a settlement over her lawsuit against him.\u003c/p>\n\u003cp>As part of their deal, the two sides signed a confidentiality agreement — but the records were unsealed at the request of the Associated Press, in part because the judge in the case said he regarded Cosby as something of a public servant who can be expected to forfeit some privacy protections, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/07/420830305/the-cosby-revelation-how-a-decade-old-deposition-came-to-light\" target=\"_blank\" rel=\"noopener\">as Eyder reported for the Two-Way\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’ll note that while NPR \u003ca href=\"http://ethics.npr.org/category/i-respect/#423\" target=\"_blank\" rel=\"noopener\">doesn’t usually identify\u003c/a> people who say they’re the victims of sexual assault, we’ve done so in this case, because Constand has taken a public stand on the case. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Bill+Cosby+Is+Charged+With+Felony+Sex+Crime+Over+2004+Case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Narrowly beating a statute of limitations deadline to file charges, prosecutors in Pennsylvania announced a felony sexual assault charge against comedian Bill Cosby on Wednesday. A former Temple University employee says Cosby drugged and assaulted her in January of 2004.\u003c/p>\n\u003cp>Montgomery County, Pa., prosecutors have charged Cosby with aggravated indecent assault, a first-degree felony.\u003c/p>\n\u003cp>“These charges stem from a sexual assault,” according to prosecutor Kevin Steele, who said the assault occurred at Cosby’s house in Cheltenham, a Montgomery County township that’s just outside Philadelphia.\u003c/p>\n\u003cp>Steele said Cosby is expected to appear in court to be arraigned Wednesday afternoon; he also urged any other victims to contact his office.\u003c/p>\n\u003cp>Over the past year, Cosby has been accused of sexually abusing dozens of women. Cosby has denied those charges, and earlier this month, he filed lawsuits \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/14/459750910/bill-cosby-sues-women-who-accused-him-of-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">against seven of his accusers\u003c/a>, saying they had made up the claims to extract money from him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When NPR’s Scott Simon \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\" target=\"_blank\" rel=\"noopener\">asked Cosby about the allegations\u003c/a> against him during a November 2014 interview, the comedian refused to respond, shaking his head in silence.\u003c/p>\n\u003cp>Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against Cosby, 78.\u003c/p>\n\u003cp>\u003ca href=\"http://www.legis.state.pa.us/cfdocs/legis/LI/consCheck.cfm?txtType=HTM&ttl=18&div=0&chpt=31\" target=\"_blank\" rel=\"noopener\">Under state law\u003c/a>, aggravated indecent assault has a range of definitions, from having sexual contact with a person without their consent to doing so after an attacker has “substantially impaired the complainant’s power to appraise or control his or her conduct by administering or employing, without the knowledge of the complainant, drugs, intoxicants or other means for the purpose of preventing resistance.”\u003c/p>\n\u003cp>After the Temple employee, Andrea Constand, accused Cosby of sexually assaulting her in 2004, a Montgomery County prosecutor decided in 2005 that charges weren’t warranted in the case. But that prosecutor lost his re-election bid last month to Steele, who made pursuing charges against Cosby an issue in his campaign.\u003c/p>\n\u003cp>On Wednesday, Steele outlined a timeline of events in 2004, saying Cosby established a friendship with the victim and then made sexual advances that were rejected. After that, Cosby urged her to take pills and drink wine, Steele said.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.documentcloud.org/documents/2661361-Criminal-Complaint-William-Cosby.html\" target=\"_blank\" rel=\"noopener\">the criminal complaint filed Wednesday\u003c/a>, Constand “considered Cosby, thirty-seven years her senior, to be a mentor, and described instances in which he invited her to his home for dinner, invited her to restaurants, invited her to events, introduced her to people, and provided her with guidance and career advice.”\u003c/p>\n\u003cp>The 2005 investigation into Cosby led to a deposition in which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">Cosby admitted that he\u003c/a> had, as the Two-Way reported, “obtained the sedative Quaalude with the intent of giving the drug to women with whom he wanted to have sex, and he acknowledged giving it to at least one woman.”