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"content": "\u003cp>Carrie Preston won an Emmy Award in 2013, as outstanding guest actress, for her portrayal of a seemingly scatter-brained lawyer on the CBS series \u003cem>The Good Wife\u003c/em>\u003cem>. \u003c/em>Her character, Elsbeth Tascioni, really \u003cem>was \u003c/em>a character. Her conversations tended to derail into unexpected directions. Her questions never seemed to follow any logical path, but they always had a purpose — and she was keenly, almost uncomfortably, observant.\u003c/p>\n\u003cp>Michelle and Robert King, the writing team that created \u003cem>The Good Wife\u003c/em> to showcase the talent of Julianna Margulies, quickly recognized Preston’s Elsbeth as a valuable supporting player. She appeared in six of the seven seasons of\u003cem> The Good Wife, \u003c/em>and won her Emmy there.\u003c/p>\n\u003cp>[aside postid='arts_13953000']Then she returned as the same character in \u003ca href=\"https://www.npr.org/2017/02/19/516137854/the-good-fight-offers-edgier-version-of-the-good-wife-in-series-debut\">\u003cem>The Good Fight\u003c/em>\u003c/a>\u003cem>, \u003c/em>which the Kings wrote as a sequel series starring Christine Baranski. And now, there’s a third series, this time bringing Preston front and center. It’s called \u003cem>Elsbeth\u003c/em>, and all 10 episodes have been written by co-creators Michelle and Robert King, with him directing the premiere episode.\u003c/p>\n\u003cp>So what are they up to this time? They’ve transplanted Elsbeth from Chicago to New York City, where she’s been hired to officially observe, and secretly investigate, some of the police there. In her new job, she’s given so much latitude, she even can serve as an ad-hoc murder investigator.\u003c/p>\n\u003cp>\u003cem>Elsbeth\u003c/em>, the series, is structured like \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, or, even more obviously, \u003cem>Columbo\u003c/em>. I’ve previewed three episodes, and each begins with viewers seeing the murderer commit the crime … and then, and only then, does Elsbeth enter the crime scene and start putting the puzzle pieces together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1J-fCrWcF14\u003c/p>\n\u003cp>As with \u003cem>Columbo\u003c/em>, each episode features a prominent guest star as the killer of the week. 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Elsbeth, like Columbo, is persistent and underestimated. But where Columbo kept his theories close to his vest, or his raincoat, Elsbeth almost delights in revealing her hole cards, to unsettle her prime suspect. Preston and Moyer worked together on HBO’s \u003cem>True Blood, \u003c/em>and it’s fun to see them together again here — this time as adversaries.\u003c/p>\n\u003cp>Other episodes shown to critics feature, as the murderers of the week, Jane Krakowski from \u003ca href=\"https://www.kqed.org/pop/96840/now-is-definitely-the-time-to-re-watch-30-rock\">\u003cem>30 Rock\u003c/em>\u003c/a> and Jesse Tyler Ferguson from \u003cem>Modern Family\u003c/em>\u003cem>. \u003c/em>Both of them bring a playful energy, sparring with Preston’s Elsbeth — and she really sparkles, with and without them, and carries the series with ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, the show’s New York locations add even more to the flavor, and the enjoyment. 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"content": "\u003cdiv class=\"post-body\">\u003cp>But as with \u003cem>Columbo\u003c/em>, the most important dynamic is between the investigator and the killer. Elsbeth, like Columbo, is persistent and underestimated. But where Columbo kept his theories close to his vest, or his raincoat, Elsbeth almost delights in revealing her hole cards, to unsettle her prime suspect. Preston and Moyer worked together on HBO’s \u003cem>True Blood, \u003c/em>and it’s fun to see them together again here — this time as adversaries.\u003c/p>\n\u003cp>Other episodes shown to critics feature, as the murderers of the week, Jane Krakowski from \u003ca href=\"https://www.kqed.org/pop/96840/now-is-definitely-the-time-to-re-watch-30-rock\">\u003cem>30 Rock\u003c/em>\u003c/a> and Jesse Tyler Ferguson from \u003cem>Modern Family\u003c/em>\u003cem>. \u003c/em>Both of them bring a playful energy, sparring with Preston’s Elsbeth — and she really sparkles, with and without them, and carries the series with ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, the show’s New York locations add even more to the flavor, and the enjoyment. All together, they make \u003cem>Elsbeth \u003c/em>an undeniable throwback to an earlier TV era. But so is P\u003cem>oker Face, \u003c/em>which I love for many of the same reasons: Great leading role; delightful guest stars; decent, clever mysteries that are solved by the end of each episode. And in an era where so much TV is so dark and depressing, \u003cem>Elsbeth \u003c/em>stands out as a sweet, happy little treat.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+mood+for+a+sweet%2C+off-beat+murder+mystery%3F+%27Elsbeth%27+is+on+the+case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All",
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"content": "\u003cp>The original \u003cem>Shōgun\u003c/em>, on NBC, aired in 1980, when miniseries were the hottest things on television. ABC’s \u003cem>Roots \u003c/em>had broken all ratings records just three years before — and three years later, the star of \u003cem>Shōgun\u003c/em>, Richard Chamberlain, would score another massive miniseries hit with ABC’s \u003ca href=\"https://www.npr.org/2014/03/06/286876905/for-a-sheltered-teen-thorn-birds-was-a-much-needed-eye-opener\">\u003cem>The Thorn Birds\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Even then, adapting James Clavell’s sprawling story of an English sea pilot’s adventures in Japan in the year 1600, was quite a gamble. The original version avoided subtitles, for the most part, to reflect the confusion the newly arrived pilot, John Blackthorne, felt when encountering Japanese culture and its people.\u003c/p>\n\u003cp>[aside postid='arts_13953000']Except for occasional narration by Orson Welles, who sometimes threw in some radio-style acting by interpreting what a warlord was saying, most viewers in 1980 were as clueless as the sailor in the story. Eventually, things became a bit clearer when one of the Japanese rulers, Lord Toranaga, appointed a trusted translator: Lady Mariko, to whom the pilot became increasingly, and dangerously, attracted.\u003c/p>\n\u003cp>Part of the great appeal of that miniseries was the powerful performance by Toshiro Mifune as Toranaga. Foreign film fans at the time knew him as the star of the original \u003cem>Seven Samurai. \u003c/em>But the chemistry between Chamberlain as Blackthorne, and the Japanese actor Yoko Shimada as his translator Mariko, was a big part of it, too.\u003c/p>\n\u003cp>This new, 10-part interpretation of \u003cem>Shōgun\u003c/em>, adapted for TV by the married writing team of Rachel Kondo and Justin Marks, uses subtitles throughout — a choice that makes the narrative more immediately understandable. It also focuses just as strongly, and just as effectively, on the same three central figures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lord Toranaga is played by Hiroyuki Sanada, who’s so imposing that even his silences are powerful. The translator, Lady Mariko, is played by Anna Sawai, who brings to her character even more strength, mystery and charisma than in the 1980 version. And instead of the matinee-idol-handsome Chamberlain as pilot Blackthorne, we have Cosmo Jarvis — an actor who looks more ruggedly handsome, and sounds a lot like Richard Burton. It takes a while for the three characters, and actors, to share the screen — but when they finally do, it’s entrancing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yAN5uspO_hk\u003c/p>\n\u003cp>This new \u003cem>Shōgun \u003c/em>has other strong performances as well, but they’re not the only things that make this 2024 version so successful. Special and visual effects have improved exponentially in the almost 45 years since the original \u003cem>Shōgun \u003c/em>was televised, and it shows here: Every storm at sea, every battle scene and, especially, every earthquake is rendered with excitement and credibility.\u003c/p>\n\u003cp>And finally, there’s the overarching story, which has Toranaga employing Blackthorne as his secret weapon in a deadly civil war. The power grabs among the five rulers are like the hostilities in \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>The Game of Thrones\u003c/em>\u003c/a> — except instead of a Red Wedding, there’s a Crimson Sky.