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Full of sadness and rage, this timely narrative cuts to the heart of the gun debate and school shootings with a scalpel of words.\u003c/p>\n\u003cp>\u003cem>Lilith\u003c/em> forces readers to look at one of the ugliest parts of U.S. culture, a too-common occurrence that is extremely rare in other countries. This is novel that acts like mirror; it shows you society with love and great insight into what makes us tick, but also with brutal honesty and under a stark, unwavering light.\u003c/p>\n\u003cp>[aside postid='arts_13955156']Elisabeth Ross is a single mother and teacher raising her son Lydan by herself. One morning. Lydan wakes up with an “icky” feeling about the day and begs Elisabeth to stay home. But working mothers rarely take a day off, so even though she wants to stay at home and spend the day with her beloved boy, she takes him to school and gets to work. That day, a man breaks into the school with a powerful rifle and kills a lot of people, mostly kids. Elisabeth breaks the rules and manages to get some of her kids out and then goes back in to rescue Lydan, who suffers devastating injuries that leave him almost dead.\u003c/p>\n\u003cp>In the aftermath of the traumatic event, Lydan is a shadow of his former self. He becomes strangely haunted in many ways, often talking about dark things and saying he’s already dead. After leaving the hospital, the boy spends his days limping around the house with injuries that will change his life forever, taking pain meds to get through the day, and dealing with PTSD. Meanwhile, Elisabeth must deal with bosses that want to fire her for breaking the rules — and with the simmering rage that’s threatening to boil her alive. The system is broken. Evil men make money from every tragedy. Elisabeth needs her insurance more than ever and her bosses want to give her a six-month suspension without pay.\u003c/p>\n\u003cp>Then something clicks. Someone must do something, and she’s the perfect person to do it. Elisabeth morphs into a persona she names Lilith, the first wife of the biblical Adam, a woman who refused to serve a man. Elisabeth, well, plans revenge and then must face the consequences of her actions. Is she a hurt, loving mother doing the right thing or no better than the man who shot up the school? The answers to the questions her actions raise aren’t easy, and they make the core of \u003cem>Lilith\u003c/em> a truly emotional conundrum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reading \u003cem>Lilith \u003c/em>is an endurance exercise. Lydan’s destroyed body and psyche, the unreasonableness of Elisabeth’s bosses, and the growing pain and anxiety add up to a powerful novel you can’t look away from, but that hurts you with every page. Rickstad, with impeccable pacing and economy of language, delves deep into the gun culture that uses every school shooting as an excuse to celebrate guns and sell more guns. 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"content": "\u003cp>If imitation is the sincerest form of flattery, count us flattered. \u003ca href=\"https://www.kqed.org/arts/tag/saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> poked fun at \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">NPR’s Tiny Desk\u003c/a> this weekend in a skit about an office concert gone awry after it gets interrupted by a work-obsessed NPR intern.\u003c/p>\n\u003cp>The skit opens up at the Tiny Desk with this weekend’s host, \u003ca href=\"https://video.kqed.org/video/ramy-youssef-discusses-his-hulu-comedy-series-ramy-x9ovpl/\">Ramy Youssef\u003c/a>, playing the part of the lead singer of a band that’s performing to a crowd of NPR staff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e_Ae2uz4IJU\u003c/p>\n\u003cp>“Thank you so much NPR. We are the Jonah Hughes Band. I’m Jonah Hughes,” Youssef says. “That last one usually has a lot more synth, but since this is a Tiny Desk concert, we got to be quirking it up.”\u003c/p>\n\u003cp>His bandmate interjects, “Yup, that’s why I play a milk carton shaker.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She is usually on the cello,” Youssef says.\u003c/p>\n\u003cp>As the band starts up its next song about an ex-girlfriend — titled “Crazy Girl (Amanda)” — a 35-year-old NPR intern played by Bowen Yang walks in asks the band to “keep the ruckus down.”\u003c/p>\n\u003cp>Another employee explains that Yang is working on a podcast about “AI and rural queers,” to which Yang waltzes back in to announce that he landed on a title for the podcast.\u003c/p>\n\u003cp>[aside postid='arts_13919975']“It’s called \u003cem>Beep Boop I’m Gay Now\u003c/em>. It’s a play on \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">\u003cem>Wait Wait Don’t Tell Me\u003c/em>\u003c/a>, but it’s not funny at all,” Yang says.\u003c/p>\n\u003cp>Youssef attempts to keep performing, but Yang interrupts again to say, “I’m just on an important zoom with Ira and Terry — Glass and Gross.”\u003c/p>\n\u003cp>Facing backlash from the angry crowd, Yang’s character tries to drop a hard truth: “I’m brave enough to say it, that desk is not tiny. Never was. Just feels small because there’s so much crap on it,” he says.\u003c/p>\n\u003cp>As the argument grows, Yang picks up a microphone and breaks into an impromptu taping for his podcast. Youssef agrees to participate — and even comes up with a theme song for the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If you’re gay or a robot in a small rural town, beep beep beep boop,” the band sings.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+sends+up+the+NPR+Tiny+Desk+with+an+intern+who+pleads%2C+%27keep+the+ruckus+down%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If imitation is the sincerest form of flattery, count us flattered. \u003ca href=\"https://www.kqed.org/arts/tag/saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> poked fun at \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">NPR’s Tiny Desk\u003c/a> this weekend in a skit about an office concert gone awry after it gets interrupted by a work-obsessed NPR intern.\u003c/p>\n\u003cp>The skit opens up at the Tiny Desk with this weekend’s host, \u003ca href=\"https://video.kqed.org/video/ramy-youssef-discusses-his-hulu-comedy-series-ramy-x9ovpl/\">Ramy Youssef\u003c/a>, playing the part of the lead singer of a band that’s performing to a crowd of NPR staff.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/e_Ae2uz4IJU'\n title='//www.youtube.com/embed/e_Ae2uz4IJU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Thank you so much NPR. We are the Jonah Hughes Band. I’m Jonah Hughes,” Youssef says. “That last one usually has a lot more synth, but since this is a Tiny Desk concert, we got to be quirking it up.”\u003c/p>\n\u003cp>His bandmate interjects, “Yup, that’s why I play a milk carton shaker.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The ‘Door’ That Saved (Only) Rose in ‘Titanic’ Just Sold for $718k",
"headTitle": "The ‘Door’ That Saved (Only) Rose in ‘Titanic’ Just Sold for $718k | KQED",
"content": "\u003cp>Some of the most iconic props in Hollywood history hit the auction block last week, from Indiana Jones’ trusty whip to Forrest Gump’s assorted chocolates to the infamous axe from \u003cem>The Shining\u003c/em>.\u003c/p>\n\u003cp>But the top-selling item was a piece of debris, albeit one that’s stirred imagination and debate for over a quarter century.\u003c/p>\n\u003cp>[aside postid='arts_13935076']“The wood panel from \u003cem>Titanic \u003c/em>that saved Rose — but, controversially, not Jack — was the king of the auction, realizing $718,750 to float to the top of the five-day event,” auction house Heritage Auctions \u003ca href=\"https://www.ha.com/heritage-auctions-press-releases-and-news/treasures-from-planet-hollywood-bring-more-than-15.6-million-in-historic-event-at-heritage-auctions.s?releaseId=4934\">said in a release\u003c/a>.\u003c/p>\n\u003cp>The “\u003ca href=\"https://entertainment.ha.com/itm/movie-tv-memorabilia/props/titanic-tcf-1997-kate-winslet-rose-dewitt-bukater-hero-floating-wood-panel/a/7356-89979.s?ic4=GalleryView-ShortDescription-071515#auction-description\">Hero Floating Wood Panel\u003c/a>” played an \u003ca href=\"https://www.youtube.com/watch?v=KKY6-9cQ5l8\">iconic role\u003c/a> in the 1997 blockbuster. As the Titanic sinks, stranding passengers in the frigid waters of the Atlantic Ocean, Kate Winslet’s character Rose manages to lie afloat on the piece of a door while Leonardo DiCaprio’s Jack clings to the edge, eventually succumbing to hypothermia.\u003c/p>\n\u003cp>“The biggest scene, really, the climactic scene if you will,” \u003ca href=\"https://www.youtube.com/live/mIK6kHWvUUs?si=S25-q0QRjatgbMgZ&t=1230\">the auctioneer said\u003c/a>, introducing the lot item. “There are several big scenes but this is it, this is the goodbye.”\u003c/p>\n\u003cfigure id=\"attachment_13954959\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-1192757498-69537c1a79908bf9fef43bcfdfac41b57248ecb5-scaled-e1711663749139.jpg\" alt=\"A man with wet hair, submerged from the chest down leans on a piece of wooden detritus that a woman with wet hair is propped up on.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Fans have long debated whether there was room for both Jack (Leonardo DiCaprio) and Rose (Kate Winslet) on the makeshift raft in the 1997 blockbuster ‘Titanic.’ \u003ccite>(CBS Photo Archive/ CBS via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bidding started at $60,000 and finished some five minutes later at $575,000 (the total cost included additional fees). In the video livestream, the crowd can be heard clapping heartily as the auctioneer congratulates the winner, whom he refers to as “Mr. Green.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The five-day “Treasures from Planet Hollywood” auction brought in more than $15.6 million from over 5,500 bidders worldwide across some 1,600 lots, according to Heritage Auctions, which said there were so many bidding wars that “we lost track.”\u003c/p>\n\u003cp>[aside postid='arts_13927540']“There has been a generational shift to where these massive franchises and blockbusters of the 1980s and 1990s — the \u003cem>Home Alone\u003c/em>s, the Indiana Jones films, the \u003cem>Die Hard\u003c/em>s and, of course, \u003cem>Titanic\u003c/em> — are now collectors’ favorites,” Executive Vice President Joe Maddalena said in a statement provided to NPR. “Collectors are finally rewarding these artifacts as what they are: cultural artifacts akin to the fine art of old.”\u003c/p>\n\u003cp>Five of the top lots came from \u003cem>Titanic\u003c/em>, including the ship’s helm wheel ($200,000), Rose’s waterlogged chiffon dress ($118,750) and the ship’s brass engine order telegraph ($81,250) — another sign that the public’s fascination with the century-old shipwreck isn’t going anywhere.\u003c/p>\n\u003ch3>The prop is modeled on a real-life structure\u003c/h3>\n\u003cp>The 8-foot-long, 41-inch-wide floating hunk of wood is made of balsa and intricately carved with rococo motifs like floral accents and scrolling curves, according to the auction house.\u003c/p>\n\u003cp>A plaque on the back of it reads: “Leonardo DiCaprio / Kate Winslet / ‘Titanic’ / Twentieth Century Fox / Paramount Pictures, 1997 / Floating panel that he uses to save her life in the sinking sequence of the film, in their roles as ‘Jack Dawson’ and ‘Rose DeWitt Bukater’. Courtesy of Twentieth Century Fox.”\u003c/p>\n\u003cp>Heritage Auctions says the prop was based on the “most famous complete piece of debris from the 1912 tragedy,” which is believed to be part of the door frame just above the first-class lounge entrance.\u003c/p>\n\u003cp>[aside postid='arts_13924870']Researchers theorize that the panel represents the exact area where the ship split in two and that it rose to the water’s surface as the ship sank. The auction house notes that it closely resembles one particular artifact housed at the Maritime Museum in Halifax, Nova Scotia.\u003c/p>\n\u003cp>Director James Cameron visited the museum during the movie production and consulted with an American expert who had assisted with research there, according to the \u003ca href=\"https://maritimemuseum.novascotia.ca/what-see-do/titanics-halifax-connection/frequently-asked-questions#10\">Maritime Museum\u003c/a>.\u003c/p>\n\u003cp>“Among other things this permitted accurate replicas of the deckchairs to be constructed and most notably, a replica of a large piece of carved oak [paneling] to be built,” it added. “It was used in the climactic death scene in the film where the character Rose clings to floating wreckage.”\u003c/p>\n\u003ch3>The piece of wood is at the heart of an enduring debate\u003c/h3>\n\u003cp>Enraged fans have argued for decades that there was room on the board for both paramours and that Rose could have saved Jack — and their star-crossed love story — by simply scooting over.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg\" alt=\"\" width=\"889\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-768x432.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003c/p>\n\u003cp>Cameron adamantly disagrees, as he’s \u003ca href=\"https://www.vanityfair.com/hollywood/2019/02/james-cameron-titanic-door-debate\">made clear in multiple interviews\u003c/a> over the years.\u003c/p>\n\u003cp>“When Jack puts Rose on the raft, he tries to get on the raft — he’s not an idiot, he doesn’t want to die — and the raft sinks; it kind of flips,” \u003ca href=\"https://www.ign.com/articles/2012/10/09/titanic-was-there-room-for-jack-on-that-raft\">Cameron told IGN\u003c/a> in 2012. “And so it’s clear that there’s really only enough buoyancy available for one person. So he makes the decision to let her be that person.”\u003c/p>\n\u003cp>[aside postid='pop_95762']\u003cem>MythBusters\u003c/em> even teamed up with Cameron\u003ca href=\"https://www.imdb.com/title/tt2443302/\"> in an episode\u003c/a> that same year to tackle the question, which it called “the most requested myth in MythBuster history.”\u003c/p>\n\u003cp>They \u003ca href=\"https://ew.com/article/2012/10/08/mythbusters-titanic-debate-jack-die/\">concluded\u003c/a> that Rose and Jack could have both stayed afloat and avoided hypothermia, but only if they had thought to tie her life jacket underneath it to help with buoyancy. That’s missing the point, Cameron said at the time (he said \u003ca href=\"https://www.thedailybeast.com/james-cameron-on-the-trump-administration-these-people-are-insane\">five years later\u003c/a> that he loved working with the MythBusters, “but they’re full of s***”).\u003c/p>\n\u003cp>“The script says Jack died. He has to die,” he said in the episode. “So maybe we screwed up and the board should have been a little tiny bit smaller, but the dude’s goin’ down.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IPDxtclZzVU\u003c/p>\n\u003cp>In 2022, a full 25 years after the movie’s release, Cameron said he had \u003ca href=\"https://www.npr.org/2022/12/19/1144078509/titanic-movie-door-debate-james-cameron\">commissioned a scientific study\u003c/a> to hopefully close the door on the debate once and for all.\u003c/p>\n\u003cp>[aside postid='pop_111446']The results, which aired in a \u003ca href=\"https://www.youtube.com/watch?v=1jXHFEy-ibc\">National Geographic special\u003c/a> last year, suggested that under some scenarios, \u003ca href=\"https://ew.com/movies/james-cameron-confesses-titanic-door-should-have-been-smaller/\">both Jack and Rose could have survived\u003c/a> on the makeshift raft had they known more about hypothermia and thermodynamics.\u003c/p>\n\u003cp>“In an experiment in a test pool, we can’t possibly simulate the terror, the adrenaline, all the things that worked against them,” Cameron said. “He couldn’t have anticipated what we know today about hypothermia. He didn’t get to run a bunch of different experiments to see what worked the best.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the end of the day, Cameron maintained Jack’s death was necessary both as a plot device and character choice. But said he would have done it differently based on what he knows now: “I would have made the raft smaller, so there’s no doubt.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+piece+of+wood+that+saved+%28only%29+Rose+in+%27Titanic%27+was+auctioned+off+for+%24718k&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the most iconic props in Hollywood history hit the auction block last week, from Indiana Jones’ trusty whip to Forrest Gump’s assorted chocolates to the infamous axe from \u003cem>The Shining\u003c/em>.\u003c/p>\n\u003cp>But the top-selling item was a piece of debris, albeit one that’s stirred imagination and debate for over a quarter century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The wood panel from \u003cem>Titanic \u003c/em>that saved Rose — but, controversially, not Jack — was the king of the auction, realizing $718,750 to float to the top of the five-day event,” auction house Heritage Auctions \u003ca href=\"https://www.ha.com/heritage-auctions-press-releases-and-news/treasures-from-planet-hollywood-bring-more-than-15.6-million-in-historic-event-at-heritage-auctions.s?releaseId=4934\">said in a release\u003c/a>.\u003c/p>\n\u003cp>The “\u003ca href=\"https://entertainment.ha.com/itm/movie-tv-memorabilia/props/titanic-tcf-1997-kate-winslet-rose-dewitt-bukater-hero-floating-wood-panel/a/7356-89979.s?ic4=GalleryView-ShortDescription-071515#auction-description\">Hero Floating Wood Panel\u003c/a>” played an \u003ca href=\"https://www.youtube.com/watch?v=KKY6-9cQ5l8\">iconic role\u003c/a> in the 1997 blockbuster. As the Titanic sinks, stranding passengers in the frigid waters of the Atlantic Ocean, Kate Winslet’s character Rose manages to lie afloat on the piece of a door while Leonardo DiCaprio’s Jack clings to the edge, eventually succumbing to hypothermia.