\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>That testimony became public this past summer, prompting new calls for charges against Cosby. Announcing the charges Wednesday, Steele said the decision was made after “new information” came to light in July.\u003c/p>\n\u003cp>Cosby gave his deposition in the course of a civil trial, before he and Constand reached a settlement over her lawsuit against him.\u003c/p>\n\u003cp>As part of their deal, the two sides signed a confidentiality agreement — but the records were unsealed at the request of the Associated Press, in part because the judge in the case said he regarded Cosby as something of a public servant who can be expected to forfeit some privacy protections, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/07/420830305/the-cosby-revelation-how-a-decade-old-deposition-came-to-light\" target=\"_blank\" rel=\"noopener\">as Eyder reported for the Two-Way\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’ll note that while NPR \u003ca href=\"http://ethics.npr.org/category/i-respect/#423\" target=\"_blank\" rel=\"noopener\">doesn’t usually identify\u003c/a> people who say they’re the victims of sexual assault, we’ve done so in this case, because Constand has taken a public stand on the case. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Bill+Cosby+Is+Charged+With+Felony+Sex+Crime+Over+2004+Case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Spotify, the groundbreaking streaming music service, is facing a class-action lawsuit alleging that it violates the copyrights of thousands of independent musicians.\u003c/p>\n\u003cp>If the songwriters prevail it could cost Spotify tens of millions of dollars in unpaid royalties. And according to experts in the music industry, this may be only the beginning, because other streaming services reportedly commit the same violations.\u003c/p>\n\u003cp>The named plaintiff in the lawsuit, filed on Monday in the U.S. District Court for the Central District of California, is David Lowery, an outspoken musicians’ rights advocate and frontman of rock bands Camper Van Beethoven (Santa Cruz) and Cracker (Redlands). He says his songs have been streamed hundreds of thousands of times without his permission.\u003c/p>\n\u003cp>Lowery, who also teaches music business at the University of Georgia, alleges that Spotify streams his songs without getting licenses from him to do it or paying him accordingly.\u003c/p>\n\u003cp>In a statement, Spotify says it has tried to find rights holders, but “the data necessary to confirm the appropriate rights holders is often missing, wrong or incomplete.” Spotify says it has set aside a fund to pay songwriters when they are identified. Earlier this month, it \u003ca href=\"http://www.spotifyartists.com/spotify-songwriters-and-publishers-administration-system/\" target=\"_blank\" rel=\"noopener\">announced that it would invest\u003c/a> in “a comprehensive publishing administration system” to better track royalty information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The point is not that they didn’t set aside royalties; the point is that they never got the licenses in the first place,” Lowery tells NPR. “There appears to be no licenses on my songs and a great number of songwriters’ songs. Setting aside the royalty, what is that royalty based on? There’s no license.”\u003c/p>\n\u003cp>Lowery’s lawyer, Sanford Michelman, says Spotify may owe tens of millions of dollars not just in unpaid royalties but also for copyright infringement, which can run as high as $150,000 per violation.\u003c/p>\n\u003cp>Music streaming services have been a growing and popular business, but they have faced opposition from artists including Prince, Thom Yorke, Beyonce, \u003ca href=\"http://www.npr.org/2015/06/22/416538103/taylor-swift-wins-battle-with-apple-over-free-music-streaming\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a> and most recently \u003ca href=\"http://www.nytimes.com/2015/11/20/business/media/adele-music-album-25.html?_r=0\" target=\"_blank\" rel=\"noopener\">Adele\u003c/a>.\u003c/p>\n\u003cp>A major sticking point has been how these services pay the musicians for distributing their music. One study of the music business by the Berklee College of Music’s Institute for Creative Entrepreneurship \u003ca href=\"http://www.npr.org/sections/therecord/2015/07/14/422707429/is-transparency-the-music-industrys-next-battle\" target=\"_blank\" rel=\"noopener\">suggested earlier this year\u003c/a> that anywhere from 20 percent to 50 percent of music payments don’t make it to their rightful owners.