\u003c/p>\n\u003cp>[aside postid='arts_13952691']I went back and rewatched the original \u003cem>Shōgun\u003c/em> to see if it holds up. It does. But the several directors who worked on \u003cem>Shōgun \u003c/em>for FX deliver a new version that looks much more stunning. It’s sexier, more violent, and even more thought-provoking and illuminating than the original … all of which, in this context, are meant as compliments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first two episodes of \u003cem>Shōgun \u003c/em>are televised on FX opening night, and streamed the next day on Hulu, with the remaining episodes presented weekly. Don’t miss it: With this \u003cem>Shōgun\u003c/em>, as with the original, the TV miniseries is alive and well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sex%2C+violence%2C+%27Game+of+Thrones%27-style+power+grabs+%E2%80%94+the+new+%27Sh%C5%8Dgun%27+has+it+all+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The original \u003cem>Shōgun\u003c/em>, on NBC, aired in 1980, when miniseries were the hottest things on television. ABC’s \u003cem>Roots \u003c/em>had broken all ratings records just three years before — and three years later, the star of \u003cem>Shōgun\u003c/em>, Richard Chamberlain, would score another massive miniseries hit with ABC’s \u003ca href=\"https://www.npr.org/2014/03/06/286876905/for-a-sheltered-teen-thorn-birds-was-a-much-needed-eye-opener\">\u003cem>The Thorn Birds\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Even then, adapting James Clavell’s sprawling story of an English sea pilot’s adventures in Japan in the year 1600, was quite a gamble. The original version avoided subtitles, for the most part, to reflect the confusion the newly arrived pilot, John Blackthorne, felt when encountering Japanese culture and its people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Except for occasional narration by Orson Welles, who sometimes threw in some radio-style acting by interpreting what a warlord was saying, most viewers in 1980 were as clueless as the sailor in the story. Eventually, things became a bit clearer when one of the Japanese rulers, Lord Toranaga, appointed a trusted translator: Lady Mariko, to whom the pilot became increasingly, and dangerously, attracted.\u003c/p>\n\u003cp>Part of the great appeal of that miniseries was the powerful performance by Toshiro Mifune as Toranaga. Foreign film fans at the time knew him as the star of the original \u003cem>Seven Samurai. \u003c/em>But the chemistry between Chamberlain as Blackthorne, and the Japanese actor Yoko Shimada as his translator Mariko, was a big part of it, too.\u003c/p>\n\u003cp>This new, 10-part interpretation of \u003cem>Shōgun\u003c/em>, adapted for TV by the married writing team of Rachel Kondo and Justin Marks, uses subtitles throughout — a choice that makes the narrative more immediately understandable. It also focuses just as strongly, and just as effectively, on the same three central figures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lord Toranaga is played by Hiroyuki Sanada, who’s so imposing that even his silences are powerful. The translator, Lady Mariko, is played by Anna Sawai, who brings to her character even more strength, mystery and charisma than in the 1980 version. And instead of the matinee-idol-handsome Chamberlain as pilot Blackthorne, we have Cosmo Jarvis — an actor who looks more ruggedly handsome, and sounds a lot like Richard Burton. It takes a while for the three characters, and actors, to share the screen — but when they finally do, it’s entrancing.\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/yAN5uspO_hk'\n title='//www.youtube.com/embed/yAN5uspO_hk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This new \u003cem>Shōgun \u003c/em>has other strong performances as well, but they’re not the only things that make this 2024 version so successful. Special and visual effects have improved exponentially in the almost 45 years since the original \u003cem>Shōgun \u003c/em>was televised, and it shows here: Every storm at sea, every battle scene and, especially, every earthquake is rendered with excitement and credibility.\u003c/p>\n\u003cp>And finally, there’s the overarching story, which has Toranaga employing Blackthorne as his secret weapon in a deadly civil war. The power grabs among the five rulers are like the hostilities in \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>The Game of Thrones\u003c/em>\u003c/a> — except instead of a Red Wedding, there’s a Crimson Sky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I went back and rewatched the original \u003cem>Shōgun\u003c/em> to see if it holds up. It does. But the several directors who worked on \u003cem>Shōgun \u003c/em>for FX deliver a new version that looks much more stunning. It’s sexier, more violent, and even more thought-provoking and illuminating than the original … all of which, in this context, are meant as compliments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first two episodes of \u003cem>Shōgun \u003c/em>are televised on FX opening night, and streamed the next day on Hulu, with the remaining episodes presented weekly. Don’t miss it: With this \u003cem>Shōgun\u003c/em>, as with the original, the TV miniseries is alive and well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sex%2C+violence%2C+%27Game+of+Thrones%27-style+power+grabs+%E2%80%94+the+new+%27Sh%C5%8Dgun%27+has+it+all+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’",
"headTitle": "Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’ | KQED",
"content": "\u003cp>Nestled in a Burbank office filled with comic books, framed movie posters, \u003cem>Walking Dead\u003c/em> memorabilia and a life-size replica of Han Solo frozen in Carbonite looming over his desk, Scott Gimple knows what some of you are thinking.\u003c/p>\n\u003cp>As Chief Content Officer of the \u003cem>Walking Dead \u003c/em>franchise and showrunner for its newest spinoff series, \u003cem>The Walking Dead: The Ones Who Live\u003c/em>, Gimple realizes some folks — like the critic from NPR who came to quiz him on the new show — understand several people who watched the original zombie drama have stopped keeping up with it all.\u003c/p>\n\u003cp>And even though \u003cem>The Ones Who Live\u003c/em> is centered on two of the show’s most popular characters — husband and wife team Rick Grimes and Michonne — many of us skeptics wonder: Will a new audience show up for the latest iteration of a franchise nearly 14 years old?\u003c/p>\n\u003cp>“Well, things change,” says Gimple, who has the air of a mild-mannered comics nerd. “There was a short moment in the culture [where people reacted to] Taylor Swift; they would roll their eyes and [say she’s] singing about her ex-boyfriend again. Then people kind of understood what she was doing … I’m not saying anybody’s rolling their eyes at us, but I’m saying if you’re around long enough, things go in cycles.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cN6_lMcYFKY\u003c/p>\n\u003ch3>Moving from film to TV series\u003c/h3>\n\u003cp>Though it debuted Sunday as a TV program,\u003cem> The Ones Who Live\u003c/em> was originally planned \u003ca href=\"https://www.nytimes.com/2018/11/04/arts/television/andrew-lincoln-the-walking-dead.html\">as a series of films\u003c/a> back when Andrew Lincoln, who plays earnest hero Rick Grimes, left the mothership show in 2018. Danai Gurira, a co-star in the \u003cem>Black Panther\u003c/em> movies who plays sword-wielding warrior Michonne, \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2020-03-22/danai-gurira-the-walking-dead-michonne-goodbye#:~:text=Her%20departure%20also%20marked%20the,a%20Tony%20Award%20in%202016.\">departed in 2020 from the show\u003c/a>, which wrapped up in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Scott Gimple and I had an exit strategy [for me] from season four or five,” says Lincoln, who spoke to me with Gurira in a longer interview that will air in an upcoming episode of KCRW’s show \u003cem>The Business\u003c/em>. He didn’t actually leave \u003cem>The Walking Dead \u003c/em>until its ninth season, worn down by months spent shooting the show far away from his family in England.\u003c/p>\n\u003cp>[aside postid='pop_97900']“I could tell he was near the end of his time on the show … but I also knew he loved it, and he loved working with the people,” Gimple says. “So I started to talk to him, saying…you can go, but that doesn’t mean we have to be done telling stories. We can tell stories in a way that fits with the life you need to lead. And that’s what happened.”\u003c/p>\n\u003cp>Rick Grimes had always been the earnest, beating heart of \u003cem>The Walking Dead \u003c/em>series, as he fell in love with Michonne and they led a band of survivors. Onscreen, Rick was shown blowing up a bridge to save his friends and family, leaving them to believe he died, though Michonne eventually went searching for him.\u003c/p>\n\u003cfigure id=\"attachment_13953002\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-rick-grimes-4_custom-bdb6d67582862db286b8974deb6b7c76bdefe2c2-e1708974785249.jpe\" alt=\"A disheveled man sits exhausted against a brick wall. He is spattered with blood.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Andrew Lincoln as Rick Grimes on ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was whisked away in a mysterious black helicopter, leaving open the question of when and how he might resurface — and what else it might reveal about\u003cem> The Walking Dead\u003c/em>‘s post-apocalyptic universe when he returned. But a changing industry meant that, by the time they could create something to continue the story, doing it as a movie wasn’t in the cards.