\u003c/p>\n\u003cp>“The biggest scene, really, the climactic scene if you will,” \u003ca href=\"https://www.youtube.com/live/mIK6kHWvUUs?si=S25-q0QRjatgbMgZ&t=1230\">the auctioneer said\u003c/a>, introducing the lot item. “There are several big scenes but this is it, this is the goodbye.”\u003c/p>\n\u003cfigure id=\"attachment_13954959\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-1192757498-69537c1a79908bf9fef43bcfdfac41b57248ecb5-scaled-e1711663749139.jpg\" alt=\"A man with wet hair, submerged from the chest down leans on a piece of wooden detritus that a woman with wet hair is propped up on.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Fans have long debated whether there was room for both Jack (Leonardo DiCaprio) and Rose (Kate Winslet) on the makeshift raft in the 1997 blockbuster ‘Titanic.’ \u003ccite>(CBS Photo Archive/ CBS via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bidding started at $60,000 and finished some five minutes later at $575,000 (the total cost included additional fees). In the video livestream, the crowd can be heard clapping heartily as the auctioneer congratulates the winner, whom he refers to as “Mr. Green.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The five-day “Treasures from Planet Hollywood” auction brought in more than $15.6 million from over 5,500 bidders worldwide across some 1,600 lots, according to Heritage Auctions, which said there were so many bidding wars that “we lost track.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There has been a generational shift to where these massive franchises and blockbusters of the 1980s and 1990s — the \u003cem>Home Alone\u003c/em>s, the Indiana Jones films, the \u003cem>Die Hard\u003c/em>s and, of course, \u003cem>Titanic\u003c/em> — are now collectors’ favorites,” Executive Vice President Joe Maddalena said in a statement provided to NPR. “Collectors are finally rewarding these artifacts as what they are: cultural artifacts akin to the fine art of old.”\u003c/p>\n\u003cp>Five of the top lots came from \u003cem>Titanic\u003c/em>, including the ship’s helm wheel ($200,000), Rose’s waterlogged chiffon dress ($118,750) and the ship’s brass engine order telegraph ($81,250) — another sign that the public’s fascination with the century-old shipwreck isn’t going anywhere.\u003c/p>\n\u003ch3>The prop is modeled on a real-life structure\u003c/h3>\n\u003cp>The 8-foot-long, 41-inch-wide floating hunk of wood is made of balsa and intricately carved with rococo motifs like floral accents and scrolling curves, according to the auction house.\u003c/p>\n\u003cp>A plaque on the back of it reads: “Leonardo DiCaprio / Kate Winslet / ‘Titanic’ / Twentieth Century Fox / Paramount Pictures, 1997 / Floating panel that he uses to save her life in the sinking sequence of the film, in their roles as ‘Jack Dawson’ and ‘Rose DeWitt Bukater’. Courtesy of Twentieth Century Fox.”\u003c/p>\n\u003cp>Heritage Auctions says the prop was based on the “most famous complete piece of debris from the 1912 tragedy,” which is believed to be part of the door frame just above the first-class lounge entrance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Researchers theorize that the panel represents the exact area where the ship split in two and that it rose to the water’s surface as the ship sank. The auction house notes that it closely resembles one particular artifact housed at the Maritime Museum in Halifax, Nova Scotia.\u003c/p>\n\u003cp>Director James Cameron visited the museum during the movie production and consulted with an American expert who had assisted with research there, according to the \u003ca href=\"https://maritimemuseum.novascotia.ca/what-see-do/titanics-halifax-connection/frequently-asked-questions#10\">Maritime Museum\u003c/a>.\u003c/p>\n\u003cp>“Among other things this permitted accurate replicas of the deckchairs to be constructed and most notably, a replica of a large piece of carved oak [paneling] to be built,” it added. “It was used in the climactic death scene in the film where the character Rose clings to floating wreckage.”\u003c/p>\n\u003ch3>The piece of wood is at the heart of an enduring debate\u003c/h3>\n\u003cp>Enraged fans have argued for decades that there was room on the board for both paramours and that Rose could have saved Jack — and their star-crossed love story — by simply scooting over.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg\" alt=\"\" width=\"889\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/52f5lc-768x432.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003c/p>\n\u003cp>Cameron adamantly disagrees, as he’s \u003ca href=\"https://www.vanityfair.com/hollywood/2019/02/james-cameron-titanic-door-debate\">made clear in multiple interviews\u003c/a> over the years.\u003c/p>\n\u003cp>“When Jack puts Rose on the raft, he tries to get on the raft — he’s not an idiot, he doesn’t want to die — and the raft sinks; it kind of flips,” \u003ca href=\"https://www.ign.com/articles/2012/10/09/titanic-was-there-room-for-jack-on-that-raft\">Cameron told IGN\u003c/a> in 2012. “And so it’s clear that there’s really only enough buoyancy available for one person. So he makes the decision to let her be that person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>MythBusters\u003c/em> even teamed up with Cameron\u003ca href=\"https://www.imdb.com/title/tt2443302/\"> in an episode\u003c/a> that same year to tackle the question, which it called “the most requested myth in MythBuster history.”\u003c/p>\n\u003cp>They \u003ca href=\"https://ew.com/article/2012/10/08/mythbusters-titanic-debate-jack-die/\">concluded\u003c/a> that Rose and Jack could have both stayed afloat and avoided hypothermia, but only if they had thought to tie her life jacket underneath it to help with buoyancy. That’s missing the point, Cameron said at the time (he said \u003ca href=\"https://www.thedailybeast.com/james-cameron-on-the-trump-administration-these-people-are-insane\">five years later\u003c/a> that he loved working with the MythBusters, “but they’re full of s***”).\u003c/p>\n\u003cp>“The script says Jack died. He has to die,” he said in the episode. “So maybe we screwed up and the board should have been a little tiny bit smaller, but the dude’s goin’ down.”\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/IPDxtclZzVU'\n title='//www.youtube.com/embed/IPDxtclZzVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2022, a full 25 years after the movie’s release, Cameron said he had \u003ca href=\"https://www.npr.org/2022/12/19/1144078509/titanic-movie-door-debate-james-cameron\">commissioned a scientific study\u003c/a> to hopefully close the door on the debate once and for all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The results, which aired in a \u003ca href=\"https://www.youtube.com/watch?v=1jXHFEy-ibc\">National Geographic special\u003c/a> last year, suggested that under some scenarios, \u003ca href=\"https://ew.com/movies/james-cameron-confesses-titanic-door-should-have-been-smaller/\">both Jack and Rose could have survived\u003c/a> on the makeshift raft had they known more about hypothermia and thermodynamics.\u003c/p>\n\u003cp>“In an experiment in a test pool, we can’t possibly simulate the terror, the adrenaline, all the things that worked against them,” Cameron said. “He couldn’t have anticipated what we know today about hypothermia. He didn’t get to run a bunch of different experiments to see what worked the best.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of the day, Cameron maintained Jack’s death was necessary both as a plot device and character choice. But said he would have done it differently based on what he knows now: “I would have made the raft smaller, so there’s no doubt.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+piece+of+wood+that+saved+%28only%29+Rose+in+%27Titanic%27+was+auctioned+off+for+%24718k&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Replay’ Spotlights Resilience, Loss and Intergenerational Connectedness",
"headTitle": "‘Replay’ Spotlights Resilience, Loss and Intergenerational Connectedness | KQED",
"content": "\u003cfigure id=\"attachment_13954662\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd.jpg\" alt=\"The cover of a graphic memoir featuring a family traveling on an old steam train.\" width=\"1080\" height=\"1497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-800x1109.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-1020x1414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-768x1065.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘Replay: Memoir of an Uprooted Family,’ by Jordan Mechner. \u003ccite>(First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s 1988 and Jordan Mechner is 24-years-old — visiting New York from San Francisco to attend his grandfather’s funeral — when his father, Franz, recalls a distressing but formative moment from his war-torn childhood: “I decided when I was nine years old to consider myself as already dead.”\u003c/p>\n\u003cp>Jordan, his younger brother, and his father are sitting in a cozy domestic space, reminiscing over Papi’s life, which, like Franz’s early years, was beset with close calls. Father and son, both Jewish and therefore targets of the Nazi occupation, fled Austria together in 1938, leaving half of their family behind. The elder Mechner, Adolf, emigrated to Cuba while Franz, a young boy at the time, fled to stay with his aunt in various parts of France. There, he lived in precarious circumstances for three years, until his family of four eventually reunited in Cuba. Most of their relatives, including over a hundred cousins, did not survive.\u003c/p>\n\u003cp>[aside postid='arts_13953371']“If Papi had been less lucky, you wouldn’t have been born,” Franz tells his two sons.\u003c/p>\n\u003cp>Such snippets — short but powerful scenes of resilience, loss, and intergenerational connectedness — are at the heart of Jordan Mechner’s new nonfiction graphic book \u003cem>Replay: Memoir of an Uprooted Family. \u003c/em>The author-artist is best known as the creator of the \u003cem>Prince of Persia \u003c/em>video game franchise, as well as the earlier \u003cem>Karateka\u003c/em> (published while he was still an undergraduate at Yale) and the later adventure game, \u003cem>The Last Express. \u003c/em>As he notes in an opening chapter of the book — which could be considered part memoir, part dual biography — until age 13 he had planned to become a cartoonist. Then, when Apple II came along, his future plans almost immediately changed course.\u003c/p>\n\u003cfigure id=\"attachment_13954667\" class=\"wp-caption aligncenter\" style=\"max-width: 916px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM.png\" alt=\"A page of illustrated panels depicting a young man developing a video game over several years in the 1980s.\" width=\"916\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM.png 916w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-800x1142.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-768x1097.png 768w\" sizes=\"(max-width: 916px) 100vw, 916px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘Replay.’ \u003ccite>(Jordan Mechner/ First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaming and comics have, of course, many overlapping qualities: Not only do they usually involve animation, creativity, and storyline, but they are also both modes in which audiences participate, to varying degrees, in the sights unfolding before them. This is more obvious in gaming, where players control their avatars’ moves. But in comics, too, readers have to make meaning within and across panels and pages; they construct associations, filling in the gaps between images with their own imaginations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In contrast with gaming, life, particularly as the elder two Mechners — Adolf and Franz — lived it, is awash in accident and luck. Jordan Mechner spends the memoir flitting between three points of view. The text is divided into eight rich chapters filled with often fast-paced, neatly drawn scenes sometimes tinted in gentle colors. When he was 14 years old, he remembers, his grandfather completed a memoir, which filled up four looseleaf binders. At the time young Jordan hadn’t bothered to read it, but as his life unfolded — and included an impressive, often all-consuming career, several romantic relationships and, eventually, two kids of his own — he started to recognize how much this history already meant to him.\u003c/p>\n\u003cfigure id=\"attachment_13954668\" class=\"wp-caption aligncenter\" style=\"max-width: 918px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM.png\" alt=\"A page of illustrated panels depicting family members discussing their history in Nazi Germany.\" width=\"918\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM.png 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-800x1117.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-768x1073.png 768w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘Replay.’ \u003ccite>(Jordan Mechner/ First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mechner relays stories of his family’s past via excerpts from his grandfather’s memoirs, adapted into his own illustrated scenes. He also opens each chapter with selections from an archive of family photographs — and fills in parts of the family story through recalled tidbits from conversations with his father. Many of the anecdotes repeat and overlap, as memories told over a long period of time, and from different sources, often do. Indeed, the book moves swiftly between a wide variety of moments in time and panoramas, incorporating, too, sections revealing Mechner’s own career struggles and triumphs as well as interactions with family and friends.\u003c/p>\n\u003cp>[aside postid='arts_13935619']At one point, sitting on a beach in France with his best friend and former colleague, Patrick, he is gently chided for wondering what would have happened if he had made a different decision in his past. “Life is not like a video game that you can replay,” this friend sagely reminds him. It’s an invitation to stick with the facts, with what has already happened, and move along from there.\u003c/p>\n\u003cp>In the end, in the composition of this vibrant, poignant book, Mechner seems to have taken his friend’s advice. Though \u003cem>Replay\u003c/em>‘s many twists and turns underscore the pervasive impact of the past, including painful traumas and unbearable losses, the emphasis is ultimately on the connectedness that remains in the present. The memoir joins several recently published non-fictional graphic books that effectively weave intergenerational stories together into a single narrative, like \u003ca href=\"https://www.npr.org/2023/10/19/1205898776/new-yorker-cartoonist-amy-kurzweils-graphic-memoir-artificial-a-love-story\">Amy Kurzweil’s \u003cem>Artificial: A Love Story \u003c/em>\u003c/a>or \u003ca href=\"https://www.wbur.org/hereandnow/2024/03/12/feeding-ghosts-tessa-hulls\">Tessa Hulls’ \u003c/a>\u003ca href=\"https://www.wbur.org/hereandnow/2024/03/12/feeding-ghosts-tessa-hulls\">\u003cem>Feeding Ghosts\u003c/em>\u003c/a>\u003cem>.\u003c/em> These works are all focused on the same question: How do you move on from the past?\u003c/p>\n\u003cp>Their answer: You try as honestly and directly as you can, to confront it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Replay%27+spotlights+resilience%2C+loss%2C+and+intergenerational+connectedness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954662\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd.jpg\" alt=\"The cover of a graphic memoir featuring a family traveling on an old steam train.\" width=\"1080\" height=\"1497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-800x1109.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-1020x1414.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/replay_custom-e9e48bac4ac4a1b05c4b68bd592a6811a53f95dd-768x1065.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘Replay: Memoir of an Uprooted Family,’ by Jordan Mechner. \u003ccite>(First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s 1988 and Jordan Mechner is 24-years-old — visiting New York from San Francisco to attend his grandfather’s funeral — when his father, Franz, recalls a distressing but formative moment from his war-torn childhood: “I decided when I was nine years old to consider myself as already dead.”\u003c/p>\n\u003cp>Jordan, his younger brother, and his father are sitting in a cozy domestic space, reminiscing over Papi’s life, which, like Franz’s early years, was beset with close calls. Father and son, both Jewish and therefore targets of the Nazi occupation, fled Austria together in 1938, leaving half of their family behind. The elder Mechner, Adolf, emigrated to Cuba while Franz, a young boy at the time, fled to stay with his aunt in various parts of France. There, he lived in precarious circumstances for three years, until his family of four eventually reunited in Cuba. Most of their relatives, including over a hundred cousins, did not survive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“If Papi had been less lucky, you wouldn’t have been born,” Franz tells his two sons.\u003c/p>\n\u003cp>Such snippets — short but powerful scenes of resilience, loss, and intergenerational connectedness — are at the heart of Jordan Mechner’s new nonfiction graphic book \u003cem>Replay: Memoir of an Uprooted Family. \u003c/em>The author-artist is best known as the creator of the \u003cem>Prince of Persia \u003c/em>video game franchise, as well as the earlier \u003cem>Karateka\u003c/em> (published while he was still an undergraduate at Yale) and the later adventure game, \u003cem>The Last Express. \u003c/em>As he notes in an opening chapter of the book — which could be considered part memoir, part dual biography — until age 13 he had planned to become a cartoonist. Then, when Apple II came along, his future plans almost immediately changed course.