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"content": "\u003cp>A tireless campaigner for his own vision of a utopia marked by peace and togetherness, ‘s tools were his songs, his voice, his enthusiasm and his musical instruments. A major advocate for the folk-style five-string banjo and one of the most prominent folk music icons of his generation, Seeger was also a political and environmental activist. He died Monday at age 94. His grandson, Kitama Cahill Jackson, confirmed Seegers death and said he died of natural causes.\u003c/p>\n\u003cp>Pete Seeger came by his beliefs honestly. His father, Charles Seeger, was an ethnomusicologist and a pioneering folkorist whose left-wing views got him into trouble at the University of California, Berkeley. Charles Seeger introduced his son to some of the most important musicians of the Depression era — including and Leadbelly and Woody Guthrie.\u003c/p>\n\u003cp>Seeger and Guthrie eventually became fast friends — though they didn’t agree on all things — and crisscrossed the country performing together. Seeger said that as early as 1941, they found themselves blacklisted as communists. Seeger actually was a member of the Communist Party in those early days, though he later said he quit after coming to understand the evils of Josef Stalin.\u003c/p>\n\u003cp>Following World War II and service entertaining the troops, Seeger teamed up with Lee Hays, Ronnie Gilbert and Fred Hellerman to form the astonishingly successful folk group . Ronnie Gilbert said that from the start, Seeger’s performances were transcendent — whether you were on stage with him or in the audience.\u003c/p>\n\u003cp>“You got the sense that he was saying and singing way beyond the moment that he was in, the place that he was in. Alone on a stage in front of thousands of people … everybody got it, everybody got his passion for music, his passion for being on the stage, making people sing, having people listen to each other’s music. He was a passionate person, and that was what people saw. People absorbed his passion and his ideals,” Gilbert says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Weavers’ version of Leadbelly’s “Goodnight Irene” hit the top of the pop charts in 1950. Other hits followed, including “On Top of Old Smokey,” “So Long (It’s Been Good to Know You)” and “Wimoweh.”\u003c/p>\n\u003cp>If The Weavers hit an emotional and cultural sweet spot in postwar America, the Red Scare quickly soured it. Seeger refused to answer questions before Congress in 1955 about his political beliefs and associations. He was held in contempt and nearly served a jail sentence before charges were finally dropped in 1962 on a technicality.\u003c/p>\n\u003cp>But his troubles with Congress finished The Weavers as a major touring and recording group, so Seeger went out on his own again. Shut out of the big gigs, he played coffeehouses, union halls and college campuses to support his family. His wife, Toshi, managed his affairs and raised their children in the cabin they had built in Beacon, N.Y.\u003c/p>\n\u003cp>He co-founded and wrote for \u003ci>Sing Out\u003c/i>, one of the first and most important magazines to grow out of the folk revival. He produced children’s songs and books. But his commitment to political and social causes never waned. Seeger sang and marched nationwide for civil rights and against the Vietnam War. As he told NPR in 1971, “Sometimes I think [about] that old saying,’The pen is mightier than the sword.’ Well, my one hope is the guitar is gonna be mightier than the bomb.”\u003c/p>\n\u003cp>In 1968 he went local, but, of course, in a big way. Upset at the filth clogging the Hudson River near his home, he spearheaded the building of the Sloop Clearwater, which volunteers sailed up and down the Hudson. Politicians and polluters had to take notice. Seeger, not surprisingly, saw a larger purpose: “Bringing these people together, all these people, is the essential thing, and this is what the Clearwater almost miraculously has started to do on the Hudson,” he said.\u003c/p>\n\u003cp>For all of his social activism, Seeger said more than once that if he had done nothing more than write his slim book How to Play the 5-String Banjo, his life’s work would have been complete. Seeger’s grandson Tao Rodriguez Seeger plays banjo and performed with his grandfather. He says the paperback, which is chock-full of chords and techniques, is a challenge.\u003c/p>\n\u003cp>“It’s not a thick book but it’s thick stuff. He doesn’t really explain it too well. It’s sort of quick, it’s got a little diagram, ‘Here’s how you do it.’ But it’s great. It’s an awesome resource. I have a copy,” Rodriguez Seeger says.\u003c/p>\n\u003cp>Not just through his books but also through his sheer force of presence, Seeger became a model for younger folk musicians. Singer and songwriter Tom Paxton said he learned invaluable lessons from Seeger about how to reach an audience. “Look ’em in the eye. Make a gesture of inclusion, which he did all the time. And above all, have a chorus,” Paxton says. “So I learned from Pete to have something for them to sing.”\u003c/p>\n\u003cp>Bringing people together and getting them to sing out may be one of Pete Seeger’s greatest legacies. But when it came to saving the world, Tao Rodriguez Seeger says, his grandfather ultimately seemed to question whether the guitar was mightier than the sword.\u003c/p>\n\u003cp>“[It] troubled him, troubled him deeply that technology was so advanced but our emotional state was so inadequate to cope, that with a push of a button, in a fit of rage, we could wipe ourselves off the face of the Earth. And he really wanted to fix that and always felt like he failed,” Rodriguez Seeger says.\u003c/p>\n\u003cp>But if Pete Seeger didn’t save the world, he certainly did change the lives of millions of people by leading them to sing, to take action and to at least consider his dream of what society could be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/therecord/2014/01/28/267488551/american-folk-singer-pete-seeger-dies-at-94\">NPR\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Weavers’ version of Leadbelly’s “Goodnight Irene” hit the top of the pop charts in 1950. Other hits followed, including “On Top of Old Smokey,” “So Long (It’s Been Good to Know You)” and “Wimoweh.”\u003c/p>\n\u003cp>If The Weavers hit an emotional and cultural sweet spot in postwar America, the Red Scare quickly soured it. Seeger refused to answer questions before Congress in 1955 about his political beliefs and associations. He was held in contempt and nearly served a jail sentence before charges were finally dropped in 1962 on a technicality.\u003c/p>\n\u003cp>But his troubles with Congress finished The Weavers as a major touring and recording group, so Seeger went out on his own again. Shut out of the big gigs, he played coffeehouses, union halls and college campuses to support his family. His wife, Toshi, managed his affairs and raised their children in the cabin they had built in Beacon, N.Y.\u003c/p>\n\u003cp>He co-founded and wrote for \u003ci>Sing Out\u003c/i>, one of the first and most important magazines to grow out of the folk revival. He produced children’s songs and books. But his commitment to political and social causes never waned. Seeger sang and marched nationwide for civil rights and against the Vietnam War. As he told NPR in 1971, “Sometimes I think [about] that old saying,’The pen is mightier than the sword.’ Well, my one hope is the guitar is gonna be mightier than the bomb.”\u003c/p>\n\u003cp>In 1968 he went local, but, of course, in a big way. Upset at the filth clogging the Hudson River near his home, he spearheaded the building of the Sloop Clearwater, which volunteers sailed up and down the Hudson. Politicians and polluters had to take notice. Seeger, not surprisingly, saw a larger purpose: “Bringing these people together, all these people, is the essential thing, and this is what the Clearwater almost miraculously has started to do on the Hudson,” he said.\u003c/p>\n\u003cp>For all of his social activism, Seeger said more than once that if he had done nothing more than write his slim book How to Play the 5-String Banjo, his life’s work would have been complete. Seeger’s grandson Tao Rodriguez Seeger plays banjo and performed with his grandfather. He says the paperback, which is chock-full of chords and techniques, is a challenge.\u003c/p>\n\u003cp>“It’s not a thick book but it’s thick stuff. He doesn’t really explain it too well. It’s sort of quick, it’s got a little diagram, ‘Here’s how you do it.’ But it’s great. It’s an awesome resource. I have a copy,” Rodriguez Seeger says.\u003c/p>\n\u003cp>Not just through his books but also through his sheer force of presence, Seeger became a model for younger folk musicians. Singer and songwriter Tom Paxton said he learned invaluable lessons from Seeger about how to reach an audience. “Look ’em in the eye. Make a gesture of inclusion, which he did all the time. And above all, have a chorus,” Paxton says. “So I learned from Pete to have something for them to sing.”\u003c/p>\n\u003cp>Bringing people together and getting them to sing out may be one of Pete Seeger’s greatest legacies. But when it came to saving the world, Tao Rodriguez Seeger says, his grandfather ultimately seemed to question whether the guitar was mightier than the sword.\u003c/p>\n\u003cp>“[It] troubled him, troubled him deeply that technology was so advanced but our emotional state was so inadequate to cope, that with a push of a button, in a fit of rage, we could wipe ourselves off the face of the Earth. And he really wanted to fix that and always felt like he failed,” Rodriguez Seeger says.\u003c/p>\n\u003cp>But if Pete Seeger didn’t save the world, he certainly did change the lives of millions of people by leading them to sing, to take action and to at least consider his dream of what society could be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/therecord/2014/01/28/267488551/american-folk-singer-pete-seeger-dies-at-94\">NPR\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nothing exposes you like asking a tough question.\u003c/p>\n\u003cp>Like a boxer extending a jab, you reveal yourself in the moment, stepping aggressively to a subject in a way that also makes you vulnerable. Handle the moment badly, and like an off-balance prizefighter, you might be the one hugging the canvas after a knockout blow.\u003c/p>\n\u003cp>That’s a truth that emerged in recent days during two separate incidents at the Television Critics Association’s winter press tour — a twice–annual event where people who make television arrange long days of press conferences and cocktail parties where TV critics and reporters can ask questions about programming to come.\u003c/p>\n\u003cp>The setup is simple: Stars and producers sit on a stage in a huge meeting room and take questions from journalists who sit in the audience and are handed microphones. Usually, the biggest problem here is writers who forget to act like journalists, turned into fawning compliment machines by the aura of stars like Matthew McConaughey or Julia Roberts.\u003c/p>\n\u003cp>But occasionally, the effort to ask a tough question during a press conference filled with dozens of writers goes badly wrong, exposing the widening gulf between generations of journalists, the changing nature of arts criticism and the difficulty of expressing a complex thought in a 30-second turn at the microphone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jonathan Storm, a former TV critic at the \u003cem>Philadelphia Inquirer\u003c/em>, found himself on the wrong end of that dynamic when he asked MSNBC and \u003cem>Today\u003c/em> show anchor Tamron Hall how she balances her time among those two jobs for NBC and hosting a show called \u003cem>Deadline Crime\u003c/em> for Discovery channel’s Investigation Discovery.\u003c/p>\n\u003cp>Hall responded with a detailed story about how the show was inspired by her experience seeing her sister murdered; the anchor talked in a way that seemed heartfelt and emotional about guilt over once rejecting her sister for failing to disconnect from an abusive partner.\u003c/p>\n\u003cp>Storm’s response was to seek an answer to the question he actually asked: “That’s all very nice,” he said. “But can you explain the relationship between your job and NBC and your job at Discovery?”