\u003c/p>\n\u003cp>“We realized after COVID and a few delays that actually the best way to deliver this was a love story with, you know, the love of [his] life,” Lincoln adds. “And it felt better and more satisfying to do it over six hours rather than two [in a movie].”\u003c/p>\n\u003ch3>Creating a spin off for a changed industry\u003c/h3>\n\u003cp>What’s changed for \u003cem>The Walking Dead\u003c/em> and AMC is that the audience for traditional cable channels has plummeted as the TV industry turns toward streaming. According to \u003cem>The Hollywood Reporter\u003c/em>, \u003cem>The Walking Dead\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/walking-dead-by-the-numbers-ratings-amc-1235265635/\">hit its ratings high \u003c/a>with the debut of its fifth season in 2014, which drew more than 17 million viewers. In contrast, the show’s 90-minute finale in 2022 drew just over 3 million viewers, though it set viewership records for AMC’s streaming service, according to \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-series-finale-becomes-the-most-watched-single-episode-of-television-in-the-history-of-amc-and-drives-the-platforms-most-viewed-day-ever/#:~:text=In%20Nielsen%20live%2B3%20ratings,percent%20from%20the%20previous%20episode.\">a release from the company\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_104118']Suggest to AMC executives that a number of fans may have just given up on watching the original show over its run, and they note the two spinoff series \u003cem>Dead City\u003c/em> and \u003cem>Daryl Dixon\u003c/em> \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-daryl-dixon-becomes-1-most-viewed-premiere-and-season-in-amc-history/#:~:text=In%20linear%20viewership%2C%20the%20fourth,and%20392k%20adults%2025%2D54.\">were among cable’s top performers\u003c/a> in key demographics during 2023.\u003c/p>\n\u003cp>“I think the nature of television has changed so much over the years that those numbers from 2014, 2015, I don’t know if they exist anywhere anymore,” Gurira says. “It’s still actually a very successful franchise within its realm … It kind of keeps proving itself worthy to keep being explored.”\u003c/p>\n\u003cfigure id=\"attachment_13953005\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe\" alt=\"Close up side profile of a white bald man with grey stubble.\" width=\"1798\" height=\"1232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-800x548.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1020x699.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-160x110.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-768x526.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1536x1052.jpe 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Walking Dead: The Ones Who Live,’ Terry O’Quinn plays Beale, the Major General of the Civic Republic Military. \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Ones Who Live\u003c/em> accomplishes that by leaping ahead years from Rick’s fateful moment on the bridge. It turns out he was brought to a secret city that hides its existence by making sure visitors never leave. Inside the walls, people live free from the violence and horror of a world ravaged by flesh-eating “walkers” (no one really uses the word zombie in the \u003cem>Walking Dead\u003c/em> universe).\u003c/p>\n\u003cp>But they’re protected by an army of sorts called the Civic Republic Military, which goes to brutal lengths to keep their secrets. For a long time, Rick, desperate to return to Michonne, keeps trying — and failing — to escape.\u003c/p>\n\u003cp>“It gets more complex when the question is, ‘Who will you become to save someone you love or something you love?'” Gimple says. “That’s when people, I think, are even more apt to sacrifice their humanity.”\u003c/p>\n\u003ch3>Working with his stars to shape the story\u003c/h3>\n\u003cp>Gimple worked closely with his stars, Lincoln and Gurira, to create the story and edit episodes after they filmed. Both stars also serve as executive producers and are listed as co-creators of the show with Gimple. Gurira, a \u003ca href=\"https://www.newyorktheatreguide.com/theatre-news/interviews/interview-with-eclipsed-playwright-danai-gurira\">Tony-nominated playwright\u003c/a>, wrote the series’ fourth episode.\u003c/p>\n\u003cp>Helping with editing required Lincoln to do something he hadn’t done in 30 years as an actor: watch footage of his own performances.\u003c/p>\n\u003cp>[aside postid='pop_102007']“It wasn’t the most pleasant of experiences,” Lincoln says, chuckling. (I reminded him when I interviewed him publicly for \u003ca href=\"https://youtu.be/tvqVBNgGMSs?si=a9I38jIobXrSzR66&t=91\">a panel on the show convened by Smithsonian Associates\u003c/a> in 2016; he covered his eyes and ears as clips from the program played.)\u003c/p>\n\u003cp>“I watched it with one eye closed and sort of felt a bit queasy,” he adds. “And then I was able to do one scene with both eyes. And eventually, it was the strength of the other performances that I was able to tune into and get some objective perspective on the thing.”\u003c/p>\n\u003cp>Gimple says learning to watch his own performances ultimately seemed to be good for Lincoln. “In the process, he was able to get some separation between Andy and Rick,” the showrunner adds. “He was watching Rick. And when that was locked, we were off and running because he made major contributions.”\u003c/p>\n\u003cfigure id=\"attachment_13953004\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe\" alt=\"Movie image of a zombie with rotting face. It is wearing a military cap.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1920x1080.jpe 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A “walker” from the series ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gimple was a showrunner for the original series for several seasons before becoming Chief Content Officer in 2018. Though one spin off, \u003cem>Fear the Walking Dead\u003c/em>, was already going by then, he’s shepherded five other spinoffs of the show, which now are an important part of AMC’s strategy, including two other series which have taken popular characters from the original and placed them in new locations: \u003cem>The Walking Dead: Dead City\u003c/em> (New York) and \u003cem>The Walking Dead: Daryl Dixon\u003c/em> (France).\u003c/p>\n\u003cp>Dan McDermott, president of entertainment for AMC Networks and AMC Studios, compares \u003cem>The Walking Dead\u003c/em> universe to the Marvel Cinematic Universe or the fictional worlds containing the \u003cem>Star Trek\u003c/em> and \u003cem>Star Wars\u003c/em> TV shows and films. He referenced Robert Kirkman, co-creator of the graphic novel on which the TV shows are based, who also serves as an executive producer on the original series.\u003c/p>\n\u003cp>[aside postid='arts_13952691']“The way Robert Kirkman designed this story from the beginning was it’s a walker apocalypse that never ends,” McDermott adds, noting AMC is also hoping to build a similar network of programs around characters and stories created by novelists Anne Rice and Tony Hillerman. “Our job, as stewards of this universe, is: How do we continue to tell stories in this universe that don’t feel repetitive, redundant, overdone and can be … revolutionary.”\u003c/p>\n\u003cp>Critics may say the franchise has struggled with exactly what McDermott wants to avoid. But it’s obvious AMC has a lot riding on the success of the \u003cem>Walking Dead \u003c/em>spinoffs, especially \u003cem>The Ones Who Live\u003c/em>, which brings together two characters fans have been waiting years to see together onscreen again.\u003c/p>\n\u003cp>Regardless of what skeptics may say, it is also true that \u003cem>The Walking Dead\u003c/em> is arguably one of the most successful franchises in cable TV history, outlasting more acclaimed AMC shows like \u003cem>Mad Men, Breaking Bad\u003c/em> and \u003cem>Better Call Saul\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s a certain timelessness to TV now,” Gimple says. “Back in the past, you would have a shelf of DVDs [with episodes of TV shows]. We’re now trying to fill up that virtual shelf, both for people who love the show and maybe for people who, you know, stumbled into that corner of the house and … pulled one down. And, hopefully, they will want to keep pulling them down.”\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=Returning+characters+revive+%27The+Walking+Dead%27+in+%27The+Ones+Who+Live%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Danai Gurira and Andrew Lincoln are back as Michonne and Rick Grimes. But will a new audience still show up?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nestled in a Burbank office filled with comic books, framed movie posters, \u003cem>Walking Dead\u003c/em> memorabilia and a life-size replica of Han Solo frozen in Carbonite looming over his desk, Scott Gimple knows what some of you are thinking.