\u003c/p>\n\u003cfigure id=\"attachment_13954667\" class=\"wp-caption aligncenter\" style=\"max-width: 916px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM.png\" alt=\"A page of illustrated panels depicting a young man developing a video game over several years in the 1980s.\" width=\"916\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM.png 916w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-800x1142.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-160x228.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.40.58-AM-768x1097.png 768w\" sizes=\"(max-width: 916px) 100vw, 916px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘Replay.’ \u003ccite>(Jordan Mechner/ First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaming and comics have, of course, many overlapping qualities: Not only do they usually involve animation, creativity, and storyline, but they are also both modes in which audiences participate, to varying degrees, in the sights unfolding before them. This is more obvious in gaming, where players control their avatars’ moves. But in comics, too, readers have to make meaning within and across panels and pages; they construct associations, filling in the gaps between images with their own imaginations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In contrast with gaming, life, particularly as the elder two Mechners — Adolf and Franz — lived it, is awash in accident and luck. Jordan Mechner spends the memoir flitting between three points of view. The text is divided into eight rich chapters filled with often fast-paced, neatly drawn scenes sometimes tinted in gentle colors. When he was 14 years old, he remembers, his grandfather completed a memoir, which filled up four looseleaf binders. At the time young Jordan hadn’t bothered to read it, but as his life unfolded — and included an impressive, often all-consuming career, several romantic relationships and, eventually, two kids of his own — he started to recognize how much this history already meant to him.\u003c/p>\n\u003cfigure id=\"attachment_13954668\" class=\"wp-caption aligncenter\" style=\"max-width: 918px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM.png\" alt=\"A page of illustrated panels depicting family members discussing their history in Nazi Germany.\" width=\"918\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM.png 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-800x1117.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-25-at-9.47.05-AM-768x1073.png 768w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003cfigcaption class=\"wp-caption-text\">A page from ‘Replay.’ \u003ccite>(Jordan Mechner/ First Second)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mechner relays stories of his family’s past via excerpts from his grandfather’s memoirs, adapted into his own illustrated scenes. He also opens each chapter with selections from an archive of family photographs — and fills in parts of the family story through recalled tidbits from conversations with his father. Many of the anecdotes repeat and overlap, as memories told over a long period of time, and from different sources, often do. Indeed, the book moves swiftly between a wide variety of moments in time and panoramas, incorporating, too, sections revealing Mechner’s own career struggles and triumphs as well as interactions with family and friends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At one point, sitting on a beach in France with his best friend and former colleague, Patrick, he is gently chided for wondering what would have happened if he had made a different decision in his past. “Life is not like a video game that you can replay,” this friend sagely reminds him. It’s an invitation to stick with the facts, with what has already happened, and move along from there.\u003c/p>\n\u003cp>In the end, in the composition of this vibrant, poignant book, Mechner seems to have taken his friend’s advice. Though \u003cem>Replay\u003c/em>‘s many twists and turns underscore the pervasive impact of the past, including painful traumas and unbearable losses, the emphasis is ultimately on the connectedness that remains in the present. The memoir joins several recently published non-fictional graphic books that effectively weave intergenerational stories together into a single narrative, like \u003ca href=\"https://www.npr.org/2023/10/19/1205898776/new-yorker-cartoonist-amy-kurzweils-graphic-memoir-artificial-a-love-story\">Amy Kurzweil’s \u003cem>Artificial: A Love Story \u003c/em>\u003c/a>or \u003ca href=\"https://www.wbur.org/hereandnow/2024/03/12/feeding-ghosts-tessa-hulls\">Tessa Hulls’ \u003c/a>\u003ca href=\"https://www.wbur.org/hereandnow/2024/03/12/feeding-ghosts-tessa-hulls\">\u003cem>Feeding Ghosts\u003c/em>\u003c/a>\u003cem>.\u003c/em> These works are all focused on the same question: How do you move on from the past?\u003c/p>\n\u003cp>Their answer: You try as honestly and directly as you can, to confront it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Replay%27+spotlights+resilience%2C+loss%2C+and+intergenerational+connectedness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé’s New Album Is Inspired by Backlash to Her Entering the Country Music Genre",
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"content": "\u003cp>The Queen Bey has entered the country music genre but make no mistake, this is no random sliding into the charts.\u003c/p>\n\u003cp>With less than 10 days left until the release of her eighth studio album \u003cem>Cowboy Carter\u003c/em>, Beyoncé is reflecting on making the upcoming album — as she explained to fans the inspiration behind it and how exactly the piece of art came to life.\u003c/p>\n\u003cp>[aside postid='arts_13940030']In an \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Instagram post\u003c/a> on Tuesday, the singer-songwriter shared a new photo of herself wearing a red, white and blue outfit sitting on a horse while holding up an American flag.\u003c/p>\n\u003cp>“Thank you from the bottom of my heart to all of the supporters of TEXAS HOLD ‘EM and 16 CARRIAGES. I feel honored to be the first Black woman with the number one single on the Hot Country Songs chart,” Beyoncé wrote.\u003c/p>\n\u003cp>“That would not have happened without the outpouring of support from each and every one of you. My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant,” she added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jj1T7uHdBcY\u003c/p>\n\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13953532']Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png\" alt=\"A Black woman dressed in red, white and blue sits side saddle on a galloping white horse, holding up an American flag.\" width=\"914\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM.png 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-800x1087.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-20-at-4.04.51-PM-768x1044.png 768w\" sizes=\"(max-width: 914px) 100vw, 914px\">\u003c/a>\u003c/p>\n\u003cp>Beyoncé wrote in her long caption that she’d been working on \u003cem>Cowboy Carter\u003c/em> for five years, a project that was “born out of an experience” that she had years ago where she “did not feel welcomed.”\u003c/p>\n\u003cp>“… and it was very clear that I wasn’t,” she added.\u003c/p>\n\u003cp>While the 42-year-old did not go into detail about what experience made her feel unwelcomed, fans speculate the singer was referencing her\u003ca href=\"https://www.youtube.com/watch?v=-3Ygnx9C5AU\"> 2016 appearance at the CMA Awards\u003c/a>, when she performed her country pop song “Daddy Lessons” off her \u003cem>Lemonade \u003c/em>album alongside The Chicks (formerly known as The Dixie Chicks).\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/Jj1T7uHdBcY'\n title='//www.youtube.com/embed/Jj1T7uHdBcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the crowd reacted positively to the performance, Beyoncé herself received \u003ca href=\"https://www.billboard.com/music/music-news/beyonce-cmas-cowboy-carter-1235636304/\">racist backlash from some country fans\u003c/a> who criticized the CMA’s decision to let her perform, \u003cem>HuffPost\u003c/em> reported.\u003c/p>\n\u003ch3>“This ain’t a Country album. This is a Beyoncé album”\u003c/h3>\n\u003cp>“But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive,” the singer said, adding how music can play an important role in the world.\u003c/p>\n\u003cp>“This ain’t a Country album. This is a ‘Beyoncé album,” she concluded.\u003c/p>\n\u003cp>\u003cem>Act II: Cowboy Carter\u003c/em> is the 32-time Grammy award-winner’s second installment of her three-act project following her 2022 dance album \u003cem>Act I: Renaissance\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her single, “Texas Hold ‘Em” — which was released alongside “16 Carriages” on Feb. 11 \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">during the Super Bowl\u003c/a> — debuted at No. 1 on Billboard’s Hot Country Songs chart, \u003ca href=\"https://www.billboard.com/music/chart-beat/beyonce-texas-hold-em-number-1-hot-country-songs-chart-1235610582/\">the publication said.\u003c/a>\u003c/p>\n\u003cp>Beyoncé became the only other solo woman alongside Taylor Swift to achieve the feat with no accompanying artists, according to Billboard. Additionally, “16 Carriages,” debuted at No. 9 on the Hot Country Songs chart and No. 38 on the Hot 100 chart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cowboy Carter\u003c/em> is set to be released on (Good) Friday, March 29.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+new+album+is+inspired+by+backlash+to+her+entering+the+country+music+genre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Threats, Debt and Trump’s Advances: ‘Stormy’ Doc Examines the Life of Stormy Daniels",
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"content": "\u003cp>The new documentary \u003ca href=\"https://www.peacocktv.com/blog/watch-the-trailer-for-stormy\">\u003cem>Stormy \u003c/em>\u003c/a>begins in 2023 — around the time former President Donald Trump was indicted over hush-money payments made during his 2016 presidential campaign.\u003c/p>\n\u003cp>Stormy Daniels, who was paid by Trump’s lawyer Michael Cohen to keep quiet about their alleged previous affair, watches the news unfold on TV and then says, “Let’s go,” before she walks off screen.\u003c/p>\n\u003cp>\u003cem>Stormy\u003c/em> chronicles Daniels’ life from her childhood in Baton Rouge, La., to her rise as an adult film actor and then, in the opinion of some, a feminist hero. It also gives viewers a glimpse into how she went from friend to foe of a celebrity businessman who became president of the United States.\u003c/p>\n\u003cp>“I am here today to tell my story and even if I just change a few people’s minds, it’s fine. If not, at least my daughter can look back on this and know the truth,” she said in the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_tE7h_TJkxg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trump’s criminal trial over the hush-money payments has been delayed until mid-April. He faces 34 felony counts, alleging he falsified New York business records to conceal damaging information before the 2016 presidential election. Trump denies the allegations that he had an affair with Daniels and has pleaded not guilty to all counts.\u003c/p>\n\u003cp>[aside postid='arts_13954225']On Monday, a judge rejected Trump’s bid to block Cohen and Daniels — whose legal name is Stephanie Clifford — from testifying. The trial date will be set at a hearing on March 25.\u003c/p>\n\u003cp>The film, released Monday on Peacock, mainly captures Daniels’ life between 2018 and 2023. Here are the main takeaways from the documentary:\u003c/p>\n\u003ch3>1. Daniels explains why she didn’t say no to Trump’s advances back in 2006\u003c/h3>\n\u003cp>Daniels alleged that she was abused by a neighbor in Louisiana when she was 9 years old. She did not go into further detail except to say that the man, whom she did not name, had abused other young girls and has since died.\u003c/p>\n\u003cp>Later in the film, as Daniels explained why she did not refuse Trump’s advances when the two met in 2006, she said, “I didn’t say no because I just, I was 9 years old again.” At the time, Daniels was in her 20s and Trump was 60.\u003c/p>\n\u003cp>Though she described the alleged affair as consensual, Daniels said she did not want to have sex with Trump.\u003c/p>\n\u003cp>“To this day, I blame myself and I have not forgiven myself because I didn’t shut his a** down in that moment, so maybe make him pause before he tried it with someone else,” she said. “The hardest part about all of this is I feel like I am partially responsible for every woman that could have come after me.”\u003c/p>\n\u003ch3>2. Threats against Daniels have become more disturbing\u003c/h3>\n\u003cp>Throughout the film, Daniels is forced to navigate insults and threats hurled at her and her family.\u003c/p>\n\u003cp>[aside postid='arts_13954104']But she described herself as having thick skin. In one scene from 2018, Daniels joked that she was disappointed she could not find any hate comments on Twitter after she had received a key to West Hollywood from the city’s mayor.\u003c/p>\n\u003cp>Fast forward to this past year, after Trump’s indictment, Daniels said the hate comments had become more intense and disturbing.\u003c/p>\n\u003cp>“Back in 2018, there was stuff like ‘liar, s***, gold digger,’” she said. “This time around, it is very different. It is direct threats. It is ‘I’m going to come to your house and slit your throat.’”\u003c/p>\n\u003cp>Daniels added that she did not feel protected by the justice system, and accused it of ignoring her concerns about her safety.\u003c/p>\n\u003ch3>3. Daniels says her ‘soul is so tired’ but she is willing to testify against Trump\u003c/h3>\n\u003cp>Amid the six-year conflict with Trump, Daniels’ marriage ended, her relationship with her daughter became strained, and she felt her safety was constantly jeopardized.\u003c/p>\n\u003cp>[aside postid='arts_13938155']But with Trump about to go on trial, Daniels said she’s willing to testify in court against the former president.\u003c/p>\n\u003cp>“I’m more prepared with my legal knowledge but I’m also tired. Like, my soul is so tired,” she said. “I won’t give up because I’m telling the truth. And I kind of don’t even know if it matters anymore.”\u003c/p>\n\u003ch3>4. Daniels owes Trump over $600,000 in attorney fees\u003c/h3>\n\u003cp>Near the end of the documentary, it’s clear that Daniels also suffered financially as a result of her years-long legal battle against Trump.\u003c/p>\n\u003cp>In 2018, Daniels sued Trump for defamation. The suit was based on a tweet Trump wrote that year, which suggested Daniels had lied about being threatened in 2011 to not speak out about her alleged previous affair with Trump.\u003c/p>\n\u003cp>A federal judge later dismissed the suit and ordered Daniels to pay the then-president’s legal fees.\u003c/p>\n\u003cp>Daniels appealed but lost. She now owes Trump over $600,000 in attorney fees. The film asserts that Daniels is afraid she may lose her home.\u003c/p>\n\u003ch3>5. Seth Rogen and Jimmy Kimmel speak on Daniels’ behalf\u003c/h3>\n\u003cp>Among the people who appeared in the documentary were actor Seth Rogen and late-night TV host Jimmy Kimmel.\u003c/p>\n\u003cp>Rogen, who worked with Daniels on the 2007 film \u003cem>Knocked Up\u003c/em>, recalled talking with her about Trump. At the time, Daniels said she was communicating with Trump about possibly being on his former reality TV show \u003cem>Celebrity Apprentice\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13951078']“She didn’t realize she would one day be at the center of this giant thing as she was messing around with some game show host,” Rogen said. “She’s someone who made an enemy of the most powerful guy on the planet and didn’t, like, cower.”\u003c/p>\n\u003cp>Kimmel invited Daniels to his show in 2018, when Daniels’ nondisclosure agreement about her previous affair with Trump was still in effect.\u003c/p>\n\u003cp>Kimmel described Daniels as having a good sense of humor but also afraid of violating her NDA. He nodded to this during their interview, in which he brought out \u003ca href=\"https://www.youtube.com/watch?v=Ntl5Da1vblI\">puppets \u003c/a>to reenact her interactions with Trump.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“She told the truth and she paid a price for that,” Kimmel said in the film. “It’s not something that just goes away.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Threats%2C+debt+and+Trump%27s+advances%3A+%27Stormy%27+doc+examines+the+life+of+Stormy+Daniels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Monday, a judge rejected Trump’s bid to block Cohen and Daniels — whose legal name is Stephanie Clifford — from testifying. The trial date will be set at a hearing on March 25.\u003c/p>\n\u003cp>The film, released Monday on Peacock, mainly captures Daniels’ life between 2018 and 2023. Here are the main takeaways from the documentary:\u003c/p>\n\u003ch3>1. Daniels explains why she didn’t say no to Trump’s advances back in 2006\u003c/h3>\n\u003cp>Daniels alleged that she was abused by a neighbor in Louisiana when she was 9 years old. She did not go into further detail except to say that the man, whom she did not name, had abused other young girls and has since died.\u003c/p>\n\u003cp>Later in the film, as Daniels explained why she did not refuse Trump’s advances when the two met in 2006, she said, “I didn’t say no because I just, I was 9 years old again.” At the time, Daniels was in her 20s and Trump was 60.\u003c/p>\n\u003cp>Though she described the alleged affair as consensual, Daniels said she did not want to have sex with Trump.\u003c/p>\n\u003cp>“To this day, I blame myself and I have not forgiven myself because I didn’t shut his a** down in that moment, so maybe make him pause before he tried it with someone else,” she said. “The hardest part about all of this is I feel like I am partially responsible for every woman that could have come after me.”