\u003c/p>\n\u003cp>The air seemed to go out of the room a bit as other critics immediately realized how far south this interaction was going. Hall seemed to struggle with the unexpected response: “Well, let me be clear,” she replied. “To say that it’s just all very nice, when I don’t know if you’ve had a sister found murdered, but I have. So it is not meant to be nice … “\u003c/p>\n\u003cp>The interaction inspired a flurry of tweets from other critics praising Hall and criticizing Storm. The Huffington Post wrote a story titled “Tamron Hall Reveals Details of Sister’s Murder, Gets Awful Response from Reporter,” while Mediaite’s story was headlined “\u003ca href=\"http://www.mediaite.com/online/msnbc%E2%80%99s-tamron-hall-opens-up-about-sister%E2%80%99s-murder-at-tv-event-gets-shocking-response/\" target=\"_blank\" rel=\"noopener\">MSNBC’s Tamron Hall Opens Up about Sister’s Murder at TV Event, Gets Shocking Response\u003c/a>.”\u003c/p>\n\u003cp>Storm, who retired from the \u003cem>Inquirer\u003c/em> in 2011 after 22 years, still writes as a freelance critic. He acknowledged he could have been more diplomatic in his response to Hall, but said he grew angry at what he felt was a “pre-programmed speech” the anchor had prepared to gain sympathy.\u003c/p>\n\u003cp>“I had the impression, if somebody had asked her what time is it [she would have given that speech],” said Storm, who reserves a special dislike for TV news anchors who include personal tragedies in their on-screen work.\u003c/p>\n\u003cp>He also noted that the audience at the press tour is no longer dominated by the old-school newspaper journalists who once filled the majority of Television Critics Association memberships. “It used to be [at TCA], you were in a room primarily filled with cynical reporters,” he added. “Now you’re in a room with a plurality of sympathetic fans. … I’ve learned there is a place for cynicism, but it shouldn’t necessarily rule [my thoughts] on the topic I’m covering.”\u003c/p>\n\u003cp>From my seat, it seemed Storm didn’t communicate what was really bothering him about what Hall said — in part because it is so difficult to communicate complex, controversial thoughts in this setting.\u003c/p>\n\u003cp>Tim Molloy, a writer for The Wrap website, found similar difficulties at a different press conference when trying to ask a question about how HBO’s sometimes explicit dramedy \u003cem>Girls\u003c/em> uses nudity.\u003c/p>\n\u003cp>He asked star Lena Dunham: “I don’t get the purpose of all of the nudity on the show, by you particularly, and I feel like I’m walking into a trap where you go, ‘Nobody complains about the nudity on \u003cem>Game of Thrones\u003c/em>,’ but I get why they are doing it. They are doing it to be salacious and, you know, titillate people. And your character is often naked just at random times for no reason.”\u003c/p>\n\u003cp>Dunham’s response was revealing while pushing back a little at the reporter: “It’s because it’s a realistic expression of what it’s like to be alive, I think, and I totally get it. If you are not into me, that’s your problem, and you are going to have to kind of work that out with … whatever professionals you’ve hired.”\u003c/p>\n\u003cp>But Dunham’s collaborators, executive producers Judd Apatow and Jenni Konner, were more pointed in their responses, with Apatow implying Molloy might feel bad about his own body and Konner admitting she was in a “rage spiral” over “this idea that you would talk to a woman like that and accuse a woman of showing her body too much.”\u003c/p>\n\u003cp>That’s not exactly what happened. Molloy was trying to start a conversation about how the show uses nudity. But by singling out Dunham’s nudity as particularly perplexing, he also seemed to be implying that because she doesn’t have the body of a supermodel, her nakedness wouldn’t be sexy and was shown onscreen “for no reason.”\u003c/p>\n\u003cp>I think \u003cem>Girls\u003c/em> deliberately uses the nudity of all its characters to push back against the unrealistic depictions of male and female bodies in other media. And I wish the star and producers hadn’t used an inartfully-phrased question to sidestep that valid and interesting conversation. Instead, they focused on putting down the writer, and the whole exchange became another story about a train-wreck moment during a press conference.\u003c/p>\n\u003cp>My own question about why \u003cem>Girls\u003c/em> seems to struggle with ethnic diversity, many months after Dunham admitted it’s an issue the show should address, seemed to go down easier.\u003c/p>\n\u003cp>“We didn’t add any regular cast members second season,” Dunham replied. “We were just trying to honor and serve the stories of the people that we had already introduced. And I think, third season, we are finally finding room to expand the world because we’ve sort of given you their backstories. We’ve given you their lives. But … I’ve learned so much in the past few years about, sort of, intersectionality, the way that feminism has underserved women of color. I really try to educate myself in those areas, and also, we try to just make choices that we think we never want to start a storyline that we are going to kind of let flitter off. So, now, we are finding ways to introduce people who are more lasting, because we are ready to kind of open up the worlds of these girls.”\u003c/p>\n\u003cp>The short version of that answer seemed to be: stay tuned. But that didn’t get turned into a story on AOL’s homepage in the way the dustup over nudity did.\u003c/p>\n\u003cp>The fact remains: There are few news events as odd and journalistically challenging as the TCA press tours. And as TV shows get more complex — while journalists covering them increasingly ride the line between independent critics and professional fans — our attempts to have real conversations about them will only get tougher.\u003c/p>\n\u003cp>Good thing the public gets to learn from our mistakes — even when the effort to push back on important questions gets lost in translation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c/p>\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Tough+Questions+Go+Horribly+Wrong&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nothing exposes you like asking a tough question.\u003c/p>\n\u003cp>Like a boxer extending a jab, you reveal yourself in the moment, stepping aggressively to a subject in a way that also makes you vulnerable. Handle the moment badly, and like an off-balance prizefighter, you might be the one hugging the canvas after a knockout blow.\u003c/p>\n\u003cp>That’s a truth that emerged in recent days during two separate incidents at the Television Critics Association’s winter press tour — a twice–annual event where people who make television arrange long days of press conferences and cocktail parties where TV critics and reporters can ask questions about programming to come.\u003c/p>\n\u003cp>The setup is simple: Stars and producers sit on a stage in a huge meeting room and take questions from journalists who sit in the audience and are handed microphones. Usually, the biggest problem here is writers who forget to act like journalists, turned into fawning compliment machines by the aura of stars like Matthew McConaughey or Julia Roberts.\u003c/p>\n\u003cp>But occasionally, the effort to ask a tough question during a press conference filled with dozens of writers goes badly wrong, exposing the widening gulf between generations of journalists, the changing nature of arts criticism and the difficulty of expressing a complex thought in a 30-second turn at the microphone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jonathan Storm, a former TV critic at the \u003cem>Philadelphia Inquirer\u003c/em>, found himself on the wrong end of that dynamic when he asked MSNBC and \u003cem>Today\u003c/em> show anchor Tamron Hall how she balances her time among those two jobs for NBC and hosting a show called \u003cem>Deadline Crime\u003c/em> for Discovery channel’s Investigation Discovery.\u003c/p>\n\u003cp>Hall responded with a detailed story about how the show was inspired by her experience seeing her sister murdered; the anchor talked in a way that seemed heartfelt and emotional about guilt over once rejecting her sister for failing to disconnect from an abusive partner.\u003c/p>\n\u003cp>Storm’s response was to seek an answer to the question he actually asked: “That’s all very nice,” he said. “But can you explain the relationship between your job and NBC and your job at Discovery?”\u003c/p>\n\u003cp>The air seemed to go out of the room a bit as other critics immediately realized how far south this interaction was going. Hall seemed to struggle with the unexpected response: “Well, let me be clear,” she replied. “To say that it’s just all very nice, when I don’t know if you’ve had a sister found murdered, but I have. So it is not meant to be nice … “\u003c/p>\n\u003cp>The interaction inspired a flurry of tweets from other critics praising Hall and criticizing Storm. The Huffington Post wrote a story titled “Tamron Hall Reveals Details of Sister’s Murder, Gets Awful Response from Reporter,” while Mediaite’s story was headlined “\u003ca href=\"http://www.mediaite.com/online/msnbc%E2%80%99s-tamron-hall-opens-up-about-sister%E2%80%99s-murder-at-tv-event-gets-shocking-response/\" target=\"_blank\" rel=\"noopener\">MSNBC’s Tamron Hall Opens Up about Sister’s Murder at TV Event, Gets Shocking Response\u003c/a>.”\u003c/p>\n\u003cp>Storm, who retired from the \u003cem>Inquirer\u003c/em> in 2011 after 22 years, still writes as a freelance critic. He acknowledged he could have been more diplomatic in his response to Hall, but said he grew angry at what he felt was a “pre-programmed speech” the anchor had prepared to gain sympathy.\u003c/p>\n\u003cp>“I had the impression, if somebody had asked her what time is it [she would have given that speech],” said Storm, who reserves a special dislike for TV news anchors who include personal tragedies in their on-screen work.\u003c/p>\n\u003cp>He also noted that the audience at the press tour is no longer dominated by the old-school newspaper journalists who once filled the majority of Television Critics Association memberships. “It used to be [at TCA], you were in a room primarily filled with cynical reporters,” he added. “Now you’re in a room with a plurality of sympathetic fans. … I’ve learned there is a place for cynicism, but it shouldn’t necessarily rule [my thoughts] on the topic I’m covering.”\u003c/p>\n\u003cp>From my seat, it seemed Storm didn’t communicate what was really bothering him about what Hall said — in part because it is so difficult to communicate complex, controversial thoughts in this setting.\u003c/p>\n\u003cp>Tim Molloy, a writer for The Wrap website, found similar difficulties at a different press conference when trying to ask a question about how HBO’s sometimes explicit dramedy \u003cem>Girls\u003c/em> uses nudity.\u003c/p>\n\u003cp>He asked star Lena Dunham: “I don’t get the purpose of all of the nudity on the show, by you particularly, and I feel like I’m walking into a trap where you go, ‘Nobody complains about the nudity on \u003cem>Game of Thrones\u003c/em>,’ but I get why they are doing it. They are doing it to be salacious and, you know, titillate people. And your character is often naked just at random times for no reason.”\u003c/p>\n\u003cp>Dunham’s response was revealing while pushing back a little at the reporter: “It’s because it’s a realistic expression of what it’s like to be alive, I think, and I totally get it. If you are not into me, that’s your problem, and you are going to have to kind of work that out with … whatever professionals you’ve hired.”\u003c/p>\n\u003cp>But Dunham’s collaborators, executive producers Judd Apatow and Jenni Konner, were more pointed in their responses, with Apatow implying Molloy might feel bad about his own body and Konner admitting she was in a “rage spiral” over “this idea that you would talk to a woman like that and accuse a woman of showing her body too much.”\u003c/p>\n\u003cp>That’s not exactly what happened. Molloy was trying to start a conversation about how the show uses nudity. But by singling out Dunham’s nudity as particularly perplexing, he also seemed to be implying that because she doesn’t have the body of a supermodel, her nakedness wouldn’t be sexy and was shown onscreen “for no reason.”