\u003c/p>\n\u003cp>As Chief Content Officer of the \u003cem>Walking Dead \u003c/em>franchise and showrunner for its newest spinoff series, \u003cem>The Walking Dead: The Ones Who Live\u003c/em>, Gimple realizes some folks — like the critic from NPR who came to quiz him on the new show — understand several people who watched the original zombie drama have stopped keeping up with it all.\u003c/p>\n\u003cp>And even though \u003cem>The Ones Who Live\u003c/em> is centered on two of the show’s most popular characters — husband and wife team Rick Grimes and Michonne — many of us skeptics wonder: Will a new audience show up for the latest iteration of a franchise nearly 14 years old?\u003c/p>\n\u003cp>“Well, things change,” says Gimple, who has the air of a mild-mannered comics nerd. “There was a short moment in the culture [where people reacted to] Taylor Swift; they would roll their eyes and [say she’s] singing about her ex-boyfriend again. Then people kind of understood what she was doing … I’m not saying anybody’s rolling their eyes at us, but I’m saying if you’re around long enough, things go in cycles.”\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/cN6_lMcYFKY'\n title='//www.youtube.com/embed/cN6_lMcYFKY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Moving from film to TV series\u003c/h3>\n\u003cp>Though it debuted Sunday as a TV program,\u003cem> The Ones Who Live\u003c/em> was originally planned \u003ca href=\"https://www.nytimes.com/2018/11/04/arts/television/andrew-lincoln-the-walking-dead.html\">as a series of films\u003c/a> back when Andrew Lincoln, who plays earnest hero Rick Grimes, left the mothership show in 2018. Danai Gurira, a co-star in the \u003cem>Black Panther\u003c/em> movies who plays sword-wielding warrior Michonne, \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2020-03-22/danai-gurira-the-walking-dead-michonne-goodbye#:~:text=Her%20departure%20also%20marked%20the,a%20Tony%20Award%20in%202016.\">departed in 2020 from the show\u003c/a>, which wrapped up in 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Scott Gimple and I had an exit strategy [for me] from season four or five,” says Lincoln, who spoke to me with Gurira in a longer interview that will air in an upcoming episode of KCRW’s show \u003cem>The Business\u003c/em>. He didn’t actually leave \u003cem>The Walking Dead \u003c/em>until its ninth season, worn down by months spent shooting the show far away from his family in England.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I could tell he was near the end of his time on the show … but I also knew he loved it, and he loved working with the people,” Gimple says. “So I started to talk to him, saying…you can go, but that doesn’t mean we have to be done telling stories. We can tell stories in a way that fits with the life you need to lead. And that’s what happened.”\u003c/p>\n\u003cp>Rick Grimes had always been the earnest, beating heart of \u003cem>The Walking Dead \u003c/em>series, as he fell in love with Michonne and they led a band of survivors. Onscreen, Rick was shown blowing up a bridge to save his friends and family, leaving them to believe he died, though Michonne eventually went searching for him.\u003c/p>\n\u003cfigure id=\"attachment_13953002\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-rick-grimes-4_custom-bdb6d67582862db286b8974deb6b7c76bdefe2c2-e1708974785249.jpe\" alt=\"A disheveled man sits exhausted against a brick wall. He is spattered with blood.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Andrew Lincoln as Rick Grimes on ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was whisked away in a mysterious black helicopter, leaving open the question of when and how he might resurface — and what else it might reveal about\u003cem> The Walking Dead\u003c/em>‘s post-apocalyptic universe when he returned. But a changing industry meant that, by the time they could create something to continue the story, doing it as a movie wasn’t in the cards.\u003c/p>\n\u003cp>“We realized after COVID and a few delays that actually the best way to deliver this was a love story with, you know, the love of [his] life,” Lincoln adds. “And it felt better and more satisfying to do it over six hours rather than two [in a movie].”\u003c/p>\n\u003ch3>Creating a spin off for a changed industry\u003c/h3>\n\u003cp>What’s changed for \u003cem>The Walking Dead\u003c/em> and AMC is that the audience for traditional cable channels has plummeted as the TV industry turns toward streaming. According to \u003cem>The Hollywood Reporter\u003c/em>, \u003cem>The Walking Dead\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/walking-dead-by-the-numbers-ratings-amc-1235265635/\">hit its ratings high \u003c/a>with the debut of its fifth season in 2014, which drew more than 17 million viewers. In contrast, the show’s 90-minute finale in 2022 drew just over 3 million viewers, though it set viewership records for AMC’s streaming service, according to \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-series-finale-becomes-the-most-watched-single-episode-of-television-in-the-history-of-amc-and-drives-the-platforms-most-viewed-day-ever/#:~:text=In%20Nielsen%20live%2B3%20ratings,percent%20from%20the%20previous%20episode.\">a release from the company\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Suggest to AMC executives that a number of fans may have just given up on watching the original show over its run, and they note the two spinoff series \u003cem>Dead City\u003c/em> and \u003cem>Daryl Dixon\u003c/em> \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-daryl-dixon-becomes-1-most-viewed-premiere-and-season-in-amc-history/#:~:text=In%20linear%20viewership%2C%20the%20fourth,and%20392k%20adults%2025%2D54.\">were among cable’s top performers\u003c/a> in key demographics during 2023.\u003c/p>\n\u003cp>“I think the nature of television has changed so much over the years that those numbers from 2014, 2015, I don’t know if they exist anywhere anymore,” Gurira says. “It’s still actually a very successful franchise within its realm … It kind of keeps proving itself worthy to keep being explored.”\u003c/p>\n\u003cfigure id=\"attachment_13953005\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe\" alt=\"Close up side profile of a white bald man with grey stubble.\" width=\"1798\" height=\"1232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-800x548.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1020x699.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-160x110.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-768x526.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1536x1052.jpe 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Walking Dead: The Ones Who Live,’ Terry O’Quinn plays Beale, the Major General of the Civic Republic Military. \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Ones Who Live\u003c/em> accomplishes that by leaping ahead years from Rick’s fateful moment on the bridge. It turns out he was brought to a secret city that hides its existence by making sure visitors never leave. Inside the walls, people live free from the violence and horror of a world ravaged by flesh-eating “walkers” (no one really uses the word zombie in the \u003cem>Walking Dead\u003c/em> universe).\u003c/p>\n\u003cp>But they’re protected by an army of sorts called the Civic Republic Military, which goes to brutal lengths to keep their secrets. For a long time, Rick, desperate to return to Michonne, keeps trying — and failing — to escape.\u003c/p>\n\u003cp>“It gets more complex when the question is, ‘Who will you become to save someone you love or something you love?'” Gimple says. “That’s when people, I think, are even more apt to sacrifice their humanity.”\u003c/p>\n\u003ch3>Working with his stars to shape the story\u003c/h3>\n\u003cp>Gimple worked closely with his stars, Lincoln and Gurira, to create the story and edit episodes after they filmed. Both stars also serve as executive producers and are listed as co-creators of the show with Gimple. Gurira, a \u003ca href=\"https://www.newyorktheatreguide.com/theatre-news/interviews/interview-with-eclipsed-playwright-danai-gurira\">Tony-nominated playwright\u003c/a>, wrote the series’ fourth episode.\u003c/p>\n\u003cp>Helping with editing required Lincoln to do something he hadn’t done in 30 years as an actor: watch footage of his own performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It wasn’t the most pleasant of experiences,” Lincoln says, chuckling. (I reminded him when I interviewed him publicly for \u003ca href=\"https://youtu.be/tvqVBNgGMSs?si=a9I38jIobXrSzR66&t=91\">a panel on the show convened by Smithsonian Associates\u003c/a> in 2016; he covered his eyes and ears as clips from the program played.)\u003c/p>\n\u003cp>“I watched it with one eye closed and sort of felt a bit queasy,” he adds. “And then I was able to do one scene with both eyes. And eventually, it was the strength of the other performances that I was able to tune into and get some objective perspective on the thing.”\u003c/p>\n\u003cp>Gimple says learning to watch his own performances ultimately seemed to be good for Lincoln. “In the process, he was able to get some separation between Andy and Rick,” the showrunner adds. “He was watching Rick. And when that was locked, we were off and running because he made major contributions.”