\u003c/p>\n\u003ch3>2. Threats against Daniels have become more disturbing\u003c/h3>\n\u003cp>Throughout the film, Daniels is forced to navigate insults and threats hurled at her and her family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But she described herself as having thick skin. In one scene from 2018, Daniels joked that she was disappointed she could not find any hate comments on Twitter after she had received a key to West Hollywood from the city’s mayor.\u003c/p>\n\u003cp>Fast forward to this past year, after Trump’s indictment, Daniels said the hate comments had become more intense and disturbing.\u003c/p>\n\u003cp>“Back in 2018, there was stuff like ‘liar, s***, gold digger,’” she said. “This time around, it is very different. It is direct threats. It is ‘I’m going to come to your house and slit your throat.’”\u003c/p>\n\u003cp>Daniels added that she did not feel protected by the justice system, and accused it of ignoring her concerns about her safety.\u003c/p>\n\u003ch3>3. Daniels says her ‘soul is so tired’ but she is willing to testify against Trump\u003c/h3>\n\u003cp>Amid the six-year conflict with Trump, Daniels’ marriage ended, her relationship with her daughter became strained, and she felt her safety was constantly jeopardized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But with Trump about to go on trial, Daniels said she’s willing to testify in court against the former president.\u003c/p>\n\u003cp>“I’m more prepared with my legal knowledge but I’m also tired. Like, my soul is so tired,” she said. “I won’t give up because I’m telling the truth. And I kind of don’t even know if it matters anymore.”\u003c/p>\n\u003ch3>4. Daniels owes Trump over $600,000 in attorney fees\u003c/h3>\n\u003cp>Near the end of the documentary, it’s clear that Daniels also suffered financially as a result of her years-long legal battle against Trump.\u003c/p>\n\u003cp>In 2018, Daniels sued Trump for defamation. The suit was based on a tweet Trump wrote that year, which suggested Daniels had lied about being threatened in 2011 to not speak out about her alleged previous affair with Trump.\u003c/p>\n\u003cp>A federal judge later dismissed the suit and ordered Daniels to pay the then-president’s legal fees.\u003c/p>\n\u003cp>Daniels appealed but lost. She now owes Trump over $600,000 in attorney fees. The film asserts that Daniels is afraid she may lose her home.\u003c/p>\n\u003ch3>5. Seth Rogen and Jimmy Kimmel speak on Daniels’ behalf\u003c/h3>\n\u003cp>Among the people who appeared in the documentary were actor Seth Rogen and late-night TV host Jimmy Kimmel.\u003c/p>\n\u003cp>Rogen, who worked with Daniels on the 2007 film \u003cem>Knocked Up\u003c/em>, recalled talking with her about Trump. At the time, Daniels said she was communicating with Trump about possibly being on his former reality TV show \u003cem>Celebrity Apprentice\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Ban Flamin’ Hot Cheetos? Apparently, It’s All in the Food Dyes",
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"content": "\u003cp>You may have heard that California wants to ban Flamin’ Hot Cheetos. That’s only partially true.\u003c/p>\n\u003cp>Under a proposal in the state legislature, public schools across California would no longer be allowed to serve foods that contain certain substances, including some artificial dyes commonly found in snacks.\u003c/p>\n\u003cp>It comes about five months after Gov. Gavin Newsom \u003ca href=\"https://www.npr.org/2023/10/10/1204839281/california-ban-food-additives-red-dye-3-propylparaben-candy\">signed\u003c/a> the California Food Safety Act, which outlawed the sale of food and drinks that contained certain ingredients, including brominated vegetable oil and red dye 3.\u003c/p>\n\u003cp>[aside postid='arts_13954112']Supporters of the new bill point to a possible link between artificial dyes and child development problems as a reason to outlaw the additives in schools, but some in the food industry have countered that there’s not enough scientific evidence to make that connection.\u003c/p>\n\u003cp>“California has a responsibility to protect our students from chemicals that harm children and that can interfere with their ability to learn,” Assemblymember Jesse Gabriel, a Democrat who sponsored the legislation, said \u003ca href=\"https://www.facebook.com/photo?fbid=875930801008080&set=pcb.875930854341408\">in a press release\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the food items that could disappear from school cafeterias include Doritos, M&Ms, sports drinks and sugary breakfast cereals such as Froot Loops and Cap’n Crunch, CapRadio \u003ca href=\"https://www.capradio.org/articles/2024/03/12/hot-cheetos-and-other-snacks-with-common-food-dyes-would-be-banned-from-california-schools-under-new-legislation/\">reported\u003c/a>.\u003c/p>\n\u003ch3>Do food dyes really harm kids?\u003c/h3>\n\u003cp>The \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202320240AB2316\">bill\u003c/a> would prohibit schools from serving foods containing six food dyes — blue 1, blue 2, green 3, red 40, yellow 5 and yellow 6 — as well as titanium dioxide.\u003c/p>\n\u003cp>Gabriel points to a \u003ca href=\"https://oehha.ca.gov/media/downloads/risk-assessment/report/healthefftsassess041621.pdf\">2021 report\u003c/a> from the California Environmental Protection Agency’s Office of Environmental Health Hazard Assessment, which found that the consumption of food dyes can cause or worsen hyperactivity and other behavioral problems in children.\u003c/p>\n\u003cfigure id=\"attachment_13954288\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954288\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ap23235533899459_custom-f48d4327ffd8f1d05f3782320409a8d82ae26c47-scaled-e1710798912131.jpg\" alt=\"An adult hands out food to children in a canteen.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">School snacktime in California might look a little different if a new proposal passes. \u003ccite>(AP Photo/ Susan Montoya Bryan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the Food and Drug Administration approves additives, including \u003ca href=\"https://www.fda.gov/food/food-ingredients-packaging/color-additives-information-consumers\">dyes\u003c/a>, used in food and drinks in the U.S., critics have increasingly \u003ca href=\"https://www.npr.org/sections/health-shots/2023/10/17/1206283813/red-dye-food-products-fda-ban#:~:text=Since%20then%2C%20multiple%20studies%20have,American%20consumers%2C%22%20says%20Lurie.\">pushed\u003c/a> on the agency to reevaluate its decisions to permit certain substances that may now be understood to be harmful.\u003c/p>\n\u003cp>Some parents worried about the health effects of artificial dyes \u003ca href=\"https://www.npr.org/sections/thesalt/2013/10/18/236221076/moms-petition-mars-to-remove-artificial-dyes-from-m-ms\">have appealed \u003c/a>to snack makers directly, and companies have taken action. Kraft Foods announced in 2013 that \u003ca href=\"https://www.npr.org/sections/thesalt/2013/11/01/242412024/kraft-dims-that-mac-and-cheese-artificially-orange-glow\">it was removing artificial food dyes\u003c/a> from its mac and cheese and replacing them with spices such as paprika, annatto and turmeric.\u003c/p>\n\u003cp>[aside postid='arts_13953330']The additive titanium dioxide, which is also targeted in the California bill, \u003ca href=\"https://www.ewg.org/news-insights/news/2023/08/what-titanium-dioxide\">produces\u003c/a> a “smooth finish” and shine in food and has been in use for more than half a century, according to the Environmental Working Group.\u003c/p>\n\u003cp>In 2022 it was \u003ca href=\"https://ec.europa.eu/newsroom/sante/items/732079/en\">banned\u003c/a> by the European Commission, which said it could not rule out that titanium dioxide may pose a health risk and present “genotoxicity” concerns, which means it could cause DNA or chromosomal damage.\u003c/p>\n\u003cp>Still, some food producers argue that the decision to pull additives from the shelf should be up to regulators at the FDA — not lawmakers.\u003c/p>\n\u003cp>“These activists are dismantling our national food safety system state by state in an emotionally-driven campaign that lacks scientific backing,” Christopher Gindlesperger, a spokesperson for the National Confectioners Association, said in a statement.\u003c/p>\n\u003cp>“The only institution in America that can stop this sensationalistic agenda that is not based on facts and science is the FDA,” he said.\u003c/p>\n\u003ch3>What’s next for this proposal in California?\u003c/h3>\n\u003cp>Gabriel, the legislator, said he expected the bill to be heard in the Assembly Education Committee in the coming weeks.\u003c/p>\n\u003cp>A spokesperson for the Association of California School Administrators \u003ca href=\"https://www.latimes.com/california/story/2024-03-12/california-schools-could-ban-flamin-hot-cheetos-under-new-bill\">told\u003c/a> the \u003cem>Los Angeles Times\u003c/em> that few schools currently sell snacks that would be subject to the ban, and the biggest impact would be on student stores raising money for student funds.\u003c/p>\n\u003cp>[aside postid='arts_13953207']As for Flamin’ Hot Cheetos, the question of their fate remains — like many a bag of the crunch orange puffs — open.\u003c/p>\n\u003cp>The popular snack does \u003ca href=\"https://www.cheetos.com/products/cheetos-crunchy-flamin-hot-cheese-flavored-snacks#:~:text=Enriched%20Corn%20Meal%20(Corn%20Meal,40%20Lake%2C%20Yellow%206%20Lake%2C\">contain\u003c/a> several of the artificial dyes that would be banned under the proposal, including yellow 5 and yellow 6, but the current bill only applies to the sale of such snacks in public schools.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Backers of such bans have suggested that manufacturers can simply tweak their recipes to comply with any new prohibitions — and that consumers will continue to nosh on their snack of choice.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here+are+the+concerns+with+artificial+food+dyes%2C+as+California+weighs+a+ban+in+schools&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may have heard that California wants to ban Flamin’ Hot Cheetos. That’s only partially true.\u003c/p>\n\u003cp>Under a proposal in the state legislature, public schools across California would no longer be allowed to serve foods that contain certain substances, including some artificial dyes commonly found in snacks.\u003c/p>\n\u003cp>It comes about five months after Gov. Gavin Newsom \u003ca href=\"https://www.npr.org/2023/10/10/1204839281/california-ban-food-additives-red-dye-3-propylparaben-candy\">signed\u003c/a> the California Food Safety Act, which outlawed the sale of food and drinks that contained certain ingredients, including brominated vegetable oil and red dye 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Supporters of the new bill point to a possible link between artificial dyes and child development problems as a reason to outlaw the additives in schools, but some in the food industry have countered that there’s not enough scientific evidence to make that connection.\u003c/p>\n\u003cp>“California has a responsibility to protect our students from chemicals that harm children and that can interfere with their ability to learn,” Assemblymember Jesse Gabriel, a Democrat who sponsored the legislation, said \u003ca href=\"https://www.facebook.com/photo?fbid=875930801008080&set=pcb.875930854341408\">in a press release\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the food items that could disappear from school cafeterias include Doritos, M&Ms, sports drinks and sugary breakfast cereals such as Froot Loops and Cap’n Crunch, CapRadio \u003ca href=\"https://www.capradio.org/articles/2024/03/12/hot-cheetos-and-other-snacks-with-common-food-dyes-would-be-banned-from-california-schools-under-new-legislation/\">reported\u003c/a>.\u003c/p>\n\u003ch3>Do food dyes really harm kids?\u003c/h3>\n\u003cp>The \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202320240AB2316\">bill\u003c/a> would prohibit schools from serving foods containing six food dyes — blue 1, blue 2, green 3, red 40, yellow 5 and yellow 6 — as well as titanium dioxide.\u003c/p>\n\u003cp>Gabriel points to a \u003ca href=\"https://oehha.ca.gov/media/downloads/risk-assessment/report/healthefftsassess041621.pdf\">2021 report\u003c/a> from the California Environmental Protection Agency’s Office of Environmental Health Hazard Assessment, which found that the consumption of food dyes can cause or worsen hyperactivity and other behavioral problems in children.\u003c/p>\n\u003cfigure id=\"attachment_13954288\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954288\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/ap23235533899459_custom-f48d4327ffd8f1d05f3782320409a8d82ae26c47-scaled-e1710798912131.jpg\" alt=\"An adult hands out food to children in a canteen.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">School snacktime in California might look a little different if a new proposal passes. \u003ccite>(AP Photo/ Susan Montoya Bryan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the Food and Drug Administration approves additives, including \u003ca href=\"https://www.fda.gov/food/food-ingredients-packaging/color-additives-information-consumers\">dyes\u003c/a>, used in food and drinks in the U.S., critics have increasingly \u003ca href=\"https://www.npr.org/sections/health-shots/2023/10/17/1206283813/red-dye-food-products-fda-ban#:~:text=Since%20then%2C%20multiple%20studies%20have,American%20consumers%2C%22%20says%20Lurie.\">pushed\u003c/a> on the agency to reevaluate its decisions to permit certain substances that may now be understood to be harmful.\u003c/p>\n\u003cp>Some parents worried about the health effects of artificial dyes \u003ca href=\"https://www.npr.org/sections/thesalt/2013/10/18/236221076/moms-petition-mars-to-remove-artificial-dyes-from-m-ms\">have appealed \u003c/a>to snack makers directly, and companies have taken action. Kraft Foods announced in 2013 that \u003ca href=\"https://www.npr.org/sections/thesalt/2013/11/01/242412024/kraft-dims-that-mac-and-cheese-artificially-orange-glow\">it was removing artificial food dyes\u003c/a> from its mac and cheese and replacing them with spices such as paprika, annatto and turmeric.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The additive titanium dioxide, which is also targeted in the California bill, \u003ca href=\"https://www.ewg.org/news-insights/news/2023/08/what-titanium-dioxide\">produces\u003c/a> a “smooth finish” and shine in food and has been in use for more than half a century, according to the Environmental Working Group.\u003c/p>\n\u003cp>In 2022 it was \u003ca href=\"https://ec.europa.eu/newsroom/sante/items/732079/en\">banned\u003c/a> by the European Commission, which said it could not rule out that titanium dioxide may pose a health risk and present “genotoxicity” concerns, which means it could cause DNA or chromosomal damage.\u003c/p>\n\u003cp>Still, some food producers argue that the decision to pull additives from the shelf should be up to regulators at the FDA — not lawmakers.\u003c/p>\n\u003cp>“These activists are dismantling our national food safety system state by state in an emotionally-driven campaign that lacks scientific backing,” Christopher Gindlesperger, a spokesperson for the National Confectioners Association, said in a statement.\u003c/p>\n\u003cp>“The only institution in America that can stop this sensationalistic agenda that is not based on facts and science is the FDA,” he said.\u003c/p>\n\u003ch3>What’s next for this proposal in California?\u003c/h3>\n\u003cp>Gabriel, the legislator, said he expected the bill to be heard in the Assembly Education Committee in the coming weeks.\u003c/p>\n\u003cp>A spokesperson for the Association of California School Administrators \u003ca href=\"https://www.latimes.com/california/story/2024-03-12/california-schools-could-ban-flamin-hot-cheetos-under-new-bill\">told\u003c/a> the \u003cem>Los Angeles Times\u003c/em> that few schools currently sell snacks that would be subject to the ban, and the biggest impact would be on student stores raising money for student funds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As for Flamin’ Hot Cheetos, the question of their fate remains — like many a bag of the crunch orange puffs — open.\u003c/p>\n\u003cp>The popular snack does \u003ca href=\"https://www.cheetos.com/products/cheetos-crunchy-flamin-hot-cheese-flavored-snacks#:~:text=Enriched%20Corn%20Meal%20(Corn%20Meal,40%20Lake%2C%20Yellow%206%20Lake%2C\">contain\u003c/a> several of the artificial dyes that would be banned under the proposal, including yellow 5 and yellow 6, but the current bill only applies to the sale of such snacks in public schools.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Backers of such bans have suggested that manufacturers can simply tweak their recipes to comply with any new prohibitions — and that consumers will continue to nosh on their snack of choice.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here+are+the+concerns+with+artificial+food+dyes%2C+as+California+weighs+a+ban+in+schools&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Quiet on Set’ Explores Allegations of Abuse, Toxic Behavior at Nickelodeon",
"headTitle": "‘Quiet on Set’ Explores Allegations of Abuse, Toxic Behavior at Nickelodeon | KQED",