\u003c/p>\n\u003cp>I think \u003cem>Girls\u003c/em> deliberately uses the nudity of all its characters to push back against the unrealistic depictions of male and female bodies in other media. And I wish the star and producers hadn’t used an inartfully-phrased question to sidestep that valid and interesting conversation. Instead, they focused on putting down the writer, and the whole exchange became another story about a train-wreck moment during a press conference.\u003c/p>\n\u003cp>My own question about why \u003cem>Girls\u003c/em> seems to struggle with ethnic diversity, many months after Dunham admitted it’s an issue the show should address, seemed to go down easier.\u003c/p>\n\u003cp>“We didn’t add any regular cast members second season,” Dunham replied. “We were just trying to honor and serve the stories of the people that we had already introduced. And I think, third season, we are finally finding room to expand the world because we’ve sort of given you their backstories. We’ve given you their lives. But … I’ve learned so much in the past few years about, sort of, intersectionality, the way that feminism has underserved women of color. I really try to educate myself in those areas, and also, we try to just make choices that we think we never want to start a storyline that we are going to kind of let flitter off. So, now, we are finding ways to introduce people who are more lasting, because we are ready to kind of open up the worlds of these girls.”\u003c/p>\n\u003cp>The short version of that answer seemed to be: stay tuned. But that didn’t get turned into a story on AOL’s homepage in the way the dustup over nudity did.\u003c/p>\n\u003cp>The fact remains: There are few news events as odd and journalistically challenging as the TCA press tours. And as TV shows get more complex — while journalists covering them increasingly ride the line between independent critics and professional fans — our attempts to have real conversations about them will only get tougher.\u003c/p>\n\u003cp>Good thing the public gets to learn from our mistakes — even when the effort to push back on important questions gets lost in translation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Given the feel-good themes of the average kids’ movie — be yourself, follow the golden rule, love each other, \u003cem>blah blah blah\u003c/em> — it’s refreshing to see an animated comedy chuck that guck and focus on a real jerk. Not a misunderstood Princess Elsa, or a Wreck-It Ralph with a heart of gold, but an out-and-out, two-bit, sell-you-down-the-river-if-it-would-save-his-own-fur shyster.\u003c/p>\n\u003cp>The sour (and strangely purple) squirrel at the center of \u003cem>The Nut Job\u003c/em> is appropriately named Surly, in fact. He’s a pariah among the diverse woodland creatures living in the refuge of a small park in the middle of the busy metropolis of Oakton. And unlike your diligent everyday squirrel, busily storing up food for the winter, Surly — voiced by \u003cem>Arrested Development\u003c/em>‘s Will Arnett as a mix of hard-bitten loner and slick wise guy — lives by his wits from score to score, with no help from anyone else unless you count the bumbling assistance of Buddy, his rat sidekick. (And it’s clear that even Surly doesn’t really count him.)\u003c/p>\n\u003cp>Buddy’s adoration of Surly, of course, and Surly’s tolerance for the goofy rat, are there to telegraph that, hey, under that squirrel’s prickly exterior he’s actually a good guy. And for \u003cem>The Nut Job\u003c/em> to get to the heartwarming place it must, Surly surely can’t stay selfish to the end, right? Still, to the movie’s credit, it keeps its antihero’s motives anything but altruistic for quite a while.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=fq4qP2oSpIA\u003c/p>\n\u003cp>When his scheme to hit a nearby street vendor and take him for all the nuts in his cart collides with the plans of Andie (voiced by Katherine Heigl) and Grayson (voiced by Brendan Fraser) — two squirrels sent by the rest of the animals to pull off the same theft on behalf of the larger critter community — Surly refuses to share anything. Of course, his machinations lead to a spectacularly choreographed catastrophe that destroys even the inadequate food supply the park residents have managed to, um, squirrel away. The community’s commanding leader, a raccoon voiced by Liam Neeson, calls a vote, and Surly is banished to the unforgiving city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For all its genuine exploration of the costs and benefits of the individual’s relationship with the collective — and later, the true nature of heroism — \u003cem>The Nut Job\u003c/em> is basically a comedy for kids, an acorn-in-a-slingshot picture that targets the lowest common denominator and hits hard. There are bad puns about nuts (almost none of which work), music choices that are both anachronistic (it’s set in the 1930s) and instantly dated (“Gangnam Style”?), and rote gags involving animals who easily survive electrocution or brickbats; the latter serve mostly to complicate the stakes, which elsewhere are literally life and death.\u003c/p>\n\u003cp>Where the movie finds its paws is in its old-fashioned heist plot, kicked off when Surly discovers the ultimate score in a store that sells nuts, and only nuts — a shop that’s also the scene, coincidentally, of another robbery-in-the-making, this one involving humans using the site’s basement to dig through to an adjacent bank. Once Surly and Buddy case the joint, develop a plan, and deal with the inevitable surprises, \u003cem>The Nut Job\u003c/em> could be any classic caper flick.\u003c/p>\n\u003cp>There’s the standard motley crew of conspirators, here comprised of squirrels, gophers, a rat, a mole and a pug — owned by the human leading the bank job — who just wants to get in on the fun. There’s excitement over the risk and the potential reward, a betrayal or two, and some legitimately thrilling set pieces as the complications in both heists add up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, there’s the stirring question posed to the once-independent con artist when his heart begins to soften — does he take the loot all for himself or help the community? If you’re able to forgive the movie’s occasionally nutty (and groan-worthy) jokes, it delivers an interesting and satisfying answer. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Churl+Of+A+Squirrel%2C+On+The+Make+In+The+Big+City&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given the feel-good themes of the average kids’ movie — be yourself, follow the golden rule, love each other, \u003cem>blah blah blah\u003c/em> — it’s refreshing to see an animated comedy chuck that guck and focus on a real jerk. Not a misunderstood Princess Elsa, or a Wreck-It Ralph with a heart of gold, but an out-and-out, two-bit, sell-you-down-the-river-if-it-would-save-his-own-fur shyster.\u003c/p>\n\u003cp>The sour (and strangely purple) squirrel at the center of \u003cem>The Nut Job\u003c/em> is appropriately named Surly, in fact. He’s a pariah among the diverse woodland creatures living in the refuge of a small park in the middle of the busy metropolis of Oakton. And unlike your diligent everyday squirrel, busily storing up food for the winter, Surly — voiced by \u003cem>Arrested Development\u003c/em>‘s Will Arnett as a mix of hard-bitten loner and slick wise guy — lives by his wits from score to score, with no help from anyone else unless you count the bumbling assistance of Buddy, his rat sidekick. (And it’s clear that even Surly doesn’t really count him.)\u003c/p>\n\u003cp>Buddy’s adoration of Surly, of course, and Surly’s tolerance for the goofy rat, are there to telegraph that, hey, under that squirrel’s prickly exterior he’s actually a good guy. And for \u003cem>The Nut Job\u003c/em> to get to the heartwarming place it must, Surly surely can’t stay selfish to the end, right? Still, to the movie’s credit, it keeps its antihero’s motives anything but altruistic for quite a while.\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/fq4qP2oSpIA'\n title='//www.youtube.com/embed/fq4qP2oSpIA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When his scheme to hit a nearby street vendor and take him for all the nuts in his cart collides with the plans of Andie (voiced by Katherine Heigl) and Grayson (voiced by Brendan Fraser) — two squirrels sent by the rest of the animals to pull off the same theft on behalf of the larger critter community — Surly refuses to share anything. Of course, his machinations lead to a spectacularly choreographed catastrophe that destroys even the inadequate food supply the park residents have managed to, um, squirrel away. The community’s commanding leader, a raccoon voiced by Liam Neeson, calls a vote, and Surly is banished to the unforgiving city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For all its genuine exploration of the costs and benefits of the individual’s relationship with the collective — and later, the true nature of heroism — \u003cem>The Nut Job\u003c/em> is basically a comedy for kids, an acorn-in-a-slingshot picture that targets the lowest common denominator and hits hard. There are bad puns about nuts (almost none of which work), music choices that are both anachronistic (it’s set in the 1930s) and instantly dated (“Gangnam Style”?), and rote gags involving animals who easily survive electrocution or brickbats; the latter serve mostly to complicate the stakes, which elsewhere are literally life and death.\u003c/p>\n\u003cp>Where the movie finds its paws is in its old-fashioned heist plot, kicked off when Surly discovers the ultimate score in a store that sells nuts, and only nuts — a shop that’s also the scene, coincidentally, of another robbery-in-the-making, this one involving humans using the site’s basement to dig through to an adjacent bank. Once Surly and Buddy case the joint, develop a plan, and deal with the inevitable surprises, \u003cem>The Nut Job\u003c/em> could be any classic caper flick.\u003c/p>\n\u003cp>There’s the standard motley crew of conspirators, here comprised of squirrels, gophers, a rat, a mole and a pug — owned by the human leading the bank job — who just wants to get in on the fun. There’s excitement over the risk and the potential reward, a betrayal or two, and some legitimately thrilling set pieces as the complications in both heists add up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, there’s the stirring question posed to the once-independent con artist when his heart begins to soften — does he take the loot all for himself or help the community? If you’re able to forgive the movie’s occasionally nutty (and groan-worthy) jokes, it delivers an interesting and satisfying answer. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Churl+Of+A+Squirrel%2C+On+The+Make+In+The+Big+City&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A franchise is what we used to call a Burger King or a Shell station, but nowadays the word appears more often in relation to movies: the \u003cem>Star Wars\u003c/em> franchise, the \u003cem>Hunger Games\u003c/em> franchise, the Jack Ryan franchise — or in the case of \u003cem>Jack Ryan: Shadow Recruit,\u003c/em> the Jack Ryan franchise reboot. I don’t know what’s more depressing: that what fires up studio execs is the hunt for a new franchise or that critics have adopted this business lingo uncritically.\u003c/p>\n\u003cp>Maybe a business reporter would be the best person to talk about \u003cem>Jack Ryan: Shadow Recruit\u003c/em>. From an artistic standpoint, I found it competent, moderately suspenseful and without a single surprise — apart from the fact that its director is Kenneth Branagh, who has come a long, grim way from his film directing debut in the late ’80s, Shakespeare’s \u003cem>Henry V\u003c/em>. Come to think of it, that was a remake, and the Henry character appeared in two other plays — though I’m confident Shakespeare never referred to “the Henry franchise.”\u003c/p>\n\u003cp>And Jack Ryan is no Henry. Created by the late novelist Tom Clancy, he’s a Wall Street guy turned CIA agent turned action hero. He has appeared in four big movies: \u003cem>The Hunt for Red October\u003c/em> starred Alec Baldwin, who gave up Ryan and was replaced by Harrison Ford in \u003cem>Patriot Games\u003c/em> and \u003cem>Clear and Present Danger\u003c/em>. Then came an attempted reboot called \u003cem>The Sum of All Fears\u003c/em> with Ben Affleck, which did pretty well but didn’t lead to more movies.