\u003c/p>\n\u003cfigure id=\"attachment_13953004\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe\" alt=\"Movie image of a zombie with rotting face. It is wearing a military cap.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1920x1080.jpe 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A “walker” from the series ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gimple was a showrunner for the original series for several seasons before becoming Chief Content Officer in 2018. Though one spin off, \u003cem>Fear the Walking Dead\u003c/em>, was already going by then, he’s shepherded five other spinoffs of the show, which now are an important part of AMC’s strategy, including two other series which have taken popular characters from the original and placed them in new locations: \u003cem>The Walking Dead: Dead City\u003c/em> (New York) and \u003cem>The Walking Dead: Daryl Dixon\u003c/em> (France).\u003c/p>\n\u003cp>Dan McDermott, president of entertainment for AMC Networks and AMC Studios, compares \u003cem>The Walking Dead\u003c/em> universe to the Marvel Cinematic Universe or the fictional worlds containing the \u003cem>Star Trek\u003c/em> and \u003cem>Star Wars\u003c/em> TV shows and films. He referenced Robert Kirkman, co-creator of the graphic novel on which the TV shows are based, who also serves as an executive producer on the original series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The way Robert Kirkman designed this story from the beginning was it’s a walker apocalypse that never ends,” McDermott adds, noting AMC is also hoping to build a similar network of programs around characters and stories created by novelists Anne Rice and Tony Hillerman. “Our job, as stewards of this universe, is: How do we continue to tell stories in this universe that don’t feel repetitive, redundant, overdone and can be … revolutionary.”\u003c/p>\n\u003cp>Critics may say the franchise has struggled with exactly what McDermott wants to avoid. But it’s obvious AMC has a lot riding on the success of the \u003cem>Walking Dead \u003c/em>spinoffs, especially \u003cem>The Ones Who Live\u003c/em>, which brings together two characters fans have been waiting years to see together onscreen again.\u003c/p>\n\u003cp>Regardless of what skeptics may say, it is also true that \u003cem>The Walking Dead\u003c/em> is arguably one of the most successful franchises in cable TV history, outlasting more acclaimed AMC shows like \u003cem>Mad Men, Breaking Bad\u003c/em> and \u003cem>Better Call Saul\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a certain timelessness to TV now,” Gimple says. “Back in the past, you would have a shelf of DVDs [with episodes of TV shows]. We’re now trying to fill up that virtual shelf, both for people who love the show and maybe for people who, you know, stumbled into that corner of the house and … pulled one down. And, hopefully, they will want to keep pulling them down.”\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=Returning+characters+revive+%27The+Walking+Dead%27+in+%27The+Ones+Who+Live%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cézanne Seascape Mural Discovered at Artist’s Childhood Home",
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"content": "\u003cp>A mural by Paul Cézanne has been discovered at the artist’s family home, \u003ca href=\"https://www.cezanne-en-provence.com/en/the-cezanne-sites/bastide-du-jas-de-bouffan/\">Bastide du Jas de Bouffan\u003c/a>, in Aix-en-Provence, France.\u003c/p>\n\u003cp>The previously unknown large-scale artwork by the great Post-Impressionist painter, which experts are referring to as \u003cem>Entrée du port (Entrance to the Port)\u003c/em>, is in poor condition. It was hidden under layers of wallpaper, plaster and paint. But despite the gaping hole at its center, the composition clearly depicts a harbor scene with boats and buildings set against a streaked white and blue sky.\u003c/p>\n\u003cp>[aside postid='arts_13951379']Contractors uncovered the artwork during renovations at Bastide du Jas de Bouffan last August in preparation for upcoming celebrations centering on Cézanne’s connection to Aix.\u003c/p>\n\u003cp>In an interview with NPR, Cézanne scholar Mary Tompkins Lewis said she learned about the discovery as part of a small group of experts who visited the property last September. “We were just thunderstruck,” Tompkins Lewis said. “It was a very exciting moment.”\u003c/p>\n\u003cp>However, local authorities in Aix only officially announced the find earlier this month. “We were sworn to secrecy,” Tompkins Lewis said.\u003c/p>\n\u003cfigure id=\"attachment_13952952\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1345189538-scaled-e1708730283779.jpg\" alt=\"An elderly man with white beard in a suit sits in front of a painting of people and trees.\" width=\"1920\" height=\"1504\">\u003cfigcaption class=\"wp-caption-text\">Paul Cézanne in his studio in Les Lauves, 1904. \u003ccite>(Fine Art Images/ Heritage Images via Getty Images/ Private Collection, Émile Bernard, 1868-1941)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to the \u003ca href=\"https://www.societe-cezanne.fr/\">Société Paul Cézanne\u003c/a> (Paul Cézanne Association), the composition is one of 14 artworks (counting works in fragments) discovered on the walls of the Grand Salon at the Cézanne family home. The artist’s father purchased the property in 1859 and allowed his son to experiment liberally in the space with his brushes and paints over the decade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The young man took the opportunity to test his skills by imitating the works of other painters including the French artists Gustave Courbet and Nicolas Lancret, and the Dutch artist Jacob van Ruisdael.\u003c/p>\n\u003cp>“The artwork expands our understanding of how the artist developed his style,” said Tompkins Lewis, noting the probable influence of Claude-Joseph Vernet, an 18th-century French painter well known for his harbor scenes, on Cézanne’s \u003cem>Entrée du port\u003c/em>. “We really see him grow up from a provincial painter trying to please his father to this young rebellious artist who would take on the world in Paris.”\u003c/p>\n\u003cp>[aside postid='arts_13952460']In an interview with NPR, Société Paul Cézanne president Denis Coutagne said the other Cézanne murals discovered on the walls of the salon were removed from the property over the years. These works are now housed in various institutions around the world, such as the Musée d’Orsay in Paris, France; the Nakata Museum in Onomichi, Japan; and the Chrysler Museum of Art in Norfolk, Va.\u003c/p>\n\u003cp>But Coutagne said the fate of \u003cem>Entrée du port\u003c/em> will be different.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This mural that we discovered, we’re going to leave it; we’re going to keep it there,” Coutagne said. “It’s the result of continuous restoration work on the Grand Salon, with a view to its reopening in 2025.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cezanne+seascape+mural+discovered+at+artist%27s+childhood+home&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Contractors uncovered the artwork during renovations at Bastide du Jas de Bouffan last August in preparation for upcoming celebrations centering on Cézanne’s connection to Aix.\u003c/p>\n\u003cp>In an interview with NPR, Cézanne scholar Mary Tompkins Lewis said she learned about the discovery as part of a small group of experts who visited the property last September. “We were just thunderstruck,” Tompkins Lewis said. “It was a very exciting moment.”\u003c/p>\n\u003cp>However, local authorities in Aix only officially announced the find earlier this month. “We were sworn to secrecy,” Tompkins Lewis said.\u003c/p>\n\u003cfigure id=\"attachment_13952952\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1345189538-scaled-e1708730283779.jpg\" alt=\"An elderly man with white beard in a suit sits in front of a painting of people and trees.\" width=\"1920\" height=\"1504\">\u003cfigcaption class=\"wp-caption-text\">Paul Cézanne in his studio in Les Lauves, 1904. \u003ccite>(Fine Art Images/ Heritage Images via Getty Images/ Private Collection, Émile Bernard, 1868-1941)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to the \u003ca href=\"https://www.societe-cezanne.fr/\">Société Paul Cézanne\u003c/a> (Paul Cézanne Association), the composition is one of 14 artworks (counting works in fragments) discovered on the walls of the Grand Salon at the Cézanne family home. The artist’s father purchased the property in 1859 and allowed his son to experiment liberally in the space with his brushes and paints over the decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth",
"headTitle": "In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth | KQED",