"content": "\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V6jbU4jPru8\u003c/p>\n\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Quiet on Set \u003c/em>asserts the behind-the-scenes reality could be harrowing, presenting interviews with former staffers from the shows, plus parents, performers and journalists to detail assertions that Schneider became a more toxic boss as his influence grew. The docuseries presents allegations he devalued female staff writers, played favorites among the young actors while excluding performers of color, disrupted sets with bursts of anger and insisted female staffers give him back massages during production.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>[aside postid='arts_13952301']The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>[aside postid='arts_13954052']Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One important question left is whether programs like \u003cem>Quiet on Set \u003c/em>can change popular attitudes about how child actors are treated in the same way that other works have changed ideas about sexual assault, harassment and codes of conduct in the workplaces which fuel Hollywood’s dream factory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Quiet+on+Set%27+explores+allegations+of+abuse%2C+toxic+behavior+at+Nickelodeon+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "In ID’s new, four-part docuseries, former child star Drake Bell publicly recounts being abused by a Nickelodeon employee.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those with fond memories of watching kid-centered Nickelodeon television series like \u003cem>All That, The Amanda Show \u003c/em>and \u003cem>Drake & Josh\u003c/em>, the Investigation Discovery series \u003cem>Quiet on Set: The Dark Side of Kids TV\u003c/em> may come as a jarring shock.\u003c/p>\n\u003cp>Already, the four-part docuseries has generated headlines by featuring former star Drake Bell \u003ca href=\"https://variety.com/2024/tv/news/drake-bell-sexual-assault-brian-peck-documentary-1235934302/\">recounting publicly for the first time\u003c/a> his stories of being abused about two decades ago by Brian Peck, a dialogue coach and actor employed by Nickelodeon. Peck \u003ca href=\"https://www.usmagazine.com/entertainment/news/quiet-on-set-recap-drake-bell-details-brian-pecks-sexual-abuse/\">pleaded no contest to two charges\u003c/a> and was sentenced to 16 months in jail back in 2004, but the identity of the performer he was convicted of abusing was not revealed in court.\u003c/p>\n\u003cp>But the program also spends lots of time digging into the work of show creator, showrunner, executive producer and performer Dan Schneider, who built a kids TV empire in the late 1990s and early 2000s at Nickelodeon. Schneider, who helped create, write or produce shows like \u003cem>All That, The Amanda Show, Kenan & Kel\u003c/em> and\u003cem> iCarly\u003c/em>, is credited with discovering young stars like Amanda Bynes, while defining the shape of kid-oriented television during that time.\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/V6jbU4jPru8'\n title='//www.youtube.com/embed/V6jbU4jPru8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The dark side of creating kids’ TV\u003c/h3>\n\u003cp>Nickelodeon and Schneider’s success was rooted in creating shows which seemed like they were built just for kids, starring kids, presented at a time when young people had a lot fewer entertainment options. It was a golden age of children’s TV, featuring young performers who would go on to become stars as adults, including Kenan Thompson, Ariana Grande, Nick Cannon, Victoria Justice, Miranda Cosgrove and Jamie Lynn Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Quiet on Set \u003c/em>asserts the behind-the-scenes reality could be harrowing, presenting interviews with former staffers from the shows, plus parents, performers and journalists to detail assertions that Schneider became a more toxic boss as his influence grew. The docuseries presents allegations he devalued female staff writers, played favorites among the young actors while excluding performers of color, disrupted sets with bursts of anger and insisted female staffers give him back massages during production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Schneider doesn’t offer a new interview on camera, but appears in archival footage and photos. The show also features text statements in which he denies some allegations, insisting what he did on shows was scrutinized by dozens of adults — including programming executives — and that he never considered gender in hiring decisions.\u003c/p>\n\u003cp>The program also shows a statement from Nickelodeon at the end of every episode which stated it “investigates all formal complaints as part of our commitment to fostering a safe and professional workplace. [We] have adopted numerous safeguards over the years to help ensure we are living up to our own high standards and the expectations of our audience.”\u003c/p>\n\u003ch3>Kids TV with adult innuendoes\u003c/h3>\n\u003cp>Among the most jarring sequences in \u003cem>Quiet on Set\u003c/em>: scenes with young actors from Schneider’s shows which seemed silly on the surface, but also evoked troubling sexual innuendoes in programming aimed at children — including a young Ariana Grande squeezing a potato suggestively to try and produce juice from it, or a moment where a blob of goo spurts onto the face of Jamie Lynn Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary also recounts how some staffers who worked at Nickelodeon were later convicted of molestation, including one man who met child actors as a production assistant and Peck, who played characters and worked with kid performers on Schneider-led shows.\u003c/p>\n\u003cp>“The bad just doesn’t go away,” says the mother of one child performer targeted by a man later arrested on molestation charges involving a different youth. “The bad stays for a lifetime.”\u003c/p>\n\u003cfigure id=\"attachment_13954227\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954227\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/quiet-on-set-bryan_custom-4481322c6da98de5a282fefa150266b81ba87a1f-scaled-e1710775622769.jpe\" alt=\"A Black man with a neat beard sits at a school desk in a backstage setting. He is wearing a brown leather jacket and sweater.\" width=\"1920\" height=\"1078\">\u003cfigcaption class=\"wp-caption-text\">Bryan Hearne, a former cast member of ‘All That,’ speaks in the docuseries ‘Quiet on Set.’ \u003ccite>(ID/ Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most emotional moments of the show comes as Bell relates his story. He says Peck convinced him to drop his father as manager and then involved himself deeply in the young performer’s life. Eventually, Bell said, Peck began abusing him sexually, creating a situation the young performer felt he couldn’t escape from.\u003c/p>\n\u003cp>“The abuse was extensive and it got pretty brutal,” Bell tells the camera at one point, shifting in his seat. “I really don’t know how to elaborate on that on camera … Why don’t you think of the worst stuff that someone could do to somebody as a sexual assault, and that’ll answer your question. I don’t know how else to put it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bell, now 37, also speaks about problems with self-destructive behavior as he grew older. He \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/drake-bell-child-endangerment-conviction-1235015585/\">pleaded guilty in 2021\u003c/a> to a felony charge of attempting to endanger children and a misdemeanor charge of disseminating material harmful to juveniles, connected to an incident in Ohio involving a teenage girl.\u003c/p>\n\u003cp>Fans who grew up with these shows and stars, enjoying their kids-running-the-asylum vibe, may be particularly troubled to hear that performers were exposed to these kinds of predators and toxic work environments. It’s tough to imagine what these stars’ bright smiles and sunny attitudes onscreen might have been hiding, though some have spoken out in the past, including former \u003cem>iCarly \u003c/em>co-star Jennette McCurdy who wrote the searing memoir \u003ca href=\"https://www.npr.org/2022/11/25/1139218060/jennette-mccurdy-opens-up-about-childhood-fame-tumultuous-relationship-with-her-\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>In many ways, a docuseries like this one is a natural progression from the revelations of toxic behind-the-scenes behavior in adult-focused TV shows, films and the music industry kicked off by the #MeToo movement. Similarly, there had been \u003ca href=\"https://www.businessinsider.com/dan-schneider-female-writers-nickelodeon-hostile-work-environment-claim-2022-9\">previous reporting about allegations\u003c/a> against Schneider and issues at Nickelodeon shows, but the power of \u003cem>Quiet on Set \u003c/em>lies in getting people to sit before a camera and speak on the record about their allegations in compelling ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One important question left is whether programs like \u003cem>Quiet on Set \u003c/em>can change popular attitudes about how child actors are treated in the same way that other works have changed ideas about sexual assault, harassment and codes of conduct in the workplaces which fuel Hollywood’s dream factory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Quiet+on+Set%27+explores+allegations+of+abuse%2C+toxic+behavior+at+Nickelodeon+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Stories in ‘Green Frog’ Are Wildly Entertaining and Wonderfully Diverse",
"headTitle": "The Stories in ‘Green Frog’ Are Wildly Entertaining and Wonderfully Diverse | KQED",
"content": "\u003cfigure id=\"attachment_13954169\" class=\"wp-caption aligncenter\" style=\"max-width: 969px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg\" alt=\"Book cover that includes an abstract, patchwork illustration of a frog and flowers.\" width=\"969\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg 969w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-800x1238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-768x1189.jpg 768w\" sizes=\"(max-width: 969px) 100vw, 969px\">\u003cfigcaption class=\"wp-caption-text\">‘Green Frog: Stories’ by Gina Chung. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gina Chung’s \u003cem>Green Frog\u003c/em> is a fantastic medley of short stories that dance between literary fiction, fable, Korean folklore, and science fiction.\u003c/p>\n\u003cp>Wildly entertaining, wonderfully diverse, and always delivered with a superb understanding of pacing and economy of language, the stories in this collection are full of emotional intelligence but also prove Chung isn’t afraid to explore what genre mixing can do for short narratives.\u003c/p>\n\u003cp>[aside postid='arts_13953754']Writing about collections is always tricky because not every story can fit into a review. In the case of \u003cem>Green Frog\u003c/em>, where none of the 15 stories are mediocre, it’s even more difficult. Thankfully, there are some tales that demand individual attention. “How to Eat Your Own Heart,” which kicks off the collection, offers a set of instructions to cut your heart out of your chest, prepare it, and eat in a way that will lead to its regrowth. Strangely funny and a tad unsettling, this one establishes the tone for the stories that follow.\u003c/p>\n\u003cp>In “After the Party,” a woman contemplates marriage and the universe, while feeling the weight of things that could happen, or that never did. “Rabbit Heart,” which condenses a woman’s long-distance relationship with her grandmother and their reunion right before the elderly woman’s death, is the first of a few tales that explore otherness and dig deep into the experiences of the Korean diaspora.\u003c/p>\n\u003cp>“Presence,” one of the crowning jewels of this book, is a unique science-fiction narrative about the power of memories that also contains elements of horror. A woman who helped develop a way of storing away bad memories — something she and her husband, who was also her boss, always thought of as helpful — is haunted by a dark presence. After visiting a retreat, she understands the way in which we are the sum of all our memories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the same elements are present in “Attachment Processes,” a story about a couple who acquire a robot with the personality and memories of the teenage daughter they lost in a car accident. The young girl isn’t their daughter; she’s a product they purchase from a company that aims “to reconstruct the deceased using the most sophisticated artificial-intelligence and consciousness-upload techniques.” However, she looks exactly like their dead daughter when she was younger and eventually becomes a vessel that can hold the love they have to give as well as a constant reminder that death is the end of life but not the end of our feelings. These two stories, which seem to be in conversation with each other, are only two of many that do the same, which gives the collection a wonderful sense of cohesion.\u003c/p>\n\u003cp>[aside postid='arts_13953731']Many stories in \u003cem>Green Frog\u003c/em> feature Koreans or Korean Americans and talk about Korean food or how learning the language is important, and sometimes a challenge, for those not living in Korea. In “Human Hearts,” Chung goes deep into Korean folktale territory to deliver a story about a kumiho — a shapeshifting creature also known as the nine-tailed fox — that’s tasked with avenging her own sister and learns to step away from her mother’s shadow in the process.\u003c/p>\n\u003cp>Some of the same elements — growing up, finding your own way in life, and the effects of offspring being forced to scrutinize their relationship to their parents — are also present in “The Sound of Water,” which follows a young man still living at home who has convinced himself that his life is the way it is because his parents need him, gets to the core of small-town life through a Korean lens and even touches on anti-Asian sentiment.\u003c/p>\n\u003cp>Mixed in with these longer, more multilayered stories are shorter ones that are also memorable because of their topic or main character. “Mantis,” for example, is about the love life of the insect that gives the story its title. Another standout is “The Arrow,” which explores the way we can learn to understand our parents only after life has put us in a bad place. Lastly, in “You’ll Never Know How Much I Loved You,” another story that focuses on a grandmother-granddaughter relationship, Chung looks at how it’s easier to dish out advice than to apply it to ourselves.\u003c/p>\n\u003cp>[aside postid='arts_13952713']Chung is a keen observer of the human condition who is unafraid to tackle difficult themes like growing up, abandoning our dreams and settling, grief, being an outsider, and the complexities of multiculturalism and its impact on those who are caught between two cultures and thus never feel like they fully belong to either. However, she’s also a talented storyteller who can easily take her deep messages and wrap them in entertaining, emotionally resonant short fiction. The fabulist takes and great writing make \u003cem>Green Frog\u003c/em> an excellent collection, but the way Chung works feminism and otherness, while almost always centering Korean or Korean American woman, is what makes this a must read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+stories+in+%27Green+Frog%27+are+wildly+entertaining+and+wonderfully+diverse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954169\" class=\"wp-caption aligncenter\" style=\"max-width: 969px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg\" alt=\"Book cover that includes an abstract, patchwork illustration of a frog and flowers.\" width=\"969\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f.jpg 969w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-800x1238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-160x248.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/green_custom-95072e96db57d962e46105ff4e064633e2d6495f-768x1189.jpg 768w\" sizes=\"(max-width: 969px) 100vw, 969px\">\u003cfigcaption class=\"wp-caption-text\">‘Green Frog: Stories’ by Gina Chung. \u003ccite>(Vintage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gina Chung’s \u003cem>Green Frog\u003c/em> is a fantastic medley of short stories that dance between literary fiction, fable, Korean folklore, and science fiction.\u003c/p>\n\u003cp>Wildly entertaining, wonderfully diverse, and always delivered with a superb understanding of pacing and economy of language, the stories in this collection are full of emotional intelligence but also prove Chung isn’t afraid to explore what genre mixing can do for short narratives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Writing about collections is always tricky because not every story can fit into a review. In the case of \u003cem>Green Frog\u003c/em>, where none of the 15 stories are mediocre, it’s even more difficult. Thankfully, there are some tales that demand individual attention. “How to Eat Your Own Heart,” which kicks off the collection, offers a set of instructions to cut your heart out of your chest, prepare it, and eat in a way that will lead to its regrowth. Strangely funny and a tad unsettling, this one establishes the tone for the stories that follow.\u003c/p>\n\u003cp>In “After the Party,” a woman contemplates marriage and the universe, while feeling the weight of things that could happen, or that never did. “Rabbit Heart,” which condenses a woman’s long-distance relationship with her grandmother and their reunion right before the elderly woman’s death, is the first of a few tales that explore otherness and dig deep into the experiences of the Korean diaspora.