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=K9KAnx4EvaE\u003c/p>\n\u003cp>\u003cem>Jack Ryan: Shadow Recruit\u003c/em> launches a new storyline, with a young Jack played by Chris Pine, who’s also the young Captain Kirk in the reboot of the \u003cem>Star Trek\u003c/em> franchise for the same studio, Paramount. He’s the go-to franchise guy, I guess, though I’m not sure why. He’s a good enough actor — he seethes credibly and moves well, but there’s nothing funky or idiosyncratic about him. He’s just a guy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie begins with Ryan as a student at the London School of Economics when the planes hit the World Trade Center. So he joins the Marines and gets shot down in Afghanistan. As he’s rolled into the emergency room, a Marine says Ryan personally dragged two survivors out of the plane. “With a broken back?” asks the doctor. The message is: This guy isn’t just an economics wonk. He’s \u003cem>the man\u003c/em>.\u003c/p>\n\u003cp>As Ryan struggles to walk at Walter Reed Medical Center, Kevin Costner shows up and offers him a CIA job — undercover in a Wall Street firm. Fast-forward to 10 years later, when he uncovers a Russian plot to destroy the U.S economy. In no time he’s dispatched to Moscow to confront the likely mastermind, played by Branagh himself.\u003c/p>\n\u003cp>The movie is slow and plodding until an attempt on Ryan’s life and the first brutal gun-and-fisticuffs scene, shot mostly in jangly close-ups. Then Ryan’s doctor girlfriend, played by Keira Knightley, shows up in Moscow because she doesn’t know he’s CIA and thinks he’s having an affair. She’s quickly embroiled in the cloak-and-dagger stuff, leading to a quarrel that’s the only memorable scene in the picture, thanks in part to Costner’s expert underplaying.\u003c/p>\n\u003cp>That scene is the start of a long and clever third act that begins in a fancy Moscow restaurant and ends in the Hudson River, involving decent fights, noisy car chases and the usual ticking time bomb. I found a lot of holes in the plot, though to point them out here would spoil too much. But espionage movies are often fun — it’s the \u003cem>brainy\u003c/em> popcorn genre — and \u003cem>Jack Ryan: Shadow Recruit\u003c/em> hits its marks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The problem is the marks themselves. They’re too low. \u003cem>Mission: Impossible,\u003c/em> the \u003cem>Bourne\u003c/em> series, TV’s \u003cem>24 \u003c/em>— they’re all more gripping, and the last \u003cem>Mission: Impossible\u003c/em> movie, Brad Bird’s \u003cem>Ghost Protocol,\u003c/em> was sensational. Branagh brings no style to \u003cem>Jack Ryan: Shadow Recruit,\u003c/em> and no heart. For once that business word franchise seems all too apt. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Ryan+Gets+A+Makeover%2C+And+A+Quick+Trip+To+Moscow&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A franchise is what we used to call a Burger King or a Shell station, but nowadays the word appears more often in relation to movies: the \u003cem>Star Wars\u003c/em> franchise, the \u003cem>Hunger Games\u003c/em> franchise, the Jack Ryan franchise — or in the case of \u003cem>Jack Ryan: Shadow Recruit,\u003c/em> the Jack Ryan franchise reboot. I don’t know what’s more depressing: that what fires up studio execs is the hunt for a new franchise or that critics have adopted this business lingo uncritically.\u003c/p>\n\u003cp>Maybe a business reporter would be the best person to talk about \u003cem>Jack Ryan: Shadow Recruit\u003c/em>. From an artistic standpoint, I found it competent, moderately suspenseful and without a single surprise — apart from the fact that its director is Kenneth Branagh, who has come a long, grim way from his film directing debut in the late ’80s, Shakespeare’s \u003cem>Henry V\u003c/em>. Come to think of it, that was a remake, and the Henry character appeared in two other plays — though I’m confident Shakespeare never referred to “the Henry franchise.”\u003c/p>\n\u003cp>And Jack Ryan is no Henry. Created by the late novelist Tom Clancy, he’s a Wall Street guy turned CIA agent turned action hero. He has appeared in four big movies: \u003cem>The Hunt for Red October\u003c/em> starred Alec Baldwin, who gave up Ryan and was replaced by Harrison Ford in \u003cem>Patriot Games\u003c/em> and \u003cem>Clear and Present Danger\u003c/em>. Then came an attempted reboot called \u003cem>The Sum of All Fears\u003c/em> with Ben Affleck, which did pretty well but didn’t lead to more movies.\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/K9KAnx4EvaE'\n title='//www.youtube.com/embed/K9KAnx4EvaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Jack Ryan: Shadow Recruit\u003c/em> launches a new storyline, with a young Jack played by Chris Pine, who’s also the young Captain Kirk in the reboot of the \u003cem>Star Trek\u003c/em> franchise for the same studio, Paramount. He’s the go-to franchise guy, I guess, though I’m not sure why. He’s a good enough actor — he seethes credibly and moves well, but there’s nothing funky or idiosyncratic about him. He’s just a guy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie begins with Ryan as a student at the London School of Economics when the planes hit the World Trade Center. So he joins the Marines and gets shot down in Afghanistan. As he’s rolled into the emergency room, a Marine says Ryan personally dragged two survivors out of the plane. “With a broken back?” asks the doctor. The message is: This guy isn’t just an economics wonk. He’s \u003cem>the man\u003c/em>.\u003c/p>\n\u003cp>As Ryan struggles to walk at Walter Reed Medical Center, Kevin Costner shows up and offers him a CIA job — undercover in a Wall Street firm. Fast-forward to 10 years later, when he uncovers a Russian plot to destroy the U.S economy. In no time he’s dispatched to Moscow to confront the likely mastermind, played by Branagh himself.\u003c/p>\n\u003cp>The movie is slow and plodding until an attempt on Ryan’s life and the first brutal gun-and-fisticuffs scene, shot mostly in jangly close-ups. Then Ryan’s doctor girlfriend, played by Keira Knightley, shows up in Moscow because she doesn’t know he’s CIA and thinks he’s having an affair. She’s quickly embroiled in the cloak-and-dagger stuff, leading to a quarrel that’s the only memorable scene in the picture, thanks in part to Costner’s expert underplaying.\u003c/p>\n\u003cp>That scene is the start of a long and clever third act that begins in a fancy Moscow restaurant and ends in the Hudson River, involving decent fights, noisy car chases and the usual ticking time bomb. I found a lot of holes in the plot, though to point them out here would spoil too much. But espionage movies are often fun — it’s the \u003cem>brainy\u003c/em> popcorn genre — and \u003cem>Jack Ryan: Shadow Recruit\u003c/em> hits its marks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The problem is the marks themselves. They’re too low. \u003cem>Mission: Impossible,\u003c/em> the \u003cem>Bourne\u003c/em> series, TV’s \u003cem>24 \u003c/em>— they’re all more gripping, and the last \u003cem>Mission: Impossible\u003c/em> movie, Brad Bird’s \u003cem>Ghost Protocol,\u003c/em> was sensational. Branagh brings no style to \u003cem>Jack Ryan: Shadow Recruit,\u003c/em> and no heart. For once that business word franchise seems all too apt. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Ryan+Gets+A+Makeover%2C+And+A+Quick+Trip+To+Moscow&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week the long-running comedy show \u003cem>Saturday Night Live\u003c/em> \u003ca href=\"http://www.npr.org/blogs/monkeysee/2014/01/08/260736176/saturday-night-live-takes-a-very-important-first-step\">hired Sasheer Zamata\u003c/a> as a new cast member. The show had come under criticism for its lack of diversity, especially its lack of black women; Zamata will be the show’s first female African-American cast member in six years.\u003c/p>\n\u003cp>When news of Zamata’s hiring broke, it was met in many circles with equal parts excitement and trepidation — the possibilities of a range of new, funny, strange black female characters not played by Kenan-Thompson-in-a-dress, up against the reality that whatever role she is playing, Zamata’s debut will mean she’s always performing the role of SNL’s Black Woman, and she faces the burden of playing within or against the history of what that role has meant.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=jI_SFm-txRI&w=480&h=270]\u003c/p>\n\u003cp>In thinking about that complicated and also, hopefully, joyful and rewarding space she will occupy, I was reminded of one of my favorite story collections. Asali Solomon’s \u003cem>Get Down \u003c/em>is a book that understands the degree to which race and racial identity are so often about performance.\u003c/p>\n\u003cp>In the opening story, “Twelve Takes Thea,” Thea and Nadja struggle with the pressure and suspicion that accompanies being the only black girls at a wealthy white prep school. Thea, awkward and uncertain, is at home called “Jane” by her older brother, who taunts her for being too white. At school, she’s treated as an emissary from a land of urban danger, and often confused for her bolder friend Nadja, so that their friendship means their two distinct identities collapse into their role as their grade’s black girls. When Nadja leaves school and a new black classmate arrives, the internal and external pressure Thea feels to befriend her twists itself into a cruelty that Thea believes is the only way she can differentiate herself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later, in “The Star of the Story\u003cem>,”\u003c/em> Solomon explores the heartbreaking space between the people we are, the people we wish to be and the stories we tell about ourselves. Solomon writes “It was during that time, in Eduardo’s arms, that Akousa came into one of her favorite selves, an Afrocentric Lola Falana. … She shoplifted bright, beaded, slinky things from Macy’s and wore strappy sandals in the dead of February.”\u003c/p>\n\u003cp>Akousa is not the only character in the collection drawn to the idea that a new self can be as simple as a costume change or a willful reinvention. Solomon’s characters are aware of the ways in which they are weird and quirky and lonely and awkward and searching and human. They are aware of the ways in which they are never far from their histories, and never free from the prisms through which they are viewed.\u003c/p>\n\u003cp>Race is one thematic link of the collection, and it is given its due complexity. But the thread that ultimately ties these stories together, and these characters to readers, is the raw desire for genuine human connection in the face of everything — race included — that seems determined to sabotage it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Danielle Evans’s latest collection of short stories is \u003ci>Before You Suffocate Your Own Fool Self\u003c/i>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Zamata+Joins+%27SNL%2C%27+A+Look+At+%E2%80%94+And+Beyond+%E2%80%94+The+Prism+Of+Race&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Saturday Night Live\u003c/em> recently announced that they were hiring Sasheer Zamata, the first black woman to join the cast in six years. Author Danielle Evans recommends a book that can give readers an idea of how Zamata might feel: \u003cem>Get Down\u003c/em>, a short story collection by Asali Solomon.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week the long-running comedy show \u003cem>Saturday Night Live\u003c/em> \u003ca href=\"http://www.npr.org/blogs/monkeysee/2014/01/08/260736176/saturday-night-live-takes-a-very-important-first-step\">hired Sasheer Zamata\u003c/a> as a new cast member. The show had come under criticism for its lack of diversity, especially its lack of black women; Zamata will be the show’s first female African-American cast member in six years.\u003c/p>\n\u003cp>When news of Zamata’s hiring broke, it was met in many circles with equal parts excitement and trepidation — the possibilities of a range of new, funny, strange black female characters not played by Kenan-Thompson-in-a-dress, up against the reality that whatever role she is playing, Zamata’s debut will mean she’s always performing the role of SNL’s Black Woman, and she faces the burden of playing within or against the history of what that role has meant.