"content": "\u003cp>\u003cem>Constellation,\u003c/em> the new drama series streaming on Apple TV+, starts in outer space, with an astronaut struggling to survive, and return safely to Earth, after things go horribly wrong.\u003c/p>\n\u003cp>This has long been familiar film territory, from the orbital collision in \u003cem>Apollo 13 \u003c/em>and the deadly stowaway in \u003cem>Alien, \u003c/em>to the twisting perceptions of reality in \u003cem>Gravity\u003c/em>. \u003cem>Constellation\u003c/em>, created and written by former \u003ca href=\"https://www.kqed.org/pop/92372/the-13th-doctor-who-is-a-woman-but-the-show-has-had-female-pioneers-from-the-very-beginning\">\u003cem>Doctor Who\u003c/em>\u003c/a> writer Peter Harness, borrows a bit from all of those. It’s a very tricky story to follow — but in the end, and by the end, it’s a very moving one.\u003c/p>\n\u003cp>[aside postid='arts_13940132']In \u003cem>Constellation\u003c/em>, the International Space Station, with a handful of astronauts aboard, is in orbit when it collides with an unidentified object, crippling most of the onboard systems. That’s the \u003cem>Apollo 13 \u003c/em>part. An emergency evacuation leaves a single astronaut waiting behind to repair and pilot the craft, while time, space and memory seem to shift — as does reality itself. That’s what Sandra Bullock’s astronaut went through in \u003cem>Gravity\u003c/em>. And finally, there’s something mysterious and otherworldly on board — something potentially lethal. So there’s \u003cem>Alien\u003c/em>, sort of.\u003c/p>\n\u003cp>But in \u003cem>Constellation\u003c/em>, while the spacebound scenes are thrilling and creepy, there’s less frantic action in this series overall, and more underlying tension. It’s a slow build, and takes several episodes to establish what may or may not be really going on here. But the clues make more sense as you go along, and the more you watch this \u003cem>Constellation\u003c/em>, the more profound and disturbing it becomes.\u003c/p>\n\u003cp>Noomi Rapace, from a previous outer-space thriller, \u003cem>Prometheus\u003c/em>, stars here. She plays Jo Ericsson, an astronaut on the space station who, in an early scene, is communicating with her 10-year-old daughter, Alice, who’s back on Earth. The daughter, Alice, is played by twin actresses, Rosie and Davina Coleman, who rotate in the role. That’s somehow fitting, because, after a while, Jo begins to suspect that her daughter isn’t the same little girl she left behind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jo isn’t the only one with suspicions or identity issues. Jonathan Banks from \u003ca href=\"https://www.kqed.org/pop/109545/before-the-breaking-bad-movie-8-theories-about-the-fate-of-jesse-pinkman\">\u003cem>Breaking Bad\u003c/em>\u003c/a> co-stars as a former astronaut named Henry Caldera, who’s now a scientist with a top-secret experiment aboard the endangered space station. At times, he acts like two different people, and there may be a reason. Psychologists in the space program believe that both Jo and Henry suffer from “high altitude psychosis,” which explains — to them — the astronauts’ post-mission bouts of confusion, memory loss and paranoia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4dAaLbsQSzI\u003c/p>\n\u003cp>Complicated? Absolutely. Over the eight installments of \u003cem>Constellation, \u003c/em>perspectives change. Stories change. Even people change. Scenes that look one way, and mean one thing, in episode one are turned inside out when they return in episode six or seven.\u003c/p>\n\u003cp>[aside postid='arts_13952684']It’s a story full of unreliable narrators, and a TV show where the images are more important and revealing than the dialogue. And because the visuals are crucial throughout, the directors of this series are crucial, too. Oliver Hirschbiegel and Joseph Cedar direct the later episodes, stunningly, but the mood and look are established in the all-important first ones by Michelle MacLaren, who directed some of the most brilliant episodes of \u003cem>Breaking Bad\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">Better Call Saul\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Constellation \u003c/em>takes commitment, patience and attention, but you’ll be rewarded for that effort with a haunting story that, at its center, is about the love between a mother and a daughter. It really touched me. At least it did in \u003cem>this\u003c/em> universe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disaster+follows+an+astronaut+back+to+Earth+in+the+thriller+%27Constellation%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003cdiv>\u003cem>‘Constellation’ is available to stream on Apple TV+ from Feb. 21, 2024.\u003c/em>\u003c/div>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Constellation,\u003c/em> the new drama series streaming on Apple TV+, starts in outer space, with an astronaut struggling to survive, and return safely to Earth, after things go horribly wrong.\u003c/p>\n\u003cp>This has long been familiar film territory, from the orbital collision in \u003cem>Apollo 13 \u003c/em>and the deadly stowaway in \u003cem>Alien, \u003c/em>to the twisting perceptions of reality in \u003cem>Gravity\u003c/em>. \u003cem>Constellation\u003c/em>, created and written by former \u003ca href=\"https://www.kqed.org/pop/92372/the-13th-doctor-who-is-a-woman-but-the-show-has-had-female-pioneers-from-the-very-beginning\">\u003cem>Doctor Who\u003c/em>\u003c/a> writer Peter Harness, borrows a bit from all of those. It’s a very tricky story to follow — but in the end, and by the end, it’s a very moving one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Constellation\u003c/em>, the International Space Station, with a handful of astronauts aboard, is in orbit when it collides with an unidentified object, crippling most of the onboard systems. That’s the \u003cem>Apollo 13 \u003c/em>part. An emergency evacuation leaves a single astronaut waiting behind to repair and pilot the craft, while time, space and memory seem to shift — as does reality itself. That’s what Sandra Bullock’s astronaut went through in \u003cem>Gravity\u003c/em>. And finally, there’s something mysterious and otherworldly on board — something potentially lethal. So there’s \u003cem>Alien\u003c/em>, sort of.\u003c/p>\n\u003cp>But in \u003cem>Constellation\u003c/em>, while the spacebound scenes are thrilling and creepy, there’s less frantic action in this series overall, and more underlying tension. It’s a slow build, and takes several episodes to establish what may or may not be really going on here. But the clues make more sense as you go along, and the more you watch this \u003cem>Constellation\u003c/em>, the more profound and disturbing it becomes.\u003c/p>\n\u003cp>Noomi Rapace, from a previous outer-space thriller, \u003cem>Prometheus\u003c/em>, stars here. She plays Jo Ericsson, an astronaut on the space station who, in an early scene, is communicating with her 10-year-old daughter, Alice, who’s back on Earth. The daughter, Alice, is played by twin actresses, Rosie and Davina Coleman, who rotate in the role. That’s somehow fitting, because, after a while, Jo begins to suspect that her daughter isn’t the same little girl she left behind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jo isn’t the only one with suspicions or identity issues. Jonathan Banks from \u003ca href=\"https://www.kqed.org/pop/109545/before-the-breaking-bad-movie-8-theories-about-the-fate-of-jesse-pinkman\">\u003cem>Breaking Bad\u003c/em>\u003c/a> co-stars as a former astronaut named Henry Caldera, who’s now a scientist with a top-secret experiment aboard the endangered space station. At times, he acts like two different people, and there may be a reason. Psychologists in the space program believe that both Jo and Henry suffer from “high altitude psychosis,” which explains — to them — the astronauts’ post-mission bouts of confusion, memory loss and paranoia.\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/4dAaLbsQSzI'\n title='//www.youtube.com/embed/4dAaLbsQSzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Complicated? Absolutely. Over the eight installments of \u003cem>Constellation, \u003c/em>perspectives change. Stories change. Even people change. Scenes that look one way, and mean one thing, in episode one are turned inside out when they return in episode six or seven.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s a story full of unreliable narrators, and a TV show where the images are more important and revealing than the dialogue. And because the visuals are crucial throughout, the directors of this series are crucial, too. Oliver Hirschbiegel and Joseph Cedar direct the later episodes, stunningly, but the mood and look are established in the all-important first ones by Michelle MacLaren, who directed some of the most brilliant episodes of \u003cem>Breaking Bad\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">Better Call Saul\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Constellation \u003c/em>takes commitment, patience and attention, but you’ll be rewarded for that effort with a haunting story that, at its center, is about the love between a mother and a daughter. It really touched me. At least it did in \u003cem>this\u003c/em> universe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disaster+follows+an+astronaut+back+to+Earth+in+the+thriller+%27Constellation%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003cdiv>\u003cem>‘Constellation’ is available to stream on Apple TV+ from Feb. 21, 2024.\u003c/em>\u003c/div>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’",