\u003c/p>\n\u003cp>And as NPR’s Joel Rose has reported, the songwriters often get a far smaller share of those payments:\u003c/p>\n\u003cblockquote>\n\u003cp>“The way those royalties are split is far from equal, in part because there are two different types of copyright holders for every song a streaming service plays. One is the owner of the sound recording — that’s usually the artist or the record label. The other is the person (or persons) who wrote the song, or someone else to whom rights have been granted, like a music publisher.”\u003c/p>\n\u003c/blockquote>\n\u003cp>(Rose explained in detail the legal framework that guides the music industry \u003ca href=\"http://www.npr.org/sections/therecord/2015/05/07/404700847/songwriters-and-streaming-services-battle-over-decades-old-decree\" target=\"_blank\" rel=\"noopener\">in a story earlier this year\u003c/a>.)\u003c/p>\n\u003cp>Here’s a \u003ca href=\"https://www.thewrap.com/spotify-sued-by-camper-van-beethoven-singer-for-150-million/\" target=\"_blank\" rel=\"noopener\">bit of background\u003c/a> on Lowery’s case from \u003cem>The Wrap:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“The class-action suit identifies members of the class to be anyone who owns reproduction and distribution rights of copyrighted songs that have been played by Spotify.\u003c/p>\n\u003cp>“Lowery has long been an advocate for artists’ interests as the music business shifts its business models. In a \u003ca href=\"http://thetrichordist.com/2013/06/24/my-song-got-played-on-pandora-1-million-times-and-all-i-got-was-16-89-less-than-what-i-make-from-a-single-t-shirt-sale/\" target=\"_blank\" rel=\"noopener\">2013 blog post\u003c/a>, he recounted how online radio service Pandora paid him just $16.89 in songwriter royalties for more than 1 million spins of Cracker’s hit song ‘Low.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Lowery’s lawsuit only names Spotify and doesn’t include the major song publishers (Sony, for example, has an agreement with Spotify). But Jeff Price, CEO of publishing rights tracking company Audiam, says he has seen a similar problem at all the services, including Apple, Google and Tidal.\u003c/p>\n\u003cp>“This suit brings to the foreground an endemic problem that has existed since the launch of the interactive streaming music services,” Price says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read the full court filing from Lowery below. \u003c/p>\n\u003cdiv id=\"res461385498\" class=\"bucketwrap statichtml\">\u003c/div>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Spotify+Faces+Class+Action+For+Copyright+Infringement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spotify, the groundbreaking streaming music service, is facing a class-action lawsuit alleging that it violates the copyrights of thousands of independent musicians.\u003c/p>\n\u003cp>If the songwriters prevail it could cost Spotify tens of millions of dollars in unpaid royalties. And according to experts in the music industry, this may be only the beginning, because other streaming services reportedly commit the same violations.\u003c/p>\n\u003cp>The named plaintiff in the lawsuit, filed on Monday in the U.S. District Court for the Central District of California, is David Lowery, an outspoken musicians’ rights advocate and frontman of rock bands Camper Van Beethoven (Santa Cruz) and Cracker (Redlands). He says his songs have been streamed hundreds of thousands of times without his permission.\u003c/p>\n\u003cp>Lowery, who also teaches music business at the University of Georgia, alleges that Spotify streams his songs without getting licenses from him to do it or paying him accordingly.\u003c/p>\n\u003cp>In a statement, Spotify says it has tried to find rights holders, but “the data necessary to confirm the appropriate rights holders is often missing, wrong or incomplete.” Spotify says it has set aside a fund to pay songwriters when they are identified. Earlier this month, it \u003ca href=\"http://www.spotifyartists.com/spotify-songwriters-and-publishers-administration-system/\" target=\"_blank\" rel=\"noopener\">announced that it would invest\u003c/a> in “a comprehensive publishing administration system” to better track royalty information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The point is not that they didn’t set aside royalties; the point is that they never got the licenses in the first place,” Lowery tells NPR. “There appears to be no licenses on my songs and a great number of songwriters’ songs. Setting aside the royalty, what is that royalty based on? There’s no license.”