\u003c/p>\n\u003cp>\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/jI_SFm-txRI'\n title='//www.youtube.com/embed/jI_SFm-txRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In thinking about that complicated and also, hopefully, joyful and rewarding space she will occupy, I was reminded of one of my favorite story collections. Asali Solomon’s \u003cem>Get Down \u003c/em>is a book that understands the degree to which race and racial identity are so often about performance.\u003c/p>\n\u003cp>In the opening story, “Twelve Takes Thea,” Thea and Nadja struggle with the pressure and suspicion that accompanies being the only black girls at a wealthy white prep school. Thea, awkward and uncertain, is at home called “Jane” by her older brother, who taunts her for being too white. At school, she’s treated as an emissary from a land of urban danger, and often confused for her bolder friend Nadja, so that their friendship means their two distinct identities collapse into their role as their grade’s black girls. When Nadja leaves school and a new black classmate arrives, the internal and external pressure Thea feels to befriend her twists itself into a cruelty that Thea believes is the only way she can differentiate herself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later, in “The Star of the Story\u003cem>,”\u003c/em> Solomon explores the heartbreaking space between the people we are, the people we wish to be and the stories we tell about ourselves. Solomon writes “It was during that time, in Eduardo’s arms, that Akousa came into one of her favorite selves, an Afrocentric Lola Falana. … She shoplifted bright, beaded, slinky things from Macy’s and wore strappy sandals in the dead of February.”\u003c/p>\n\u003cp>Akousa is not the only character in the collection drawn to the idea that a new self can be as simple as a costume change or a willful reinvention. Solomon’s characters are aware of the ways in which they are weird and quirky and lonely and awkward and searching and human. They are aware of the ways in which they are never far from their histories, and never free from the prisms through which they are viewed.\u003c/p>\n\u003cp>Race is one thematic link of the collection, and it is given its due complexity. But the thread that ultimately ties these stories together, and these characters to readers, is the raw desire for genuine human connection in the face of everything — race included — that seems determined to sabotage it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Danielle Evans’s latest collection of short stories is \u003ci>Before You Suffocate Your Own Fool Self\u003c/i>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Zamata+Joins+%27SNL%2C%27+A+Look+At+%E2%80%94+And+Beyond+%E2%80%94+The+Prism+Of+Race&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Osage County,' A Family Consuming Itself",
"headTitle": "In ‘Osage County,’ A Family Consuming Itself | KQED",
"content": "\u003cp>“We shouldn’t be here.”\u003c/p>\n\u003cp>That’s the sense you get watching \u003cem>August: Osage County —\u003c/em> that you’re peering in on moments so intimate and painful that no one should witness them, perhaps not even those who are a part of it.\u003c/p>\n\u003cp>In fact, that’s what many characters in the movie — an adaptation of Tracy Letts’ Pulitzer Prize-winning play — decide for themselves. They don’t want to be part of it, either. In this story of an uncomfortable family reunion, time is marked by cars pulling out of their dusty Oklahoma driveway at regular intervals, never to be seen again.\u003c/p>\n\u003cp>The impetus for the gathering is the disappearance of Beverly (Sam Shepard), patriarch, poet and alcoholic. His wife, Violet (Meryl Streep), suffering from oral cancer and perpetually high on a laundry list of sedatives and painkillers, calls on her sister and her three daughters, along with their various significant others, to come to her aid during the developing crisis. And with everyone under one roof, years of family dysfunction come to bloom at the end of her cruel, pill-addled tongue.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=9Hd_uO72h1s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Letts reworked his own play for the screen, as he also has done in recent years for adaptations of his plays \u003cem>Bug\u003c/em> and \u003cem>Killer Joe, \u003c/em>and the dialogue — harsh, blackly comic, filled with exchanges of sulfuric intensity — is of a piece with those works.\u003c/p>\n\u003cp>Interestingly, the writer doesn’t bother making these screen ventures hugely distinct from their stage inspirations; their staginess works, though, because his characters seem trapped within their own dire lives just as much as if they were locked within the limited space of a theater.\u003c/p>\n\u003cp>And theatricality makes a kind of sense, really; these are lives lived without any letup from the heightened drama. Every member of this cast is a walking, talking open wound.\u003c/p>\n\u003cp>Eldest daughter Barbara (Julia Roberts) is separated from her philandering husband Bill (Ewan MacGregor), and can’t relate to her teenage daughter Jean (Abigail Breslin). Put-upon middle daughter Ivy (Julianne Nicholson) is conducting a secret relationship the family wouldn’t approve of, desperately seeking to escape Oklahoma and her mother. Airheaded youngest daughter Karen (Juliette Lewis) is engaged to a Ferrari-driving, thrice-divorced sleazebag (Dermot Mulroney).\u003c/p>\n\u003cp>Everyone here has pain, everyone has secrets, and while we join these characters for a short time, it’s easy to see that the cycles of lies, distrust, and abuse go back for generations, clinging to this family like the hot summer dust of the empty plains that surround them.\u003c/p>\n\u003cp>Director John Wells, a TV veteran directing his second feature, is at his best when he’s invisible. When he steps back and lets this formidable cast act their hearts out, the movie is a deeply affecting — and disturbing — storm of complicated emotions.\u003c/p>\n\u003cp>Roberts is especially impressive — bitter, broken, relatively restrained until a rage and profanity-filled climax lets out a lifetime of resentment. Chris Cooper is absolutely essential as the audience surrogate, reaching the end of his rope after 38 years of involvement with the family; he delivers perhaps the best monologue in the movie, wondering why there’s such a dearth of respect, kindness or basic decency in this house. But everyone here is uniformly exceptional, even if Streep could stand to dial back her swinging-for-the-fences performance just a notch.\u003c/p>\n\u003cp>Letts’ drama is built to leave the viewer uneasy and dissatisfied; don’t expect all or even most of those wounds to heal, either during the movie or ever in these characters’ lifetimes. But despite the standout performances, the film itself leaves one wanting as well, in ways that Letts likely didn’t intend.\u003c/p>\n\u003cp>When Wells doesn’t remain invisible, he steps in mostly to blunt the impact of the nonstop trauma onscreen. Some might welcome a little salve, but it runs counter to the harsh, uncompromising honesty of Letts’ work. We don’t need intrusively sad music to clue us in about how sad these lives are. We don’t need blandly pretty landscape shots to act as contrast to the ugliness elsewhere onscreen. Letts arms his characters with words as weapons, and William Friedkin’s prior Letts adaptations let them retain their raw destructive power.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This film, a little too often, feels calculated to dull those verbal blades for awards-season palatability; when things get bad, Wells comes in again with a directorial “There, there, it’ll be OK.” But in Osage County, Okla., things are very much not OK. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Osage+County%2C%27+A+Family+Consuming+Itself&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "The much-ballyhooed film adaptation of Tracy Letts' Pulitzer Prize-winning play has a mind-boggling cast and a bitterly funny script. Critic Ian Buckwalter says it can be so intimate and painful that you feel like you shouldn't be watching.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Letts reworked his own play for the screen, as he also has done in recent years for adaptations of his plays \u003cem>Bug\u003c/em> and \u003cem>Killer Joe, \u003c/em>and the dialogue — harsh, blackly comic, filled with exchanges of sulfuric intensity — is of a piece with those works.\u003c/p>\n\u003cp>Interestingly, the writer doesn’t bother making these screen ventures hugely distinct from their stage inspirations; their staginess works, though, because his characters seem trapped within their own dire lives just as much as if they were locked within the limited space of a theater.\u003c/p>\n\u003cp>And theatricality makes a kind of sense, really; these are lives lived without any letup from the heightened drama. Every member of this cast is a walking, talking open wound.\u003c/p>\n\u003cp>Eldest daughter Barbara (Julia Roberts) is separated from her philandering husband Bill (Ewan MacGregor), and can’t relate to her teenage daughter Jean (Abigail Breslin). Put-upon middle daughter Ivy (Julianne Nicholson) is conducting a secret relationship the family wouldn’t approve of, desperately seeking to escape Oklahoma and her mother. Airheaded youngest daughter Karen (Juliette Lewis) is engaged to a Ferrari-driving, thrice-divorced sleazebag (Dermot Mulroney).\u003c/p>\n\u003cp>Everyone here has pain, everyone has secrets, and while we join these characters for a short time, it’s easy to see that the cycles of lies, distrust, and abuse go back for generations, clinging to this family like the hot summer dust of the empty plains that surround them.\u003c/p>\n\u003cp>Director John Wells, a TV veteran directing his second feature, is at his best when he’s invisible. When he steps back and lets this formidable cast act their hearts out, the movie is a deeply affecting — and disturbing — storm of complicated emotions.\u003c/p>\n\u003cp>Roberts is especially impressive — bitter, broken, relatively restrained until a rage and profanity-filled climax lets out a lifetime of resentment. Chris Cooper is absolutely essential as the audience surrogate, reaching the end of his rope after 38 years of involvement with the family; he delivers perhaps the best monologue in the movie, wondering why there’s such a dearth of respect, kindness or basic decency in this house. But everyone here is uniformly exceptional, even if Streep could stand to dial back her swinging-for-the-fences performance just a notch.\u003c/p>\n\u003cp>Letts’ drama is built to leave the viewer uneasy and dissatisfied; don’t expect all or even most of those wounds to heal, either during the movie or ever in these characters’ lifetimes. But despite the standout performances, the film itself leaves one wanting as well, in ways that Letts likely didn’t intend.\u003c/p>\n\u003cp>When Wells doesn’t remain invisible, he steps in mostly to blunt the impact of the nonstop trauma onscreen. Some might welcome a little salve, but it runs counter to the harsh, uncompromising honesty of Letts’ work. We don’t need intrusively sad music to clue us in about how sad these lives are. We don’t need blandly pretty landscape shots to act as contrast to the ugliness elsewhere onscreen. Letts arms his characters with words as weapons, and William Friedkin’s prior Letts adaptations let them retain their raw destructive power.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This film, a little too often, feels calculated to dull those verbal blades for awards-season palatability; when things get bad, Wells comes in again with a directorial “There, there, it’ll be OK.” But in Osage County, Okla., things are very much not OK. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Osage+County%2C%27+A+Family+Consuming+Itself&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Her\u003c/em> is the best film of the year by a so-wide margin. It’s gorgeous, funny, deep — and I can hear some smart aleck say, “If you love it so much, why don’t you marry it?” Let me tell you, I’d like to!