"headTitle": "Two’s Company, Three’s Allowed in New Dating Show ‘Couple to Throuple’ | KQED",
"content": "\u003cp>The only reasons people watch dating shows, really, are sex and mess.\u003c/p>\n\u003cp>Dating shows have been around for ages, swelling* when there’s a big success like \u003cem>The Bachelor \u003c/em>or \u003cem>Joe Millionaire \u003c/em>or \u003cem>Love Is Blind\u003c/em>. But they take all kinds of different shapes — it’s a test to see if you’ll cheat, or there’s a chance the person is ugly, or you have to get married, or whatever. They certainly have wildly varying levels of sex. \u003cem>The Bachelor \u003c/em>takes a kind of “and then the door closes and the music plays and you definitely do not even hear anybody making any noises,” while some other shows will give you considerably more than that.\u003c/p>\n\u003cp>[aside postid='arts_13952409']They all have mess, too. Not just mess, but messy messy mess. As I was telling a friend this week, Peacock’s \u003cem>Couple to Throuple \u003c/em>is really just more mess (and it’s on the high end for the amount of sex you’ll see), and in that sense it’s very conventional. But at least it’s a different \u003cem>kind\u003c/em> of mess than most other shows offer, particularly on mainstream outlets.\u003c/p>\n\u003cp>The setup is this: Four couples arrive at a resort. A bunch of single people also show up. Each couple is interested in potentially exploring a throuple, which (for the uninitiated) is an awkward portman-ménage-à-teau for an ongoing relationship among three people. Three of the couples include a man and a woman: Brittne and Sean, Dylan and Lauren, and Wilder and Corey. The other is two men, Rehman and Ashmal. All of the couples have some experience with experimentation with other people, but not in this kind of throuple arrangement. The show brings in some single people, all of whom also have some relevant experience, and each couple gets to pick one to try out as a possible third for their relationship. (If you think this sounds kind of strange and possibly a little unfair to the single person, that does come up.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C1_YG-EKIQU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I want to make clear that there is nothing inherently salacious about polyamory. There are plenty of people who make it work. So when I say the show is joyfully trashy, that’s because of the show, not the relationship structure. After all, you can make joyfully trashy shows about couples, too. There’s also nothing particularly new about the throuple life \u003cem>if \u003c/em>you happen to know people who do it or have tried it, which an increasing number of us do. But at least it’s new mess. Different mess. Mess that makes you go, “Oh, yikes, that’s tricky.”\u003c/p>\n\u003cp>The first thing that experienced polyamorous people will tell you, I have learned, is that it requires a lot of work and communication. There are people who go into it — or who just think about it — imagining, “Whee, this must be a no-strings-attached sex festival!” But my first thought after watching two episodes was, “This seems like a relationship structure perfect for people who like to attend a lot of meetings.”\u003c/p>\n\u003cp>[aside postid='arts_13951751']Even on dating shows, I have rarely seen this much \u003cem>talking about the relationship\u003c/em>. Does the third like both of the people in the couple equally? Do both people in the couple like the third equally? Do these people connect physically but those people emotionally? What are the reasonable expectations of the potential third?\u003c/p>\n\u003cp>Familiar dynamics take on new specifics, as when the couples do an exercise with their potential thirds where one partner engages in sexier and sexier contact with the third, and the other sees how long they’re comfortable before they say the safe word to put a stop to it. In one couple, an argument breaks out in which the partner who was watching later gets mad and basically says, “The question isn’t why I didn’t use the safe word if I was getting upset, the question is why \u003cem>you \u003c/em>didn’t use the safe word when you should have \u003cem>known\u003c/em> I was getting upset.” You gotta think that level of expected mind-reading is going to make a throuple arrangement very, very difficult — as it would a couple arrangement.\u003c/p>\n\u003cfigure id=\"attachment_13952554\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png\" alt=\"Two men stand in a tropical looking resort, both wearing white shirts and pants, both looking serious.\" width=\"1200\" height=\"738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-800x492.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-768x472.png 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashmal, left, and Rehman in the ‘Boundaries’ episode of ‘Couple to Throuple.’ \u003ccite>(Paul Castillero/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some intriguing power shifts where at first, the thirds seem to be trying to put their best feet forward to be “chosen” by the couples, and then trying to impress them, but then before you know it, some of the thirds are sort of looking around saying, “Uh, it was nice knowing you guys.” Sometimes you’re the windshield, sometimes you’re the bug; sometimes you’re the pursuer, and sometimes you’re the pursued.\u003c/p>\n\u003cp>It’s a mess. I will watch it all.\u003c/p>\n\u003cp>*I apologize for using the word “swelling” in a discussion of dating shows.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\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=Two%27s+company%2C+three%27s+allowed+in+the+dating+show+%27Couple+to+Throuple%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only reasons people watch dating shows, really, are sex and mess.\u003c/p>\n\u003cp>Dating shows have been around for ages, swelling* when there’s a big success like \u003cem>The Bachelor \u003c/em>or \u003cem>Joe Millionaire \u003c/em>or \u003cem>Love Is Blind\u003c/em>. But they take all kinds of different shapes — it’s a test to see if you’ll cheat, or there’s a chance the person is ugly, or you have to get married, or whatever. They certainly have wildly varying levels of sex. \u003cem>The Bachelor \u003c/em>takes a kind of “and then the door closes and the music plays and you definitely do not even hear anybody making any noises,” while some other shows will give you considerably more than that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>They all have mess, too. Not just mess, but messy messy mess. As I was telling a friend this week, Peacock’s \u003cem>Couple to Throuple \u003c/em>is really just more mess (and it’s on the high end for the amount of sex you’ll see), and in that sense it’s very conventional. But at least it’s a different \u003cem>kind\u003c/em> of mess than most other shows offer, particularly on mainstream outlets.\u003c/p>\n\u003cp>The setup is this: Four couples arrive at a resort. A bunch of single people also show up. Each couple is interested in potentially exploring a throuple, which (for the uninitiated) is an awkward portman-ménage-à-teau for an ongoing relationship among three people. Three of the couples include a man and a woman: Brittne and Sean, Dylan and Lauren, and Wilder and Corey. The other is two men, Rehman and Ashmal. All of the couples have some experience with experimentation with other people, but not in this kind of throuple arrangement. The show brings in some single people, all of whom also have some relevant experience, and each couple gets to pick one to try out as a possible third for their relationship. (If you think this sounds kind of strange and possibly a little unfair to the single person, that does come up.)\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/C1_YG-EKIQU'\n title='//www.youtube.com/embed/C1_YG-EKIQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I want to make clear that there is nothing inherently salacious about polyamory. There are plenty of people who make it work. So when I say the show is joyfully trashy, that’s because of the show, not the relationship structure. After all, you can make joyfully trashy shows about couples, too. There’s also nothing particularly new about the throuple life \u003cem>if \u003c/em>you happen to know people who do it or have tried it, which an increasing number of us do. But at least it’s new mess. Different mess. Mess that makes you go, “Oh, yikes, that’s tricky.”\u003c/p>\n\u003cp>The first thing that experienced polyamorous people will tell you, I have learned, is that it requires a lot of work and communication. There are people who go into it — or who just think about it — imagining, “Whee, this must be a no-strings-attached sex festival!” But my first thought after watching two episodes was, “This seems like a relationship structure perfect for people who like to attend a lot of meetings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even on dating shows, I have rarely seen this much \u003cem>talking about the relationship\u003c/em>. Does the third like both of the people in the couple equally? Do both people in the couple like the third equally? Do these people connect physically but those people emotionally? What are the reasonable expectations of the potential third?