\u003c/p>\n\u003cp>“Presence,” one of the crowning jewels of this book, is a unique science-fiction narrative about the power of memories that also contains elements of horror. A woman who helped develop a way of storing away bad memories — something she and her husband, who was also her boss, always thought of as helpful — is haunted by a dark presence. After visiting a retreat, she understands the way in which we are the sum of all our memories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the same elements are present in “Attachment Processes,” a story about a couple who acquire a robot with the personality and memories of the teenage daughter they lost in a car accident. The young girl isn’t their daughter; she’s a product they purchase from a company that aims “to reconstruct the deceased using the most sophisticated artificial-intelligence and consciousness-upload techniques.” However, she looks exactly like their dead daughter when she was younger and eventually becomes a vessel that can hold the love they have to give as well as a constant reminder that death is the end of life but not the end of our feelings. These two stories, which seem to be in conversation with each other, are only two of many that do the same, which gives the collection a wonderful sense of cohesion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many stories in \u003cem>Green Frog\u003c/em> feature Koreans or Korean Americans and talk about Korean food or how learning the language is important, and sometimes a challenge, for those not living in Korea. In “Human Hearts,” Chung goes deep into Korean folktale territory to deliver a story about a kumiho — a shapeshifting creature also known as the nine-tailed fox — that’s tasked with avenging her own sister and learns to step away from her mother’s shadow in the process.\u003c/p>\n\u003cp>Some of the same elements — growing up, finding your own way in life, and the effects of offspring being forced to scrutinize their relationship to their parents — are also present in “The Sound of Water,” which follows a young man still living at home who has convinced himself that his life is the way it is because his parents need him, gets to the core of small-town life through a Korean lens and even touches on anti-Asian sentiment.\u003c/p>\n\u003cp>Mixed in with these longer, more multilayered stories are shorter ones that are also memorable because of their topic or main character. “Mantis,” for example, is about the love life of the insect that gives the story its title. Another standout is “The Arrow,” which explores the way we can learn to understand our parents only after life has put us in a bad place. Lastly, in “You’ll Never Know How Much I Loved You,” another story that focuses on a grandmother-granddaughter relationship, Chung looks at how it’s easier to dish out advice than to apply it to ourselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Chung is a keen observer of the human condition who is unafraid to tackle difficult themes like growing up, abandoning our dreams and settling, grief, being an outsider, and the complexities of multiculturalism and its impact on those who are caught between two cultures and thus never feel like they fully belong to either. However, she’s also a talented storyteller who can easily take her deep messages and wrap them in entertaining, emotionally resonant short fiction. The fabulist takes and great writing make \u003cem>Green Frog\u003c/em> an excellent collection, but the way Chung works feminism and otherness, while almost always centering Korean or Korean American woman, is what makes this a must read.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+stories+in+%27Green+Frog%27+are+wildly+entertaining+and+wonderfully+diverse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13953999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/kate-5012aa2a3f30db129f2dc7203e71cd0beb8f2eb4-scaled-e1710351521464.jpg\" alt=\"A thin white woman with long dark hair gestures to waiting crowds. She is wearing a long, belted, cornflower blue coat.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">The Duchess of Cambridge walks around Ballymena, Northern Ireland on February 28, 2019. She has recently disappeared from the public eye after having abdominal surgery. \u003ccite>(Charles McQuillan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let me get this out of the way right now: I have yet to see anything that has persuaded me that anything is “going on” with Kate Middleton other than what the palace originally said: She had abdominal surgery, the recovery is involved enough that she needs \u003cem>months \u003c/em>away from her work, and that’s the story.\u003c/p>\n\u003cp>But the absolute clown show that has been the palace’s handling of spiraling speculation about her has made the whole thing worse and underscored that whatever command they once had over “controlling the narrative” has deserted them. I’m not sure they have a Kate problem, but I think they have a massive, pressing comms problem. There are several foundational pieces of advice about the current media environment that the palace — “the firm,” as we’ve now heard it called so often — either does not understand or has not accounted for.\u003c/p>\n\u003ch3>\u003cstrong>You will not stop Reddit and TikTok from speculating, so do not try. \u003c/strong>\u003c/h3>\n\u003cp>The term “conspiracy theory” is overused at this point. A conspiracy theory involves seemingly disconnected parties working in undisclosed tandem to keep something secret. What’s more relevant to this story is something I would call recreational conjecture.\u003c/p>\n\u003cp>[aside postid='pop_103656']“She’s dead,” “She’s missing,” “She’s in a coma” and “She’s planning to get a divorce” are the kinds of things that don’t even qualify as rumors, exactly; they are flights of fancy done for entertainment and social interaction. While some ideas like this show up in more traditional media, their \u003cem>multipliers \u003c/em>and \u003cem>magnifiers \u003c/em>are social spaces like TikTok and Reddit.\u003c/p>\n\u003cp>People in those social spaces who most enthusiastically engage in this do not require supporting evidence for recreational conjecture, nor does factual refutation reliably stop them. Putting out pictures, statements, strategic leaks — there’s no point. There is always a way to take a piece of evidence, put it next to your pet theory, and pound it with a hammer until it seems like it fits together. Trying to keep people from speculating on TikTok is like trying to stop it from raining.\u003c/p>\n\u003ch3>\u003cstrong>Do not feed amphetamines to a dragon you are hoping will fall asleep.\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4U_IqTNaqU/?utm_source=ig_embed&ig_rid=8a729e2d-570c-4580-b32e-9a7f23bc8d4c\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png\" alt=\"\" width=\"540\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM-160x313.png 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is impossible to stop recreational conjecture in its tracks. It is possible, however, not to spur it on. The release of the Mother’s Day photo is the most obvious misstep in this entire debacle. In retrospect, it’s just a mom and her kids — they didn’t say it was a photo from right now. They didn’t say it was meant as some kind of proof of life. But it should have been clear to any clever PR person that it would be taken that way and closely scrutinized.\u003c/p>\n\u003cp>[aside postid='arts_13866072']It’s too late in the game to pretend that a nice photo is just a nice photo. That cycle of speculate-and-post, speculate-and-post-again, thrives on new “evidence.” That means the best thing to say is nothing. Keep repeating: we told you she was having surgery and wouldn’t be working in public until Easter. We told you she was having surgery and wouldn’t be working in public until Easter. We told you … you see what I mean? Yes, the speculation rages, and yes, it’s terrible, and yes, it probably really hurts. But if the reason people are so curious is that they haven’t seen her recently, and if you aren’t going to change that fact, the best you can do is deprive the cycle of oxygen — at least oxygen that comes from you.\u003c/p>\n\u003ch3>\u003cstrong>People are bored out there. \u003c/strong>\u003c/h3>\n\u003cp>Look, internet “sleuths” can be a real problem. They have misidentified people as having committed terrible crimes. They have screwed with people’s lives. But there’s another category of people relevant to this story: the bored basics who may not be into sleuthing, but they know what Photoshop disasters look like. They’ve been looking at YouTube videos, Tumblr accounts and the r/PhotoshopFails subreddit for ages. It’s been 35 years since \u003ca href=\"https://www.nytimes.com/1989/08/30/arts/going-too-far-with-the-winfrey-diet.html\">Oprah’s head was depicted on Ann-Margret’s body\u003c/a> on the cover of \u003cem>TV Guide\u003c/em>. People are onto this stuff, and the current roiling debates about AI have only fed these media-authenticity hobbyists.\u003c/p>\n\u003cp>It would be one thing if the Mother’s Day photo had taken highly advanced forensic examination for people to determine that it had been substantially manipulated. It did not. This was an easy one. People have time. They’re out there analyzing the \u003ca href=\"https://www.tiktok.com/@notannareportsnews/video/7304454682330582302\">reliability of eye shadow swatches\u003c/a>. They’re out there examining how people on Instagram \u003ca href=\"https://www.youtube.com/watch?v=quszke8ceuY&t=990s&ab_channel=JamesWelsh\">make themselves seem rich\u003c/a>. If you put a \u003ca href=\"https://www.npr.org/2024/03/11/1237413938/kate-middleton-photo-edited\">pretty obviously (and clumsily) edited photo out\u003c/a>, people will look at it extremely carefully, especially if there is already wild speculation swirling out there. This was very, very, very easy to see coming.\u003c/p>\n\u003cp>https://twitter.com/KensingtonRoyal/status/1767135566645092616\u003c/p>\n\u003ch3>\u003cstrong>As a story evolves, your strategy has to evolve, too. \u003c/strong>\u003c/h3>\n\u003cp>Think of it like this: The more you are already being questioned about hiding the truth, the more definitively anything you release must clarify what the truth is, or else it’s not worth putting it out at all. That’s why \u003ca href=\"https://twitter.com/royalrota/status/1767207738990301243?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1767207738990301243%7Ctwgr%5E9ff2299dc17f462a3e7dabd258f3a25f7babf61d%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.thedailybeast.com%2Fkate-middleton-photographed-in-car-amid-manipulated-image-fiasco\">the photo of her in the car with William\u003c/a> — again a photo of her as far as anyone knows! — will not help and will make everything worse. Does that look like the shape of her face? Sure! Does that look like someone who is recovering from surgery and isn’t ready to be photographed, which is exactly the story they’ve been telling \u003cem>from the beginning\u003c/em>? Sure!\u003c/p>\n\u003cp>https://twitter.com/royalrota/status/1767207738990301243\u003c/p>\n\u003cp>However, will a photo of the back of someone’s head slow all this down at this point? Absolutely not! No! I know a lot of people who, like me, initially were inclined to give the benefit of the doubt to the most mundane explanation of all this: Surgery can be very taxing, especially abdominal surgery, and the attention on her is so intense that she probably didn’t want to be seen until she felt 100% ready. But the more \u003cem>weird stuff\u003c/em> happens, the more some people start to wonder what on earth is going on. When you have shaken people’s faith in anything you say, just stop talking.\u003c/p>\n\u003ch3>\u003cstrong>Today’s hero is tomorrow’s target. \u003c/strong>\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It can feel like the palace effectively managed the public perception of Harry and Meghan (with some help from Harry and Meghan), and by doing so, like they burnished and boosted William and Kate as better and more worthy royals. But it doesn’t \u003cem>really\u003c/em> work that way. If you have two couples and they are placed in parallel (because the men are brothers — Diana’s sons — and because of the splashy weddings), there doesn’t have to be one winner and one loser. Everybody can have a turn in the figurative dunk tank, and it’s going to be just as awful every time. Gossip abhors a vacuum to a degree nature can only aspire to, so it’s a grave mistake to count on gentle treatment just because somebody else received the opposite.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+the+royal+family+doesn%27t+understand+about+PR+in+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953999\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/kate-5012aa2a3f30db129f2dc7203e71cd0beb8f2eb4-scaled-e1710351521464.jpg\" alt=\"A thin white woman with long dark hair gestures to waiting crowds. She is wearing a long, belted, cornflower blue coat.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">The Duchess of Cambridge walks around Ballymena, Northern Ireland on February 28, 2019. She has recently disappeared from the public eye after having abdominal surgery. \u003ccite>(Charles McQuillan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let me get this out of the way right now: I have yet to see anything that has persuaded me that anything is “going on” with Kate Middleton other than what the palace originally said: She had abdominal surgery, the recovery is involved enough that she needs \u003cem>months \u003c/em>away from her work, and that’s the story.\u003c/p>\n\u003cp>But the absolute clown show that has been the palace’s handling of spiraling speculation about her has made the whole thing worse and underscored that whatever command they once had over “controlling the narrative” has deserted them. I’m not sure they have a Kate problem, but I think they have a massive, pressing comms problem. There are several foundational pieces of advice about the current media environment that the palace — “the firm,” as we’ve now heard it called so often — either does not understand or has not accounted for.\u003c/p>\n\u003ch3>\u003cstrong>You will not stop Reddit and TikTok from speculating, so do not try. \u003c/strong>\u003c/h3>\n\u003cp>The term “conspiracy theory” is overused at this point. A conspiracy theory involves seemingly disconnected parties working in undisclosed tandem to keep something secret. What’s more relevant to this story is something I would call recreational conjecture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She’s dead,” “She’s missing,” “She’s in a coma” and “She’s planning to get a divorce” are the kinds of things that don’t even qualify as rumors, exactly; they are flights of fancy done for entertainment and social interaction. While some ideas like this show up in more traditional media, their \u003cem>multipliers \u003c/em>and \u003cem>magnifiers \u003c/em>are social spaces like TikTok and Reddit.\u003c/p>\n\u003cp>People in those social spaces who most enthusiastically engage in this do not require supporting evidence for recreational conjecture, nor does factual refutation reliably stop them. Putting out pictures, statements, strategic leaks — there’s no point. There is always a way to take a piece of evidence, put it next to your pet theory, and pound it with a hammer until it seems like it fits together. Trying to keep people from speculating on TikTok is like trying to stop it from raining.\u003c/p>\n\u003ch3>\u003cstrong>Do not feed amphetamines to a dragon you are hoping will fall asleep.\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C4U_IqTNaqU/?utm_source=ig_embed&ig_rid=8a729e2d-570c-4580-b32e-9a7f23bc8d4c\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13954002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png\" alt=\"\" width=\"540\" height=\"1058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM.png 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-13-at-10.25.52-AM-160x313.png 160w\" sizes=\"(max-width: 540px) 100vw, 540px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is impossible to stop recreational conjecture in its tracks. It is possible, however, not to spur it on. The release of the Mother’s Day photo is the most obvious misstep in this entire debacle. In retrospect, it’s just a mom and her kids — they didn’t say it was a photo from right now. They didn’t say it was meant as some kind of proof of life. But it should have been clear to any clever PR person that it would be taken that way and closely scrutinized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s too late in the game to pretend that a nice photo is just a nice photo. That cycle of speculate-and-post, speculate-and-post-again, thrives on new “evidence.” That means the best thing to say is nothing. Keep repeating: we told you she was having surgery and wouldn’t be working in public until Easter. We told you she was having surgery and wouldn’t be working in public until Easter. We told you … you see what I mean? Yes, the speculation rages, and yes, it’s terrible, and yes, it probably really hurts. But if the reason people are so curious is that they haven’t seen her recently, and if you aren’t going to change that fact, the best you can do is deprive the cycle of oxygen — at least oxygen that comes from you.\u003c/p>\n\u003ch3>\u003cstrong>People are bored out there. \u003c/strong>\u003c/h3>\n\u003cp>Look, internet “sleuths” can be a real problem. They have misidentified people as having committed terrible crimes. They have screwed with people’s lives. But there’s another category of people relevant to this story: the bored basics who may not be into sleuthing, but they know what Photoshop disasters look like. They’ve been looking at YouTube videos, Tumblr accounts and the r/PhotoshopFails subreddit for ages. It’s been 35 years since \u003ca href=\"https://www.nytimes.com/1989/08/30/arts/going-too-far-with-the-winfrey-diet.html\">Oprah’s head was depicted on Ann-Margret’s body\u003c/a> on the cover of \u003cem>TV Guide\u003c/em>. People are onto this stuff, and the current roiling debates about AI have only fed these media-authenticity hobbyists.