\u003c/p>\n\u003cp>I certainly identify with the protagonist, Theodore Twombly, who falls in love with his computer operating system, his OS, which calls itself — sorry, I gotta say “\u003cem>who\u003c/em> calls \u003cem>her\u003c/em>self” — Samantha, and who sounds like a breathy young woman.\u003c/p>\n\u003cp>When \u003cem>Her\u003c/em> begins, it doesn’t seem as if it’s going to be a romance but a sci-fi social satire, set in an unspecified future Los Angeles in which the architecture has no connection to people — they stroll through faceless plazas gazing into electronic devices, talking to unseen listeners. People eagerly embrace a new kind of OS — what an ad calls “an intuitive entity that listens to you and understands you and \u003cem>knows\u003c/em> you.”\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=6QRvTv_tpw0\u003c/p>\n\u003cp>Joaquin Phoenix plays Theodore, and it’s the performance of the year. The character has a job writing cards and letters on behalf of other people — intimate, sometimes erotic. The irony is, he can’t find words to communicate with people in \u003cem>his\u003c/em> life. He’s in mourning for a wife, played by Rooney Mara, who left him for reasons remaining vague; they simply fell out of sync. He’s desperately lonely.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Phoenix wears glasses and a thick mustache, but behind his Groucho mask he’s wide open. He’s the kind of actor who works to get himself into a state where he loses his emotional bearings, which sometimes means he doesn’t connect with other actors. But in \u003cem>Her\u003c/em>, he’s meant to be all by himself, responding to Samantha’s voice, and the performance is like a free-form solipsistic dance. It’s not pure solipsism, because Samantha exists. But you might be watching a 4-year-old talking to an imaginary friend; it’s that inward.\u003c/p>\n\u003cp>Scarlett Johansson does the voice of Samantha. It’s not mechanical. It’s seductive, throaty. At first she does what operating systems \u003cem>do\u003c/em>, only charmingly: clean up his hard drive, remind him of appointments. Then she begins to wrestle with ideas, \u003cem>feelings\u003c/em>. Suddenly, she and Theodore are taking soulful walks — he has an earpiece, she can see through a camera.\u003c/p>\n\u003cp>Then they take it to an erotic level. The question is implicit: Do we need our bodies, or is love all in our brains? Their relationship is real enough to make us ask what a real relationship is.\u003c/p>\n\u003cp>And Samantha continues to evolve, which you can hear — yes, hear. Samantha has spiritual needs, a drive to find new realms of communication. So Theodore feels her moving beyond his grasp — like many real lovers move on, in life.\u003c/p>\n\u003cp>Theodore and Samantha aren’t the only show in \u003cem>Her\u003c/em>. Amy Adams plays a friend of Theodore’s who designs computer games and has her own relationship problems. But mostly we’re in Theodore’s head, and Jonze creates a lyrical, impressionistic palette. Every image is colored by emotion — and by the longing to break free of one’s limited self and merge with another being.\u003c/p>\n\u003cp>The first time I saw \u003cem>Her\u003c/em>, I was disappointed that director Spike Jonze didn’t explore the Big Brother aspect, or the way whatever company created Samantha would track its users’ buying habits and so forth. But that didn’t interest him. He’s not a satirist; he’s a romantic transcendentalist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although sci-fi teems with cautionary tales of machines growing smarter than humans and taking over the world, on the basis of \u003cem>Her,\u003c/em> I think Jonze yearns on some level for what futurist Ray Kurzweil calls “the Singularity,” when machines will take on human characteristics and our minds will be expanded by machines. Jonze began with what could have been a one-joke idea, and in the course of getting it on screen, discovered the wellspring of love. \u003cstrong>\u003cem>(Recommended)\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man+And+His+Machine%2C+Finding+Out+What+Love+Is&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "\u003cstrong>\u003c/strong>The film \u003cem>Her,\u003c/em> written and directed by Spike Jonze (\u003cem>Being John Malkovich\u003c/em>), follows a lonely man who falls in love with a computer operating system. Critic David Edelstein says it's the best film of the year by far.\u003cem>\u003cstrong> (Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Her\u003c/em> is the best film of the year by a so-wide margin. It’s gorgeous, funny, deep — and I can hear some smart aleck say, “If you love it so much, why don’t you marry it?” Let me tell you, I’d like to!\u003c/p>\n\u003cp>I certainly identify with the protagonist, Theodore Twombly, who falls in love with his computer operating system, his OS, which calls itself — sorry, I gotta say “\u003cem>who\u003c/em> calls \u003cem>her\u003c/em>self” — Samantha, and who sounds like a breathy young woman.\u003c/p>\n\u003cp>When \u003cem>Her\u003c/em> begins, it doesn’t seem as if it’s going to be a romance but a sci-fi social satire, set in an unspecified future Los Angeles in which the architecture has no connection to people — they stroll through faceless plazas gazing into electronic devices, talking to unseen listeners. People eagerly embrace a new kind of OS — what an ad calls “an intuitive entity that listens to you and understands you and \u003cem>knows\u003c/em> you.”\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/6QRvTv_tpw0'\n title='//www.youtube.com/embed/6QRvTv_tpw0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Joaquin Phoenix plays Theodore, and it’s the performance of the year. The character has a job writing cards and letters on behalf of other people — intimate, sometimes erotic. The irony is, he can’t find words to communicate with people in \u003cem>his\u003c/em> life. He’s in mourning for a wife, played by Rooney Mara, who left him for reasons remaining vague; they simply fell out of sync. He’s desperately lonely.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Phoenix wears glasses and a thick mustache, but behind his Groucho mask he’s wide open. He’s the kind of actor who works to get himself into a state where he loses his emotional bearings, which sometimes means he doesn’t connect with other actors. But in \u003cem>Her\u003c/em>, he’s meant to be all by himself, responding to Samantha’s voice, and the performance is like a free-form solipsistic dance. It’s not pure solipsism, because Samantha exists. But you might be watching a 4-year-old talking to an imaginary friend; it’s that inward.\u003c/p>\n\u003cp>Scarlett Johansson does the voice of Samantha. It’s not mechanical. It’s seductive, throaty. At first she does what operating systems \u003cem>do\u003c/em>, only charmingly: clean up his hard drive, remind him of appointments. Then she begins to wrestle with ideas, \u003cem>feelings\u003c/em>. Suddenly, she and Theodore are taking soulful walks — he has an earpiece, she can see through a camera.\u003c/p>\n\u003cp>Then they take it to an erotic level. The question is implicit: Do we need our bodies, or is love all in our brains? Their relationship is real enough to make us ask what a real relationship is.\u003c/p>\n\u003cp>And Samantha continues to evolve, which you can hear — yes, hear. Samantha has spiritual needs, a drive to find new realms of communication. So Theodore feels her moving beyond his grasp — like many real lovers move on, in life.\u003c/p>\n\u003cp>Theodore and Samantha aren’t the only show in \u003cem>Her\u003c/em>. Amy Adams plays a friend of Theodore’s who designs computer games and has her own relationship problems. But mostly we’re in Theodore’s head, and Jonze creates a lyrical, impressionistic palette. Every image is colored by emotion — and by the longing to break free of one’s limited self and merge with another being.\u003c/p>\n\u003cp>The first time I saw \u003cem>Her\u003c/em>, I was disappointed that director Spike Jonze didn’t explore the Big Brother aspect, or the way whatever company created Samantha would track its users’ buying habits and so forth. But that didn’t interest him. He’s not a satirist; he’s a romantic transcendentalist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although sci-fi teems with cautionary tales of machines growing smarter than humans and taking over the world, on the basis of \u003cem>Her,\u003c/em> I think Jonze yearns on some level for what futurist Ray Kurzweil calls “the Singularity,” when machines will take on human characteristics and our minds will be expanded by machines. Jonze began with what could have been a one-joke idea, and in the course of getting it on screen, discovered the wellspring of love. \u003cstrong>\u003cem>(Recommended)\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man+And+His+Machine%2C+Finding+Out+What+Love+Is&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "From An Oscar Winner, A 'Past' Still Hauntingly Present",
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"content": "\u003cp>Iranian filmmaker Asghar Farhadi came to international attention last year when his film \u003cem>A Separation\u003c/em> won the Oscar for best foreign language film. His latest picture, \u003cem>The Past,\u003c/em> has been showered with awards, too — at the Cannes Film Festival and from critics groups in the U.S. I saw \u003cem>The Past\u003c/em> in September at the Toronto Film Festival, and it has haunted me ever since.\u003c/p>\n\u003cp>The film starts with a telling setup for all the miscues that will follow: We’re in the international arrivals area of a Paris airport, with Marie (Berenice Bejo) waiting on one side of a partition, her husband, Ahmad (Ali Mosaffa) arriving on the other. Communication is all but impossible through the glass wall that separates them, yet before he’s even seen her, she’s already lying to him — slipping a brace off her wrist so he won’t see that she’s injured.\u003c/p>\n\u003cp>When he finally spots her, he smiles, and comes to the other side of the glass. They still can’t communicate, but somehow they do. Clearly a loving couple, you figure, utterly in sync, miming greetings since they can’t hear each other.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=gLKpTRilMFc\u003c/p>\n\u003cp>And their easy partnering continues on the drive home in the rain, when the problem with her wrist becomes obvious, and he shifts the gears as she drives. But by that time they’re also sniping at each other, trading little digs and glares. Only later do you discover he’s flown in from Tehran to sign divorce papers. Not quite as in sync as they appeared. Is there something unfinished between them?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bejo, Oscar-nominated for her silent performance in \u003cem>The Artist\u003c/em> two years ago, is noisier here as a Frenchwoman caught between two men, three children and more complications than it would make any sense to try to explain.\u003c/p>\n\u003cp>Writer-director Farhadi lets the audience see where communication has faltered and what that’s meant to Marie and the folks around her — Ahmad, plus her new love, Samir (Tahar Rahim) — both sensitive, both problem solvers by temperament, but caught in situations where fixes may not exist. Also the kids, damaged by the decisions their elders are making, but in unexpected ways responsible for those decisions.\u003c/p>\n\u003cp>As the director did in \u003cem>A Separation,\u003c/em> he allows information to emerge in bits and snatches — always keeping you aware of the stepfamily dynamics and social dynamics that rule their lives. They’re all outside the French mainstream, their home butting up against a railway line as if to show that if they’re on the right side of the tracks, it’s just barely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And as they struggle with where they are now, and try to learn from, or cling to, or let go of the past — their story becomes so surprising, and so emotionally resonant that it’s hard to let these characters go. The last 30 seconds of the film — wrenching, startling, utterly transformative of everything that precedes them — has haunted me for months. \u003cem>The Past\u003c/em> will, I’m guessing, haunt me for years. \u003cstrong>\u003cem>(Recommended)\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+An+Oscar+Winner%2C+A+%27Past%27+Still+Hauntingly+Present&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Director Asghar Farhadi's film — which follows a man returning to his estranged wife to finalize a divorce — has garnered quite a few awards. NPR's Bob Mondello says that it definitely deserves its accolades. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iranian filmmaker Asghar Farhadi came to international attention last year when his film \u003cem>A Separation\u003c/em> won the Oscar for best foreign language film. His latest picture, \u003cem>The Past,\u003c/em> has been showered with awards, too — at the Cannes Film Festival and from critics groups in the U.S. I saw \u003cem>The Past\u003c/em> in September at the Toronto Film Festival, and it has haunted me ever since.\u003c/p>\n\u003cp>The film starts with a telling setup for all the miscues that will follow: We’re in the international arrivals area of a Paris airport, with Marie (Berenice Bejo) waiting on one side of a partition, her husband, Ahmad (Ali Mosaffa) arriving on the other. Communication is all but impossible through the glass wall that separates them, yet before he’s even seen her, she’s already lying to him — slipping a brace off her wrist so he won’t see that she’s injured.\u003c/p>\n\u003cp>When he finally spots her, he smiles, and comes to the other side of the glass. They still can’t communicate, but somehow they do. Clearly a loving couple, you figure, utterly in sync, miming greetings since they can’t hear each other.\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/gLKpTRilMFc'\n title='//www.youtube.com/embed/gLKpTRilMFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And their easy partnering continues on the drive home in the rain, when the problem with her wrist becomes obvious, and he shifts the gears as she drives. But by that time they’re also sniping at each other, trading little digs and glares. Only later do you discover he’s flown in from Tehran to sign divorce papers. Not quite as in sync as they appeared. Is there something unfinished between them?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>NPR’s Sam Sanders and Mandalit del Barco were backstage at the Oscars on Sunday, covering the awards show. They sat in the press room, where winners go for interviews during and after the show. Here’s a roundup of what they saw that you \u003cem>didn’t\u003c/em> see, in senior superlative form.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Stand By Her Man Until The End Of All Natural Time:\u003c/strong> Jennifer Garner\u003c/p>\n\u003cp>Most of the people actually in the theater for the big show really don’t want to spend that much time in the press room. Yes, questions must be answered (and if you make it here, it means you’ve actually won!) but none of the VIPs were coming backstage just to sit for a while. Except for Garner.\u003c/p>\n\u003cp>In what might have been the night’s sweetest moment, she sneaked into a chair right next to the radio table in the press room after the show — right behind us — to watch husband Ben Affleck answer questions after \u003cem>Argo\u003c/em> won Best Picture. As he spoke, she smiled up at him, and snapped pictures on her iPhone. She also mingled nicely with us lowly media folk.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Drink With You Under The Bleachers Just Before She Wins Homecoming Queen:\u003c/strong> Jennifer Lawrence\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>J-Law confessed to us backstage that she’d had a shot before coming up for questions. She also said getting ready for the Oscars was chaotic: “The process today was so stressful. I felt like Steve Martin in \u003cem>Father of the Bride\u003c/em>, watching my house just be torn apart, and my whole family was getting ready. I mean, my friends stopped by. It was kind of fun, but it was mostly chaotic.”\u003c/p>\n\u003cp>She said that when she tripped going up the stairs to get her Oscar, the one thing she was thinking was “a bad word, that I can’t say, that starts with F.” And she was totally OK with Seth McFarlane’s boob song, in case you were wondering.\u003c/p>\n\u003cp>\u003cstrong>Least Likely To Graduate:\u003c/strong> David Arquette\u003c/p>\n\u003cp>David Arquette is apparently moonlighting as a journalist. In a truly Oscar-worthy performance, he showed up in the press room as the Sirius radio representative. He had media credentials, a place card and a chair and a computer.\u003c/p>\n\u003cp>And he asked questions like this one to Best Supporting Actor winner Christoph Waltz: “Are you excited about the possibility of a black pope?” To \u003cem>Paperman\u003c/em> director John Kahrs, he said: “What are you most excited about in your Oscar gift basket? There were condoms in there. If you don’t use them, I could use them, bro?” As the night wore on, Arquette was effectively blacklisted. The keeper of the microphones refused to let him ask questions. The look in Arquette’s eyes as he pleaded with Affleck and George Clooney to throw him a bone was truly something to see. And then the poor guy just disappeared.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Use An Awful Accent In Theater Class But Still Be The Best Drama Kid:\u003c/strong> Quentin Tarantino\u003c/p>\n\u003cp>The Best Original Screenplay winner trotted out his much-maligned Australian accent yet again during his Q&A. In \u003cem>Django Unchained\u003c/em>, Tarantino makes a cameo appearance as an Australian indentured servant. He re-enacted a deleted scene, one in which his character discloses that after having worked three years in America, he still hadn’t paid off the cost of his overseas voyage. Tarantino went into his best \u003cem>Django\u003c/em> voice to give the punchline: “At least they didn’t charge us for the boat ride!” (Feel free to cringe.) And in response to a question about who exactly he makes his movies for, he replied: “I make movies for Planet Earth.”\u003c/p>\n\u003cp>Well, yes you do, Mr. Tarantino. Yes. You. Do.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Be Censored:\u003c/strong> Mychael Danna\u003c/p>\n\u003cp>The man who did the score for \u003cem>Life of Pi\u003c/em> had this to say when asked how it feels to hold an Oscar: “Well, I’m still learning how to hold it properly. You gotta put your thumb on the little butt here. And then you know you have it the right way. … So, now I know you gotta feel the little butt cheeks. So, that’s really what I’ve learned tonight.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe Seth “I saw her boobs” MacFarlane taught him that one. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2013 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+You+Didn%27t+See+At+The+Academy+Awards&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>J-Law confessed to us backstage that she’d had a shot before coming up for questions. She also said getting ready for the Oscars was chaotic: “The process today was so stressful. I felt like Steve Martin in \u003cem>Father of the Bride\u003c/em>, watching my house just be torn apart, and my whole family was getting ready. I mean, my friends stopped by. It was kind of fun, but it was mostly chaotic.”\u003c/p>\n\u003cp>She said that when she tripped going up the stairs to get her Oscar, the one thing she was thinking was “a bad word, that I can’t say, that starts with F.” And she was totally OK with Seth McFarlane’s boob song, in case you were wondering.\u003c/p>\n\u003cp>\u003cstrong>Least Likely To Graduate:\u003c/strong> David Arquette\u003c/p>\n\u003cp>David Arquette is apparently moonlighting as a journalist. In a truly Oscar-worthy performance, he showed up in the press room as the Sirius radio representative. He had media credentials, a place card and a chair and a computer.\u003c/p>\n\u003cp>And he asked questions like this one to Best Supporting Actor winner Christoph Waltz: “Are you excited about the possibility of a black pope?” To \u003cem>Paperman\u003c/em> director John Kahrs, he said: “What are you most excited about in your Oscar gift basket? There were condoms in there. If you don’t use them, I could use them, bro?” As the night wore on, Arquette was effectively blacklisted. The keeper of the microphones refused to let him ask questions. The look in Arquette’s eyes as he pleaded with Affleck and George Clooney to throw him a bone was truly something to see. And then the poor guy just disappeared.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Use An Awful Accent In Theater Class But Still Be The Best Drama Kid:\u003c/strong> Quentin Tarantino\u003c/p>\n\u003cp>The Best Original Screenplay winner trotted out his much-maligned Australian accent yet again during his Q&A. In \u003cem>Django Unchained\u003c/em>, Tarantino makes a cameo appearance as an Australian indentured servant. He re-enacted a deleted scene, one in which his character discloses that after having worked three years in America, he still hadn’t paid off the cost of his overseas voyage. Tarantino went into his best \u003cem>Django\u003c/em> voice to give the punchline: “At least they didn’t charge us for the boat ride!” (Feel free to cringe.) And in response to a question about who exactly he makes his movies for, he replied: “I make movies for Planet Earth.”\u003c/p>\n\u003cp>Well, yes you do, Mr. Tarantino. Yes. You. Do.\u003c/p>\n\u003cp>\u003cstrong>Most Likely To Be Censored:\u003c/strong> Mychael Danna\u003c/p>\n\u003cp>The man who did the score for \u003cem>Life of Pi\u003c/em> had this to say when asked how it feels to hold an Oscar: “Well, I’m still learning how to hold it properly. You gotta put your thumb on the little butt here. And then you know you have it the right way. … So, now I know you gotta feel the little butt cheeks. So, that’s really what I’ve learned tonight.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe Seth “I saw her boobs” MacFarlane taught him that one. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2013 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+You+Didn%27t+See+At+The+Academy+Awards&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jonathan Evison’s latest novel is \u003cem>The Revised Fundamentals of Caregiving.\u003c/em>\u003c/p>\n\u003cp>Every two or three years, if I’m lucky, I get my hands on a novel that I simply can’t shut up about, a novel I shout from my humble mountaintop to anyone who will listen, a novel that I hand-sell any time I have a literate audience of one or more. In many cases, I’ll purchase this novel, over and over and over, and put it in the hands of readers. The last novel that knocked me for this kind of a whammy was Hesh Kestin’s criminally underappreciated \u003cem>The Iron Will of Shoeshine Cats\u003c/em>, which left me breathless with its mastery of character and suspense.\u003c/p>\n\u003cp>2012 has been a banner year for literary fiction. I’ve been crowing about a number of novels this year, from Jess Walter’s \u003cem>Beautiful Ruins\u003c/em>, to Maria Semple’s \u003cem>Where’d You Go, Bernadette\u003c/em>, both brilliant and inventive. But one novel this year blew the top of my head off like no other, and that was \u003cem>Billy Lynn’s Long Halftime Walk \u003c/em>by Ben Fountain.\u003c/p>\n\u003cp>When 19-year-old Spc. Billy Lynn, one of eight surviving members of the celebrated Bravo Squad, returns stateside from Iraq for an eight-day victory tour, he finds himself a national hero. Bravo’s dog-and-pony show and its attendant media blitz culminates on Thanksgiving Day, during the halftime celebration of a Dallas Cowboys football game in Billy’s native Texas. As Thanksgiving unfolds, amid an almost overwhelming flurry of activity, Billy confronts a barrage of questions about family, nation, patriotism, celebrity and love.