\u003c/p>\n\u003cp>Lowery’s lawyer, Sanford Michelman, says Spotify may owe tens of millions of dollars not just in unpaid royalties but also for copyright infringement, which can run as high as $150,000 per violation.\u003c/p>\n\u003cp>Music streaming services have been a growing and popular business, but they have faced opposition from artists including Prince, Thom Yorke, Beyonce, \u003ca href=\"http://www.npr.org/2015/06/22/416538103/taylor-swift-wins-battle-with-apple-over-free-music-streaming\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a> and most recently \u003ca href=\"http://www.nytimes.com/2015/11/20/business/media/adele-music-album-25.html?_r=0\" target=\"_blank\" rel=\"noopener\">Adele\u003c/a>.\u003c/p>\n\u003cp>A major sticking point has been how these services pay the musicians for distributing their music. One study of the music business by the Berklee College of Music’s Institute for Creative Entrepreneurship \u003ca href=\"http://www.npr.org/sections/therecord/2015/07/14/422707429/is-transparency-the-music-industrys-next-battle\" target=\"_blank\" rel=\"noopener\">suggested earlier this year\u003c/a> that anywhere from 20 percent to 50 percent of music payments don’t make it to their rightful owners.\u003c/p>\n\u003cp>And as NPR’s Joel Rose has reported, the songwriters often get a far smaller share of those payments:\u003c/p>\n\u003cblockquote>\n\u003cp>“The way those royalties are split is far from equal, in part because there are two different types of copyright holders for every song a streaming service plays. One is the owner of the sound recording — that’s usually the artist or the record label. The other is the person (or persons) who wrote the song, or someone else to whom rights have been granted, like a music publisher.”\u003c/p>\n\u003c/blockquote>\n\u003cp>(Rose explained in detail the legal framework that guides the music industry \u003ca href=\"http://www.npr.org/sections/therecord/2015/05/07/404700847/songwriters-and-streaming-services-battle-over-decades-old-decree\" target=\"_blank\" rel=\"noopener\">in a story earlier this year\u003c/a>.)\u003c/p>\n\u003cp>Here’s a \u003ca href=\"https://www.thewrap.com/spotify-sued-by-camper-van-beethoven-singer-for-150-million/\" target=\"_blank\" rel=\"noopener\">bit of background\u003c/a> on Lowery’s case from \u003cem>The Wrap:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“The class-action suit identifies members of the class to be anyone who owns reproduction and distribution rights of copyrighted songs that have been played by Spotify.\u003c/p>\n\u003cp>“Lowery has long been an advocate for artists’ interests as the music business shifts its business models. In a \u003ca href=\"http://thetrichordist.com/2013/06/24/my-song-got-played-on-pandora-1-million-times-and-all-i-got-was-16-89-less-than-what-i-make-from-a-single-t-shirt-sale/\" target=\"_blank\" rel=\"noopener\">2013 blog post\u003c/a>, he recounted how online radio service Pandora paid him just $16.89 in songwriter royalties for more than 1 million spins of Cracker’s hit song ‘Low.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Lowery’s lawsuit only names Spotify and doesn’t include the major song publishers (Sony, for example, has an agreement with Spotify). But Jeff Price, CEO of publishing rights tracking company Audiam, says he has seen a similar problem at all the services, including Apple, Google and Tidal.\u003c/p>\n\u003cp>“This suit brings to the foreground an endemic problem that has existed since the launch of the interactive streaming music services,” Price says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read the full court filing from Lowery below. \u003c/p>\n\u003cdiv id=\"res461385498\" class=\"bucketwrap statichtml\">\u003c/div>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Spotify+Faces+Class+Action+For+Copyright+Infringement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over at \u003cem>The Atlantic,\u003c/em> Angelica Jade Bastîen has a smart \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/12/oscar-isaac-and-the-case-against-colorblind-casting/421668/\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> pushing back on the supposed benefits of “colorblind casting” in Hollywood — that is, putting actors of color in roles that weren’t explicitly written as people of color.