\u003c/p>\n\u003cp>It would be one thing if the Mother’s Day photo had taken highly advanced forensic examination for people to determine that it had been substantially manipulated. It did not. This was an easy one. People have time. They’re out there analyzing the \u003ca href=\"https://www.tiktok.com/@notannareportsnews/video/7304454682330582302\">reliability of eye shadow swatches\u003c/a>. They’re out there examining how people on Instagram \u003ca href=\"https://www.youtube.com/watch?v=quszke8ceuY&t=990s&ab_channel=JamesWelsh\">make themselves seem rich\u003c/a>. If you put a \u003ca href=\"https://www.npr.org/2024/03/11/1237413938/kate-middleton-photo-edited\">pretty obviously (and clumsily) edited photo out\u003c/a>, people will look at it extremely carefully, especially if there is already wild speculation swirling out there. This was very, very, very easy to see coming.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>\u003cstrong>As a story evolves, your strategy has to evolve, too. \u003c/strong>\u003c/h3>\n\u003cp>Think of it like this: The more you are already being questioned about hiding the truth, the more definitively anything you release must clarify what the truth is, or else it’s not worth putting it out at all. That’s why \u003ca href=\"https://twitter.com/royalrota/status/1767207738990301243?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1767207738990301243%7Ctwgr%5E9ff2299dc17f462a3e7dabd258f3a25f7babf61d%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.thedailybeast.com%2Fkate-middleton-photographed-in-car-amid-manipulated-image-fiasco\">the photo of her in the car with William\u003c/a> — again a photo of her as far as anyone knows! — will not help and will make everything worse. Does that look like the shape of her face? Sure! Does that look like someone who is recovering from surgery and isn’t ready to be photographed, which is exactly the story they’ve been telling \u003cem>from the beginning\u003c/em>? Sure!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>However, will a photo of the back of someone’s head slow all this down at this point? Absolutely not! No! I know a lot of people who, like me, initially were inclined to give the benefit of the doubt to the most mundane explanation of all this: Surgery can be very taxing, especially abdominal surgery, and the attention on her is so intense that she probably didn’t want to be seen until she felt 100% ready. But the more \u003cem>weird stuff\u003c/em> happens, the more some people start to wonder what on earth is going on. When you have shaken people’s faith in anything you say, just stop talking.\u003c/p>\n\u003ch3>\u003cstrong>Today’s hero is tomorrow’s target. \u003c/strong>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It can feel like the palace effectively managed the public perception of Harry and Meghan (with some help from Harry and Meghan), and by doing so, like they burnished and boosted William and Kate as better and more worthy royals. But it doesn’t \u003cem>really\u003c/em> work that way. If you have two couples and they are placed in parallel (because the men are brothers — Diana’s sons — and because of the splashy weddings), there doesn’t have to be one winner and one loser. Everybody can have a turn in the figurative dunk tank, and it’s going to be just as awful every time. Gossip abhors a vacuum to a degree nature can only aspire to, so it’s a grave mistake to count on gentle treatment just because somebody else received the opposite.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+the+royal+family+doesn%27t+understand+about+PR+in+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken",
"headTitle": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken | KQED",
"content": "\u003cp>The 2024 Oscars weren’t long on surprises. \u003ca href=\"https://www.kqed.org/arts/13953817/oscars-2024-complete-list-of-winners-poor-things-oppenheimer-barbie\">\u003cem>Oppenheimer \u003c/em>won best picture\u003c/a>, a tight race between Lily Gladstone and Emma Stone for best actress went to Stone in the end, and \u003ca href=\"https://www.kqed.org/arts/13953486/best-original-song-oscar-nominees-2024-academy-awards-music\">the Billie Eilish \u003cem>Barbie \u003c/em>song beat out the Ryan Gosling \u003cem>Barbie \u003c/em>song\u003c/a>.\u003c/p>\n\u003cp>Most of the takeaways from the evening are modest rather than revolutionary, suitably reassuring for a year when Hollywood saw some high-earning movies that were reviewed well, too.\u003c/p>\n\u003ch3>\u003cem>Oppenheimer \u003c/em>rolled, but not quite as much as it might have\u003c/h3>\n\u003cp>It’s hard to look at a night when \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer \u003c/em>\u003c/a>won a bunch of major awards, including best picture, and realize how much room was left for other films. But before it won its first Oscar, \u003cem>Poor Things \u003c/em>beat it in three straight categories: production design, costumes and makeup/hairstyling. It also lost the award for best adapted screenplay to Cord Jefferson’s script for \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>. So while it certainly had a huge night, there was room to share the wealth.\u003c/p>\n\u003cfigure id=\"attachment_13953828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074694752-89c66ba4afb3e624d0b98dbd994662209eb2a2fa-scaled-e1710131287707.jpg\" alt=\"A white man in a tuxedo holds up two gold Oscar statues.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nolan, winner of the best directing award and the best picture award for ‘Oppenheimer.’ \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The economics of the industry are inescapable\u003c/h3>\n\u003cp>In the monologue, which was otherwise pretty unremarkable, Jimmy Kimmel offered support and solidarity to the members of IATSE, the union representing many crew members, which is currently in contract negotiations that are expected to be difficult. IATSE was a key ally to the writers and actors during their 2023 strikes, and observers are watching closely to see whether those two unions return that support when the time comes. Kimmel’s gesture was at least some indication that they will.\u003c/p>\n\u003cp>But perhaps more specifically provocative was Cord Jefferson’s speech. Accepting his adapted screenplay award for \u003cem>American Fiction\u003c/em>, Jefferson said that although he knew Hollywood to be risk-averse, there might be a different way forward. Instead of making a $200 million movie, he suggested, how about ten $20 million movies? Or even 50 $4 million movies? For a writer to be this assertive about industry issues in a speech is certainly not unprecedented, but between this and the mentions of the strikes that have passed and the one that could still be coming, it’s clear that while everyone is relieved to be back at work, profound concerns about the state of play in Hollywood continue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d07lNlkn0Ug\u003c/p>\n\u003ch3>It was a good-spirited good show\u003c/h3>\n\u003cp>With the exception of the In Memoriam segment, there wasn’t a lot to grouse about in terms of production. There weren’t as many awkward bits built around Jimmy Kimmel as there sometimes are. There weren’t a lot of boring montages. And when there was shtick, it wasn’t nearly as bad or as long as it sometimes is. John Cena’s masterful and brief (har har) appearance to present the award for costumes, in which he was skillfully set up to look quite convincingly naked, was a bit that only he could pull off with such flair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Hj7QG7TLuc\u003c/p>\n\u003cp>The pacing was good, too. Lots and lots of glamorous famouses were on screen. The musical performances soared, from the drumming of “Wahzhazhe (A Song for My People)” to the breathy “What Was I Made For?”, peaking with the over-the-top Ryan Gosling take on “I’m Just Ken.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VhWqpvGq6b4\u003c/p>\n\u003cp>As for that In Memoriam segment, well … they always seem to have a hard time not focusing on the staging in the theater, which in this case included dancers, when all people want to be looking at is the faces and names of the people being remembered. It’s vexing how often the Academy gets this part wrong, but I suppose it means there’s always something to aspire to.\u003c/p>\n\u003ch3>An earlier start meant more room to breathe\u003c/h3>\n\u003cp>The ceremony was moved back from an 5 p.m. start to a 4 p.m. start, and it ended at 7:30, making the officially planned broadcast three-and-a-half hours. In the past, it’s often been scheduled for three hours, and it will dribble over that limit by whatever amount, but this time, it made its deadline comfortably. Some combination of ending a little earlier and making sure there was enough time made the whole thing breathe a little easier.\u003c/p>\n\u003cp>[aside postid='arts_13953817']Some of the extra time, it seemed, was devoted to the introductions of nominated actors by peers who have been nominated in the same category. That made for long segments, for sure. But it added substantially to the number of stars who spoke on stage, which is fun (Rita Moreno! Charlize Theron! Matthew McConaughey! Regina King!), and it meant that nobody went unremarked upon. This is a structure this ceremony has used before, and it can get uncomfortable when it just feels like someone is delivering a bland hagiography. But it can also infuse the night with feeling, as when people with an established tie to each other share a moment that is, for at least one of them, enormously important. Or even, as when Rita Moreno spoke the name “\u003cem>America\u003c/em>” while introducing America Ferrera, in cases where the connection seems to arise serendipitously.\u003c/p>\n\u003ch3>Protest was sporadic, but it was there\u003c/h3>\n\u003cp>There were a lot of questions before the ceremony about whether political protest, especially about the violence in Gaza, would make an appearance at the Oscars. For the most part, the ceremony didn’t convey much about what’s in the news in Gaza or elsewhere, but there were exceptions. Jonathan Glazer’s speech for his win for \u003cem>The Zone of Interest \u003c/em>as best international feature explicitly tied the violence in Israel and Gaza to the events of his film, which is set just outside the walls of Auschwitz. And the lapel pins that got the most attention over the course of the evening were red ones, handed out and worn in support of a cease-fire. They were worn by celebrities including Mark Ruffalo, Billie Eilish and Ramy Youssef.\u003c/p>\n\u003cfigure id=\"attachment_13953831\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png\" alt=\"A close up of a blue dress with chunky belt-like straps. There is a red pin on the front.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay wears an ‘Artists4Ceasefire’ pin, calling for de-escalation and ceasefire in Gaza and Israel, as she attends the 96th Annual Academy Awards. \u003ccite>(Frederic J. Brown/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/11/13/1212613028/20-days-in-mariupol-ukrainian-filmmaker-mstyslav-chernov\">Mstyslav Chernov\u003c/a>, the Ukranian director of the winning documentary feature \u003cem>20 Days in Mariupol\u003c/em>, started his acceptance by saying he wished he’d never made the film. That’s because it documents the early stages of the Russian invasion that eventually devastated the city. Chernov went on to speak of the many people who have been killed as a result of the invasion. “Slava Ukraini,” he said — “Glory to Ukraine.”\u003c/p>\n\u003ch3>Not a flashy night, but a successful one\u003c/h3>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So for a night with relatively few surprises but some very enjoyable winners (hooray for Robert Downey, Jr. and \u003ca href=\"https://www.npr.org/2024/03/10/1232493576/davine-joy-randolph-wins-best-supporting-actress-oscar\">Da’Vine Joy Randolph\u003c/a>!), it was a solid show that honored an awful lot of good movies, and movies that drew significant audiences, too. And next year, we will all be back to do it again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+A+night+of+%27Oppenheimer%2C%27+quiet+protest%2C+and+Ryan+Gosling+just+being+Ken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"headline": "Oscars 2024: A Night of ‘Oppenheimer,’ Quiet Protest and Ryan Gosling Just Being Ken",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2024 Oscars weren’t long on surprises. \u003ca href=\"https://www.kqed.org/arts/13953817/oscars-2024-complete-list-of-winners-poor-things-oppenheimer-barbie\">\u003cem>Oppenheimer \u003c/em>won best picture\u003c/a>, a tight race between Lily Gladstone and Emma Stone for best actress went to Stone in the end, and \u003ca href=\"https://www.kqed.org/arts/13953486/best-original-song-oscar-nominees-2024-academy-awards-music\">the Billie Eilish \u003cem>Barbie \u003c/em>song beat out the Ryan Gosling \u003cem>Barbie \u003c/em>song\u003c/a>.\u003c/p>\n\u003cp>Most of the takeaways from the evening are modest rather than revolutionary, suitably reassuring for a year when Hollywood saw some high-earning movies that were reviewed well, too.\u003c/p>\n\u003ch3>\u003cem>Oppenheimer \u003c/em>rolled, but not quite as much as it might have\u003c/h3>\n\u003cp>It’s hard to look at a night when \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer \u003c/em>\u003c/a>won a bunch of major awards, including best picture, and realize how much room was left for other films. But before it won its first Oscar, \u003cem>Poor Things \u003c/em>beat it in three straight categories: production design, costumes and makeup/hairstyling. It also lost the award for best adapted screenplay to Cord Jefferson’s script for \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>. So while it certainly had a huge night, there was room to share the wealth.\u003c/p>\n\u003cfigure id=\"attachment_13953828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/gettyimages-2074694752-89c66ba4afb3e624d0b98dbd994662209eb2a2fa-scaled-e1710131287707.jpg\" alt=\"A white man in a tuxedo holds up two gold Oscar statues.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nolan, winner of the best directing award and the best picture award for ‘Oppenheimer.’ \u003ccite>(Arturo Holmes/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The economics of the industry are inescapable\u003c/h3>\n\u003cp>In the monologue, which was otherwise pretty unremarkable, Jimmy Kimmel offered support and solidarity to the members of IATSE, the union representing many crew members, which is currently in contract negotiations that are expected to be difficult. IATSE was a key ally to the writers and actors during their 2023 strikes, and observers are watching closely to see whether those two unions return that support when the time comes. Kimmel’s gesture was at least some indication that they will.\u003c/p>\n\u003cp>But perhaps more specifically provocative was Cord Jefferson’s speech. Accepting his adapted screenplay award for \u003cem>American Fiction\u003c/em>, Jefferson said that although he knew Hollywood to be risk-averse, there might be a different way forward. Instead of making a $200 million movie, he suggested, how about ten $20 million movies? Or even 50 $4 million movies? For a writer to be this assertive about industry issues in a speech is certainly not unprecedented, but between this and the mentions of the strikes that have passed and the one that could still be coming, it’s clear that while everyone is relieved to be back at work, profound concerns about the state of play in Hollywood continue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/d07lNlkn0Ug'\n title='//www.youtube.com/embed/d07lNlkn0Ug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>It was a good-spirited good show\u003c/h3>\n\u003cp>With the exception of the In Memoriam segment, there wasn’t a lot to grouse about in terms of production. There weren’t as many awkward bits built around Jimmy Kimmel as there sometimes are. There weren’t a lot of boring montages. And when there was shtick, it wasn’t nearly as bad or as long as it sometimes is. John Cena’s masterful and brief (har har) appearance to present the award for costumes, in which he was skillfully set up to look quite convincingly naked, was a bit that only he could pull off with such flair.\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/1Hj7QG7TLuc'\n title='//www.youtube.com/embed/1Hj7QG7TLuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pacing was good, too. Lots and lots of glamorous famouses were on screen. The musical performances soared, from the drumming of “Wahzhazhe (A Song for My People)” to the breathy “What Was I Made For?”, peaking with the over-the-top Ryan Gosling take on “I’m Just Ken.”\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/VhWqpvGq6b4'\n title='//www.youtube.com/embed/VhWqpvGq6b4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for that In Memoriam segment, well … they always seem to have a hard time not focusing on the staging in the theater, which in this case included dancers, when all people want to be looking at is the faces and names of the people being remembered. It’s vexing how often the Academy gets this part wrong, but I suppose it means there’s always something to aspire to.\u003c/p>\n\u003ch3>An earlier start meant more room to breathe\u003c/h3>\n\u003cp>The ceremony was moved back from an 5 p.m. start to a 4 p.m. start, and it ended at 7:30, making the officially planned broadcast three-and-a-half hours. In the past, it’s often been scheduled for three hours, and it will dribble over that limit by whatever amount, but this time, it made its deadline comfortably. Some combination of ending a little earlier and making sure there was enough time made the whole thing breathe a little easier.