\u003c/p>\n\u003cp>Like many of my favorite novels, the synopsis sounds rather uneventful — it’s not. Though its scope may not be epic — a single afternoon — the novel has a profound thematic reach. Without ever hitting a false note, Fountain tackles the unwieldy subjects of Iraq, the war on terrorism, class, consumerism and politics. What’s even more impressive is that he accomplishes all of this employing a tiny aperture, a lone point of view, a single location and does it in real time: No brow-beating, no navel gazing and no ranting. Just great storytelling, fully realized characters and sentences that crackle. In short, Fountain makes it look easy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To read \u003cem>Billy Lynn\u003c/em> is to engage in a pure, tactile state of sensory overload. You feel this story with your whole body — all the adrenaline, tension and nausea. The novel is a veritable decoupage of physical sensation — from the sodium glare of stadium lights, to the acid sting of bitterness in the throat; from the woozy disequilibrium of a Jack Daniels hangover, to the galloping heartbeat of unfettered carnality. Fountain achieves that rare level of evocation that makes readers feel as though they lived it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5432412\">You Must Read This\u003c/a>\u003cem> is produced and edited by Ellen Silva and Rose Friedman with production assistance from Annalisa Quinn.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Warrior%27s+Welcome+In+%27Billy+Lynn%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Ben Fountain's newest book,\u003cem> \u003c/em>\u003cem>Billy Lynn's Long Halftime Walk,\u003c/em> takes place over the course of a single day in the life of Spc. William Lynn. Author Jonathan Evison writes that this is a book so vivid he felt like he lived it. Have you ever read a book that felt real? Tell us in the comments.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jonathan Evison’s latest novel is \u003cem>The Revised Fundamentals of Caregiving.\u003c/em>\u003c/p>\n\u003cp>Every two or three years, if I’m lucky, I get my hands on a novel that I simply can’t shut up about, a novel I shout from my humble mountaintop to anyone who will listen, a novel that I hand-sell any time I have a literate audience of one or more. In many cases, I’ll purchase this novel, over and over and over, and put it in the hands of readers. The last novel that knocked me for this kind of a whammy was Hesh Kestin’s criminally underappreciated \u003cem>The Iron Will of Shoeshine Cats\u003c/em>, which left me breathless with its mastery of character and suspense.\u003c/p>\n\u003cp>2012 has been a banner year for literary fiction. I’ve been crowing about a number of novels this year, from Jess Walter’s \u003cem>Beautiful Ruins\u003c/em>, to Maria Semple’s \u003cem>Where’d You Go, Bernadette\u003c/em>, both brilliant and inventive. But one novel this year blew the top of my head off like no other, and that was \u003cem>Billy Lynn’s Long Halftime Walk \u003c/em>by Ben Fountain.\u003c/p>\n\u003cp>When 19-year-old Spc. Billy Lynn, one of eight surviving members of the celebrated Bravo Squad, returns stateside from Iraq for an eight-day victory tour, he finds himself a national hero. Bravo’s dog-and-pony show and its attendant media blitz culminates on Thanksgiving Day, during the halftime celebration of a Dallas Cowboys football game in Billy’s native Texas. As Thanksgiving unfolds, amid an almost overwhelming flurry of activity, Billy confronts a barrage of questions about family, nation, patriotism, celebrity and love.\u003c/p>\n\u003cp>Like many of my favorite novels, the synopsis sounds rather uneventful — it’s not. Though its scope may not be epic — a single afternoon — the novel has a profound thematic reach. Without ever hitting a false note, Fountain tackles the unwieldy subjects of Iraq, the war on terrorism, class, consumerism and politics. What’s even more impressive is that he accomplishes all of this employing a tiny aperture, a lone point of view, a single location and does it in real time: No brow-beating, no navel gazing and no ranting. Just great storytelling, fully realized characters and sentences that crackle. In short, Fountain makes it look easy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ian McEwan's 'Sweet Tooth' Leaves A Sour Taste",
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"content": "\u003cp>Ian McEwan’s \u003cem>Sweet Tooth\u003c/em> is that oddest of literary achievements: an ingenious novel that I compulsively read, intellectually admired and increasingly hated. By the time I got to McEwan’s last sneer of a plot twist, I felt that reading\u003cem> Sweet Tooth\u003c/em> is the closest I ever want to come to the experience of watching a snuff film. Think that’s harsh? Open up \u003cem>Sweet Tooth\u003c/em> and find out what McEwan thinks of you, Dear Reader, particularly if you’re a woman, as most readers of fiction are.\u003c/p>\n\u003cp>Our heroine here is a young woman named Serena Frome who devours 19th and 20th century fiction — everything from Jane Austen to Jacqueline Susann to Muriel Spark. Several times in \u003cem>Sweet Tooth,\u003c/em> Serena discusses her reading tastes, much to the exasperation of her brainy novelist boyfriend. 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Certainly, as much as it is a suspense tale, a novel of ideas and a political meditation on the decline of Britain in the 1970s, \u003cem>Sweet Tooth\u003c/em> is also a cynical novel about the art of fiction and its pointlessness in the larger scheme of things.\u003c/p>\n\u003cp>As the story goes, beautiful Serena is recruited into MI5 by her lover at Cambridge, a history professor who is one of the many brilliant, narcissistic and essentially mean men whom she falls for. After graduation, Serena moves into a damp bed-sit in London and enters the intelligence service at a time when the glass ceiling for women was ankle-high. She diligently files and smiles until the day that her expertise as a novel reader is called upon for a mission dubbed “Sweet Tooth.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MI5 wants to secretly fund fledgling writers and artists whose work it deems anti-communist in sympathy. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ian McEwan’s \u003cem>Sweet Tooth\u003c/em> is that oddest of literary achievements: an ingenious novel that I compulsively read, intellectually admired and increasingly hated. By the time I got to McEwan’s last sneer of a plot twist, I felt that reading\u003cem> Sweet Tooth\u003c/em> is the closest I ever want to come to the experience of watching a snuff film. Think that’s harsh? Open up \u003cem>Sweet Tooth\u003c/em> and find out what McEwan thinks of you, Dear Reader, particularly if you’re a woman, as most readers of fiction are.\u003c/p>\n\u003cp>Our heroine here is a young woman named Serena Frome who devours 19th and 20th century fiction — everything from Jane Austen to Jacqueline Susann to Muriel Spark. Several times in \u003cem>Sweet Tooth,\u003c/em> Serena discusses her reading tastes, much to the exasperation of her brainy novelist boyfriend. Serena says, “I wanted characters I could believe in and I wanted to be made curious about what was to happen to them. Generally, I preferred people to be falling in and out of love. … It was vulgar to want it, but I liked someone to say ‘Marry me’ by the end.” Later on, Serena adds, “I didn’t like tricks.” Oh, what fun McEwan has squirting acid over everything simple Serena — clearly, the Common (Female) Reader — enjoys in a novel.\u003c/p>\n\u003cp>McEwan deploys his great gifts of storytelling to draw readers into an intricate plot about Serena’s career during the 1970s, working as a low-level operative for MI5, the British internal intelligence service. Then, by novel’s end, McEwan ridicules us readers for ever believing in Serena and the fictional world he’s blown breath into.\u003c/p>\n\u003cp>McEwan’s title\u003cem>, Sweet Tooth,\u003c/em> refers to both a clandestine operation Serena carries out and to the mind-candy lure of fiction itself. Certainly, as much as it is a suspense tale, a novel of ideas and a political meditation on the decline of Britain in the 1970s, \u003cem>Sweet Tooth\u003c/em> is also a cynical novel about the art of fiction and its pointlessness in the larger scheme of things.\u003c/p>\n\u003cp>As the story goes, beautiful Serena is recruited into MI5 by her lover at Cambridge, a history professor who is one of the many brilliant, narcissistic and essentially mean men whom she falls for. After graduation, Serena moves into a damp bed-sit in London and enters the intelligence service at a time when the glass ceiling for women was ankle-high. She diligently files and smiles until the day that her expertise as a novel reader is called upon for a mission dubbed “Sweet Tooth.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MI5 wants to secretly fund fledgling writers and artists whose work it deems anti-communist in sympathy. Serena is dispatched to entice a fiction writer named Tom Haley into the operation, and, as preparation, she reads the short stories he’s written, which McEwan himself, of course, concocts and scatters throughout this novel. Violating one of the cardinal rules of tradecraft, Serena falls in love with Tom, even as she’s tormented by the fact that she’s concealing her true identity as a secret agent.\u003c/p>\n\u003cp>As he has in previous novels, like \u003ca href=\"http://www.npr.org/books/titles/138055611/atonement\">Atonement\u003c/a>, McEwan revels here in breaking the “fourth wall” between his fictional world and our own: For instance, real-life Brit writers, living and dead, like Martin Amis and Ian Hamilton turn up in scenes and schmooze with Tom and Serena. Tom’s short stories all revolve around the themes of love, betrayal and fakery and, so, they explicitly comment on the larger tale this novel tells. Betrayal certainly dooms the relationship between Serena and Tom, as well the relationship — built on an illusion, after all — between the reader and this novel itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What sets \u003cem>Sweet Tooth\u003c/em> apart from McEwan’s other work, however, is the tone. There’s a degree of nastiness here — particularly in that genderized disdain for female readers as well as in McEwan’s cool dismissal of the products of his own imagination. Postmodernist writing can have humor and heart, but, in \u003cem>Sweet Tooth,\u003c/em> McEwan’s postmodernist narrative “tricks” simply serve as weapons of mass destruction. The novel is exposed as little more than a mental game, and Serena, whom we’ve grown attached to, is brutally silenced. All that remains is a reader’s grudging recognition that McEwan, our Author-God, is awfully clever. Call me sentimental, but that’s not enough. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2012 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ian+McEwan%27s+%27Sweet+Tooth%27+Leaves+A+Sour+Taste&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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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": {
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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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"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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"meta": {
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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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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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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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},
"fresh-air": {
"id": "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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"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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},
"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",
"meta": {
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"source": "npr"
},
"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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},
"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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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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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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"meta": {
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"source": "WaitWhat"
},
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"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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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",
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"source": "wnyc"
},
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