\u003c/p>\n\u003cp>She points to Oscar Isaac, the prolific, charismatic actor who has surged to \u003ca href=\"http://www.slate.com/blogs/xx_factor/2015/12/23/when_did_you_first_fall_in_love_with_oscar_isaac.html\" target=\"_blank\" rel=\"noopener\">heartthrob/critical darling status over the past year and a half or so\u003c/a>, as her example: His fame has been built on roles that have little to do with race:\u003c/p>\n\u003cblockquote>\n\u003cp>But his success hasn’t come without compromises. Isaac is open about the choices he’s made in his career including \u003ca href=\"http://in-lan.com/en/personage/interviews-personage/secret-weapon/\">dropping his last name\u003c/a>, Hernández.’\u003c/p>\n\u003cp>“Starting out as an actor, you immediately worry about being pigeonholed or typecast, he said to the magazine \u003cem>In\u003c/em>. “I don’t want to just go up for the dead body, the gangster, the bandolero, whatever. I don’t want to be defined by someone else’s idea of what an Oscar Hernández should be playing.”\u003c/p>\n\u003cp>His tendency to play characters of different backgrounds extends to his new Star Wars character, whom Isaac has described as \u003ca href=\"http://thefilmexperience.net/blog/2014/12/30/interview-oscar-isaac-on-a-most-violent-year-and-his-alien-f.html\" target=\"_blank\" rel=\"noopener\">“non-ethnic.”\u003c/a> Notably, he didn’t say “white’ or ‘racially ambiguous,’ instead referring to his character’s absence of ethnicity.\u003c/p>\n\u003c/blockquote>\n\u003cp>(I’d quibble with Isaac’s “absence of ethnicity” in one role: His ace X-wing pilot in the latest \u003cem>Star Wars\u003c/em> is named “Poe Dameron,” suggesting that WASPy, hipster gentrifiers have been with us since a long time ago in a galaxy far, far away.)\u003c/p>\n\u003cp>We know that whiteness often \u003ca href=\"http://www.salon.com/2013/04/25/how_can_white_americans_be_free/\" target=\"_blank\" rel=\"noopener\">masquerades\u003c/a> as a kind of baseline experience without inflection or inclination in American life, and so we tend to buy the idea that progress for actors of color means a choice between roles in which their character’s race is either utterly unremarked upon (see early \u003cem>Grey’s Anatomy\u003c/em>), or where race is the entire point (\u003cem>12 Years a Slave\u003c/em> and other productions \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/06/17/414972407/if-you-dont-get-to-be-black-without-the-struggle-lets-not-forget-the-jokes\" target=\"_blank\" rel=\"noopener\">About Race\u003csup>TM\u003c/sup> and hardship\u003c/a>).\u003c/p>\n\u003cp>Of course, the backgrounds of the characters needn’t be foregrounded in every scene for it to be acknowledged. I’m thinking of \u003cem>Creed,\u003c/em> the very good recent entry to the \u003cem>Rocky\u003c/em> canon that doesn’t run away from the fact that the successor to the Italian Stallion is a black dude who navigates a distinctly black social setting. The same could also be said of \u003cem>Master of None,\u003c/em> Aziz Ansari’s Netflix series about the life of a struggling actor in New York. The show is sometimes a straight-ahead romantic comedy, and other times it deals directly with \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/12/14/458171773/tvs-challenge-for-2016-taking-immigrant-stories-to-the-next-level\" target=\"_blank\" rel=\"noopener\">the way being desi complicates and informs the professional and personal life of Aziz’s character\u003c/a>. (It probably matters that both are the creations of people of color.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the day-to-day experiences of these two characters — notably both created by writers of color — sometimes race matters very little, and other times, it matters quite a bit. Just like in real life! Race is not the focus of \u003cem>Creed\u003c/em> and \u003cem>Master of None,\u003c/em> but neither is it treated as a coincidence without consequence — and both works are far more textured and richer viewing experiences for that honest, straightforward acknowledgment. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Making+The+Case+Against+%27Colorblind+Casting%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over at \u003cem>The Atlantic,\u003c/em> Angelica Jade Bastîen has a smart \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/12/oscar-isaac-and-the-case-against-colorblind-casting/421668/\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> pushing back on the supposed benefits of “colorblind casting” in Hollywood — that is, putting actors of color in roles that weren’t explicitly written as people of color.