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the extra time, it seemed, was devoted to the introductions of nominated actors by peers who have been nominated in the same category. That made for long segments, for sure. But it added substantially to the number of stars who spoke on stage, which is fun (Rita Moreno! Charlize Theron! Matthew McConaughey! Regina King!), and it meant that nobody went unremarked upon. This is a structure this ceremony has used before, and it can get uncomfortable when it just feels like someone is delivering a bland hagiography. But it can also infuse the night with feeling, as when people with an established tie to each other share a moment that is, for at least one of them, enormously important. Or even, as when Rita Moreno spoke the name “\u003cem>America\u003c/em>” while introducing America Ferrera, in cases where the connection seems to arise serendipitously.\u003c/p>\n\u003ch3>Protest was sporadic, but it was there\u003c/h3>\n\u003cp>There were a lot of questions before the ceremony about whether political protest, especially about the violence in Gaza, would make an appearance at the Oscars. For the most part, the ceremony didn’t convey much about what’s in the news in Gaza or elsewhere, but there were exceptions. Jonathan Glazer’s speech for his win for \u003cem>The Zone of Interest \u003c/em>as best international feature explicitly tied the violence in Israel and Gaza to the events of his film, which is set just outside the walls of Auschwitz. And the lapel pins that got the most attention over the course of the evening were red ones, handed out and worn in support of a cease-fire. They were worn by celebrities including Mark Ruffalo, Billie Eilish and Ramy Youssef.\u003c/p>\n\u003cfigure id=\"attachment_13953831\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png\" alt=\"A close up of a blue dress with chunky belt-like straps. There is a red pin on the front.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-10-at-9.25.26-PM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay wears an ‘Artists4Ceasefire’ pin, calling for de-escalation and ceasefire in Gaza and Israel, as she attends the 96th Annual Academy Awards. \u003ccite>(Frederic J. Brown/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/11/13/1212613028/20-days-in-mariupol-ukrainian-filmmaker-mstyslav-chernov\">Mstyslav Chernov\u003c/a>, the Ukranian director of the winning documentary feature \u003cem>20 Days in Mariupol\u003c/em>, started his acceptance by saying he wished he’d never made the film. That’s because it documents the early stages of the Russian invasion that eventually devastated the city. Chernov went on to speak of the many people who have been killed as a result of the invasion. “Slava Ukraini,” he said — “Glory to Ukraine.”\u003c/p>\n\u003ch3>Not a flashy night, but a successful one\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So for a night with relatively few surprises but some very enjoyable winners (hooray for Robert Downey, Jr. and \u003ca href=\"https://www.npr.org/2024/03/10/1232493576/davine-joy-randolph-wins-best-supporting-actress-oscar\">Da’Vine Joy Randolph\u003c/a>!), it was a solid show that honored an awful lot of good movies, and movies that drew significant audiences, too. And next year, we will all be back to do it again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+A+night+of+%27Oppenheimer%2C%27+quiet+protest%2C+and+Ryan+Gosling+just+being+Ken&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars 2024: The Complete List of Winners",
"headTitle": "Oscars 2024: The Complete List of Winners | KQED",
"content": "\u003cp>The 96th Academy Awards aired Sunday night on ABC. Below is the full list of 2024 Academy Award nominees, with winners marked in bold.\u003c/p>\n\u003ch2>\u003cstrong>Best picture\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer,\u003c/em>\u003c/strong>\u003cstrong> Emma Thomas, Charles Roven and Christopher Nolan, Producers \u003c/strong>\u003cem>\u003cbr>\nAmerican Fiction\u003c/em>, Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers\u003cbr>\n\u003cem>Anatomy of a Fall\u003c/em>, Marie-Ange Luciani and David Thion, Producers\u003cbr>\n\u003cem>Barbie\u003c/em>, David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Mark Johnson, Producer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers\u003cbr>\n\u003cem>Maestro,\u003c/em> Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers\u003cbr>\n\u003cem>Past Lives\u003c/em>, David Hinojosa, Christine Vachon and Pamela Koffler, Producers\u003cbr>\n\u003cem>Poor Things\u003c/em>, Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, James Wilson, Producer\u003c/p>\n\u003ch2>\u003cstrong>Directing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Christopher Nolan\u003c/strong>\u003cem>\u003cbr>\nAnatomy of a Fall, Justine Triet\u003c/em>\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Martin Scorsese\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Lanthimos\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13938158']WINNER: Emma Stone\u003c/strong>\u003cstrong>\u003cem>, Poor Things\u003c/em>\u003c/strong>\u003cbr>\nAnnette Bening, \u003cem>Nyad\u003cbr>\n\u003c/em>Lily Gladstone\u003cem>, Killers of the Flower Moon\u003cbr>\n\u003c/em>Sandra Hüller, \u003cem>Anatomy of a Fall\u003c/em>\u003cbr>\nCarey Mulligan, \u003cem>Maestro\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Cillian Murphy\u003c/strong>\u003cstrong>\u003cem>, Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nBradley Cooper, \u003cem>Maestro\u003cbr>\n\u003c/em>Colman Domingo\u003cem>, Rustin\u003cbr>\n\u003c/em>Paul Giamatti\u003cem>, The Holdovers\u003cbr>\n\u003c/em>Jeffrey Wright\u003cem>, American Fiction\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: Da’Vine Joy Randolph, \u003c/strong>\u003cstrong>\u003cem>The Holdovers\u003c/em>\u003c/strong>\u003cbr>\nEmily Blunt, \u003cem>Oppenheimer\u003c/em>\u003cbr>\nDanielle Brooks,\u003cem> The Color Purple\u003c/em>\u003cbr>\nAmerica Ferrera, \u003cem>Barbie\u003c/em>\u003cbr>\nJodie Foster, \u003cem>Nyad\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931577']WINNER: Robert Downey Jr., \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cbr>\nSterling K. Brown, \u003cem>American Fiction\u003c/em>\u003cbr>\nRobert De Niro, \u003cem>Killers of the Flower Moon\u003c/em>\u003cbr>\nRyan Gosling, \u003cem>Barbie\u003c/em>\u003cbr>\nMark Ruffalo, \u003cem>Poor Things\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>Anatomy of a Fall\u003c/em>\u003c/strong>\u003cstrong>; Screenplay – Justine Triet and Arthur Harari \u003c/strong>\u003cbr>\n\u003cem>The Holdovers\u003c/em>; Written by David Hemingson\u003cbr>\n\u003cem>Maestro\u003c/em>; Written by Bradley Cooper & Josh Singer\u003cbr>\n\u003cem>May December\u003c/em>; Screenplay by Samy Burch, story by Samy Burch & Alex Mechanik\u003cbr>\n\u003cem>Past Lives\u003c/em>; Written by Celine Song\u003c/p>\n\u003ch2>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong> \u003cstrong>\u003cem>American Fiction; \u003c/em>\u003c/strong>\u003cstrong>Written for the screen by Cord Jefferson \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em>; Written by Greta Gerwig & Noah Baumbach\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Written for the screen by Christopher Nolan\u003cbr>\n\u003cem>Poor Things\u003c/em>; Screenplay by Tony McNamara\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>; Written by Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>International feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>WINNER: The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>, United Kingdom\u003c/strong>\u003cem>\u003cbr>\nIo Capitano\u003c/em>, Italy\u003cbr>\n\u003cem>Perfect Days\u003c/em>, Japan\u003cbr>\n\u003cem>Society of the Snow\u003c/em>, Spain\u003cbr>\n\u003cem>The Teachers’ Lounge\u003c/em>, Germany\u003c/p>\n\u003ch2>\u003cstrong>Documentary feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931543']WINNER:\u003c/strong>\u003cstrong>\u003cem> 20 Days in Mariupol\u003c/em>\u003c/strong>\u003cstrong>; Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath\u003c/strong>\u003cem>\u003cbr>\nBobi Wine\u003c/em>: The People’s President; Moses Bwayo, Christopher Sharp and John Battsek\u003cbr>\n\u003cem>The Eternal Memory\u003c/em>; Maite Alberdi\u003cbr>\n\u003cem>Four Daughters\u003c/em>; Kaouther Ben Hania and Nadim Cheikhrouha\u003cbr>\n\u003cem>To Kill a Tiger\u003c/em>; Nisha Pahuja, Cornelia Principe and David Oppenheim\u003c/p>\n\u003ch2>\u003cstrong>Animated feature film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Boy and the Heron\u003c/em>\u003c/strong>\u003cstrong>; Hayao Miyazaki and Toshio Suzuki \u003c/strong>\u003cbr>\n\u003cem>Elemental\u003c/em>; Peter Sohn and Denise Ream\u003cbr>\n\u003cem>Nimona\u003c/em>; Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary\u003cbr>\n\u003cem>Robot Dreams\u003c/em>; Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz\u003cbr>\n\u003cem>Spider-Man: Across the Spider-Verse\u003c/em>; Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal\u003c/p>\n\u003ch2>\u003cstrong>Cinematography\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Hoyte van Hoytema\u003c/strong>\u003cbr>\n\u003cem>El Conde\u003c/em>, Edward Lachman\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Rodrigo Prieto\u003cbr>\n\u003cem>Maestro\u003c/em>, Matthew Libatique\u003cbr>\n\u003cem>Poor Things\u003c/em>, Robbie Ryan\u003c/p>\n\u003ch2>\u003cstrong>Film editing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13953777']WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Jennifer Lame\u003cbr>\n\u003c/strong>\u003cem>Anatomy of a Fall\u003c/em>\u003cstrong>, \u003c/strong>Laurent Sénéchal\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Kevin Tent\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Thelma Schoonmaker\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Mavropsaridis\u003c/p>\n\u003ch2>\u003cstrong>Production design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek\u003c/strong>\u003cem>\u003cbr>\nBarbie\u003c/em>, Production Design: Sarah Greenwood; Set Decoration: Katie Spencer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Production Design: Jack Fisk; Set Decoration: Adam Willis\u003cbr>\n\u003cem>Napoleon\u003c/em>, Production Design: Arthur Max; Set Decoration: Elli Griff\u003cbr>\n\u003cem>Oppenheimer, \u003c/em>Production Design: Ruth De Jong; Set Decoration: Claire Kaufman\u003c/p>\n\u003ch2>\u003cstrong>Music (original song)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: “What Was I Made For?” from \u003c/strong>\u003cstrong>\u003cem>Barbie\u003c/em>\u003c/strong>\u003cstrong>; Music and Lyric by Billie Eilish and Finneas O’Connell\u003c/strong>\u003cbr>\n“The Fire Inside” from \u003cem>Flamin’ Hot\u003c/em>; Music and Lyric by Diane Warren\u003cbr>\n“I’m Just Ken” from \u003cem>Barbie\u003c/em>; Music and Lyric by Mark Ronson and Andrew Wyatt\u003cbr>\n“It Never Went Away” from \u003cem>American Symphony\u003c/em>; Music and Lyric by Jon Batiste and Dan Wilson\u003cbr>\n“Wahzhazhe” from \u003cem>Killers of the Flower Moon\u003c/em>; Music and Lyric by Scott George\u003c/p>\n\u003ch2>\u003cstrong>Music (original score)\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Ludwig Göransson \u003c/strong>\u003cbr>\n\u003cem>American Fiction\u003c/em>, Laura Karpman\u003cbr>\n\u003cem>Indiana Jones and the Dial of Destiny\u003c/em>, John Williams\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Robbie Robertson\u003cbr>\n\u003cem>Poor Things\u003c/em>, Jerskin Fendrix\u003c/p>\n\u003ch2>\u003cstrong>Sound\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13931753']WINNER:\u003c/strong>\u003cstrong>\u003cem> The Zone of Interest\u003c/em>\u003c/strong>\u003cstrong>; Tarn Willers and Johnnie Burn\u003c/strong>\u003cem>\u003cbr>\nThe Creator;\u003c/em> Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Maestro\u003c/em>; Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>; Chris Munro, James H. Mather, Chris Burdon and Mark Taylor\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell\u003c/p>\n\u003ch2>\u003cstrong>Visual effects\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Godzilla Minus One\u003c/em>\u003c/strong>\u003cstrong>; Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima \u003c/strong>\u003cbr>\n\u003cem> The Creato\u003c/em>r; Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould\u003cbr>\n\u003cem>Guardians of the Galaxy Vol. 3\u003c/em>; Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek\u003cbr>\n\u003cem>Mission: Impossible — Dead Reckoning Part One; \u003c/em>Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould\u003cbr>\n\u003cem>Napoleon\u003c/em>; Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould\u003c/p>\n\u003ch2>\u003cstrong>Costume design\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Poor Things\u003c/em>\u003c/strong>\u003cstrong>, Holly Waddington\u003c/strong>\u003cbr>\n\u003cem>Barbie\u003c/em>, Jacqueline Durran\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Jacqueline West\u003cbr>\n\u003cem>Napoleon\u003c/em>, Janty Yates and Dave Crossman\u003cbr>\n\u003cem>Oppenheimer\u003c/em>, Ellen Mirojnick\u003c/p>\n\u003ch2>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Poor Things\u003c/em>\u003c/strong>\u003cstrong>; Nadia Stacey, Mark Coulier and Josh Weston \u003c/strong>\u003cbr>\n\u003cem>Golda\u003c/em>; Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue\u003cbr>\n\u003cem>Maestro\u003c/em>; Kazu Hiro, Kay Georgiou and Lori McCoy-Bell\u003cbr>\n\u003cem>Oppenheimer\u003c/em>; Luisa Abel\u003cbr>\n\u003cem>Society of the Snow\u003c/em>; Ana López-Puigcerver, David Martí and Montse Ribé\u003c/p>\n\u003ch2>\u003cstrong>Animated short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>[aside postid='arts_13953477']WINNER:\u003c/strong>\u003cstrong>\u003cem> War Is Over! Inspired by the Music of John & Yoko,\u003c/em>\u003c/strong>\u003cstrong> Dave Mullins and Brad Booker\u003c/strong>\u003cem>\u003cbr>\nLetter to a Pig,\u003c/em> Tal Kantor and Amit R. Gicelter\u003cbr>\n\u003cem>Ninety-Five Senses\u003c/em>, Jerusha Hess and Jared Hess\u003cbr>\n\u003cem>Our Uniform\u003c/em>, Yegane Moghaddam\u003cbr>\n\u003cem>Pachyderme\u003c/em>, Stéphanie Clément and Marc Rius\u003c/p>\n\u003ch2>\u003cstrong>Live action short film\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Wonderful Story of Henry Sugar\u003c/em>\u003c/strong>\u003cstrong>, Wes Anderson and Steven Rales\u003c/strong>\u003cem>\u003cbr>\nThe After\u003c/em>, Misan Harriman and Nicky Bentham\u003cbr>\n\u003cem>Invincible\u003c/em>, Vincent René-Lortie and Samuel Caron\u003cbr>\n\u003cem>Knight of Fortune\u003c/em>, Lasse Lyskjær Noer and Christian Norlyk\u003cbr>\n\u003cem>Red, White and Blue\u003c/em>, Nazrin Choudhury and Sara McFarlane\u003c/p>\n\u003ch2>\u003cstrong>Documentary short film\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> The Last Repair Shop\u003c/em>\u003c/strong>\u003cstrong>, Ben Proudfoot and Kris Bowers \u003c/strong>\u003cem>\u003cbr>\nThe ABCs of Book Banning\u003c/em>, Sheila Nevins and Trish Adlesic\u003cbr>\n\u003cem>The Barber of Little Rock\u003c/em>, John Hoffman and Christine Turner\u003cbr>\n\u003cem>Island in Between\u003c/em>, S. Leo Chiang and Jean Tsien\u003cbr>\n\u003cem>Nai Nai & Wài Pó\u003c/em>, Sean Wang and Sam Davis\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oscars+2024%3A+The+complete+list+of+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The 96th Academy Awards aired on ABC on Sunday night. Here's the full list of 2024 nominees, with winners marked in bold.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 96th Academy Awards aired Sunday night on ABC. Below is the full list of 2024 Academy Award nominees, with winners marked in bold.\u003c/p>\n\u003ch2>\u003cstrong>Best picture\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER: \u003c/strong>\u003cstrong>\u003cem>Oppenheimer,\u003c/em>\u003c/strong>\u003cstrong> Emma Thomas, Charles Roven and Christopher Nolan, Producers \u003c/strong>\u003cem>\u003cbr>\nAmerican Fiction\u003c/em>, Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers\u003cbr>\n\u003cem>Anatomy of a Fall\u003c/em>, Marie-Ange Luciani and David Thion, Producers\u003cbr>\n\u003cem>Barbie\u003c/em>, David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers\u003cbr>\n\u003cem>The Holdovers\u003c/em>, Mark Johnson, Producer\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers\u003cbr>\n\u003cem>Maestro,\u003c/em> Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers\u003cbr>\n\u003cem>Past Lives\u003c/em>, David Hinojosa, Christine Vachon and Pamela Koffler, Producers\u003cbr>\n\u003cem>Poor Things\u003c/em>, Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, James Wilson, Producer\u003c/p>\n\u003ch2>\u003cstrong>Directing\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>WINNER:\u003c/strong>\u003cstrong>\u003cem> Oppenheimer\u003c/em>\u003c/strong>\u003cstrong>, Christopher Nolan\u003c/strong>\u003cem>\u003cbr>\nAnatomy of a Fall, Justine Triet\u003c/em>\u003cbr>\n\u003cem>Killers of the Flower Moon\u003c/em>, Martin Scorsese\u003cbr>\n\u003cem>Poor Things\u003c/em>, Yorgos Lanthimos\u003cbr>\n\u003cem>The Zone of Interest\u003c/em>, Jonathan Glazer\u003c/p>\n\u003ch2>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>\u003c/p>\u003c/div>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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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": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"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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},
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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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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"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",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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