\u003c/p>\n\u003cp>She points to Oscar Isaac, the prolific, charismatic actor who has surged to \u003ca href=\"http://www.slate.com/blogs/xx_factor/2015/12/23/when_did_you_first_fall_in_love_with_oscar_isaac.html\" target=\"_blank\" rel=\"noopener\">heartthrob/critical darling status over the past year and a half or so\u003c/a>, as her example: His fame has been built on roles that have little to do with race:\u003c/p>\n\u003cblockquote>\n\u003cp>But his success hasn’t come without compromises. Isaac is open about the choices he’s made in his career including \u003ca href=\"http://in-lan.com/en/personage/interviews-personage/secret-weapon/\">dropping his last name\u003c/a>, Hernández.’\u003c/p>\n\u003cp>“Starting out as an actor, you immediately worry about being pigeonholed or typecast, he said to the magazine \u003cem>In\u003c/em>. “I don’t want to just go up for the dead body, the gangster, the bandolero, whatever. I don’t want to be defined by someone else’s idea of what an Oscar Hernández should be playing.”\u003c/p>\n\u003cp>His tendency to play characters of different backgrounds extends to his new Star Wars character, whom Isaac has described as \u003ca href=\"http://thefilmexperience.net/blog/2014/12/30/interview-oscar-isaac-on-a-most-violent-year-and-his-alien-f.html\" target=\"_blank\" rel=\"noopener\">“non-ethnic.”\u003c/a> Notably, he didn’t say “white’ or ‘racially ambiguous,’ instead referring to his character’s absence of ethnicity.\u003c/p>\n\u003c/blockquote>\n\u003cp>(I’d quibble with Isaac’s “absence of ethnicity” in one role: His ace X-wing pilot in the latest \u003cem>Star Wars\u003c/em> is named “Poe Dameron,” suggesting that WASPy, hipster gentrifiers have been with us since a long time ago in a galaxy far, far away.)\u003c/p>\n\u003cp>We know that whiteness often \u003ca href=\"http://www.salon.com/2013/04/25/how_can_white_americans_be_free/\" target=\"_blank\" rel=\"noopener\">masquerades\u003c/a> as a kind of baseline experience without inflection or inclination in American life, and so we tend to buy the idea that progress for actors of color means a choice between roles in which their character’s race is either utterly unremarked upon (see early \u003cem>Grey’s Anatomy\u003c/em>), or where race is the entire point (\u003cem>12 Years a Slave\u003c/em> and other productions \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/06/17/414972407/if-you-dont-get-to-be-black-without-the-struggle-lets-not-forget-the-jokes\" target=\"_blank\" rel=\"noopener\">About Race\u003csup>TM\u003c/sup> and hardship\u003c/a>).\u003c/p>\n\u003cp>Of course, the backgrounds of the characters needn’t be foregrounded in every scene for it to be acknowledged. I’m thinking of \u003cem>Creed,\u003c/em> the very good recent entry to the \u003cem>Rocky\u003c/em> canon that doesn’t run away from the fact that the successor to the Italian Stallion is a black dude who navigates a distinctly black social setting. The same could also be said of \u003cem>Master of None,\u003c/em> Aziz Ansari’s Netflix series about the life of a struggling actor in New York. The show is sometimes a straight-ahead romantic comedy, and other times it deals directly with \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/12/14/458171773/tvs-challenge-for-2016-taking-immigrant-stories-to-the-next-level\" target=\"_blank\" rel=\"noopener\">the way being desi complicates and informs the professional and personal life of Aziz’s character\u003c/a>. (It probably matters that both are the creations of people of color.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the day-to-day experiences of these two characters — notably both created by writers of color — sometimes race matters very little, and other times, it matters quite a bit. Just like in real life! Race is not the focus of \u003cem>Creed\u003c/em> and \u003cem>Master of None,\u003c/em> but neither is it treated as a coincidence without consequence — and both works are far more textured and richer viewing experiences for that honest, straightforward acknowledgment. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Making+The+Case+Against+%27Colorblind+Casting%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"order": 10
},
"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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