\u003c/p>\n\u003cp>Familiar dynamics take on new specifics, as when the couples do an exercise with their potential thirds where one partner engages in sexier and sexier contact with the third, and the other sees how long they’re comfortable before they say the safe word to put a stop to it. In one couple, an argument breaks out in which the partner who was watching later gets mad and basically says, “The question isn’t why I didn’t use the safe word if I was getting upset, the question is why \u003cem>you \u003c/em>didn’t use the safe word when you should have \u003cem>known\u003c/em> I was getting upset.” You gotta think that level of expected mind-reading is going to make a throuple arrangement very, very difficult — as it would a couple arrangement.\u003c/p>\n\u003cfigure id=\"attachment_13952554\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png\" alt=\"Two men stand in a tropical looking resort, both wearing white shirts and pants, both looking serious.\" width=\"1200\" height=\"738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-800x492.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-8.22.39-AM-768x472.png 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashmal, left, and Rehman in the ‘Boundaries’ episode of ‘Couple to Throuple.’ \u003ccite>(Paul Castillero/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some intriguing power shifts where at first, the thirds seem to be trying to put their best feet forward to be “chosen” by the couples, and then trying to impress them, but then before you know it, some of the thirds are sort of looking around saying, “Uh, it was nice knowing you guys.” Sometimes you’re the windshield, sometimes you’re the bug; sometimes you’re the pursuer, and sometimes you’re the pursued.\u003c/p>\n\u003cp>It’s a mess. I will watch it all.\u003c/p>\n\u003cp>*I apologize for using the word “swelling” in a discussion of dating shows.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\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=Two%27s+company%2C+three%27s+allowed+in+the+dating+show+%27Couple+to+Throuple%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jon Stewart’s ‘Daily Show’ Return Is So Smooth, it’s Like He Never Left",
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"content": "\u003cp>After watching Jon Stewart’s triumphant return to \u003cem>The Daily Show\u003c/em> on Monday night, I had two thoughts.\u003c/p>\n\u003cp>The GOAT of late night satire is back. And even some of the show’s biggest fans may not be all that happy to see him return.\u003c/p>\n\u003cp>That’s because, in his first episode returning as host — nearly nine years after he originally left — Stewart took on a subject that even his most liberal fans might find touchy: the idea that concerns about how age may have affected President Biden aren’t necessarily overblown.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NpBPm0b9deQ\u003c/p>\n\u003cp>He didn’t mince words about the erratic behavior of Biden’s likely opponent for the presidency, Donald Trump, either — showing how the former president couldn’t remember basic things during court depositions like how long he was married to Marla Maples or whether he had bragged about how great his memory was. (“It turns out, the leading cause of early onset dementia is being deposed,” Stewart cracked, after showing a montage of Trump’s grown children having similar recall issues.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13952077']But even though some liberals may be sensitive to the idea that comparing Biden’s gaffes with Trump’s behavior is an unfair “both sides” balancing act, Stewart insisted supporters should do a better job showing the current president is vital and effective as they say he is.\u003c/p>\n\u003cp>“It’s the candidate’s job to assuage concerns,” Stewart said in a 20-minute segment that kicked off last night’s program. “Not the voter’s job not to mention them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6F4L5NkdaRY\u003c/p>\n\u003ch3>Easily slipping back into the host chair\u003c/h3>\n\u003cp>From the show’s opening moments, Stewart eased back into the host’s chair without missing a beat, firing off jokes with a familiar style that felt like he had left just a few weeks ago, rather than in 2015. He brought a confidence the program sorely needs; it’s been searching for a permanent host for more than a year since the departure of Trevor Noah, who succeeded Stewart as host.\u003c/p>\n\u003cp>Stewart returns in a unique arrangement, hosting\u003cem> The Daily Show\u003c/em> on Monday nights and serving as an executive producer for all evenings — similar to an arrangement crafted by another cable TV star, Rachel Maddow on MSNBC. The new setup allows him to avoid the grind of daily hosting, ceding the rest of the week to the show’s correspondents, starting with Jordan Klepper, who hosts Tuesday through Thursday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7cmWbSv-GOE\u003c/p>\n\u003cp>Even as he eased into familiar rhythms — poking fun at the idea that he’s an old guy returning to his old job, highlighting concerns about two other old guys competing to get their old job back — Stewart faced a new challenge: reminding everyone why he was such a venerated host in the first place.\u003c/p>\n\u003cp>In his first 16 years hosting \u003cem>The Daily Show\u003c/em>, Stewart elevated the program into an incisive look at the hypocrisies of media, politics and society. Along the way, he helped birth a style of fact-based satire that has exploded all over television, from the work by \u003cem>Daily Show\u003c/em> alums John Oliver on HBO’s \u003cem>Last Week Tonight\u003c/em> and Stephen Colbert on CBS’ \u003cem>The Late Show\u003c/em> to the sharper political tone of \u003cem>Late Night with Seth Meyers \u003c/em>and \u003cem>Jimmy Kimmel Live\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13951374']But the media environment Stewart has returned to is quite different. Ratings in late night have declined, and the young audiences that once fueled the genre have moved on to TikTok and YouTube. With luck, Stewart’s appeal to \u003cem>The Daily Show\u003c/em>‘s old school fans will bring better ratings on the cable channel, but it’s still likely to be a smaller crowd than he once commanded.\u003c/p>\n\u003cp>Regardless, last night’s program shows Stewart’s still got the comedy chops and incisive ideas to power the show at least through the presidential election in November. He has \u003ca href=\"https://www.cbsnews.com/news/jon-stewart-daily-show-return-what-to-expect/\">said in interviews\u003c/a> that part of the appeal in returning was to have a place to “unload thoughts” as the election season progresses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last night’s debut proved Stewart will bring that and more, buying time for an influential show at a crossroads to figure out a new future for itself at least one more time.\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=Jon+Stewart%27s+%27Daily+Show%27+return+is+so+smooth%2C+it%27s+like+he+never+left+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After watching Jon Stewart’s triumphant return to \u003cem>The Daily Show\u003c/em> on Monday night, I had two thoughts.\u003c/p>\n\u003cp>The GOAT of late night satire is back. And even some of the show’s biggest fans may not be all that happy to see him return.\u003c/p>\n\u003cp>That’s because, in his first episode returning as host — nearly nine years after he originally left — Stewart took on a subject that even his most liberal fans might find touchy: the idea that concerns about how age may have affected President Biden aren’t necessarily overblown.\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/NpBPm0b9deQ'\n title='//www.youtube.com/embed/NpBPm0b9deQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He didn’t mince words about the erratic behavior of Biden’s likely opponent for the presidency, Donald Trump, either — showing how the former president couldn’t remember basic things during court depositions like how long he was married to Marla Maples or whether he had bragged about how great his memory was. (“It turns out, the leading cause of early onset dementia is being deposed,” Stewart cracked, after showing a montage of Trump’s grown children having similar recall issues.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But even though some liberals may be sensitive to the idea that comparing Biden’s gaffes with Trump’s behavior is an unfair “both sides” balancing act, Stewart insisted supporters should do a better job showing the current president is vital and effective as they say he is.\u003c/p>\n\u003cp>“It’s the candidate’s job to assuage concerns,” Stewart said in a 20-minute segment that kicked off last night’s program. “Not the voter’s job not to mention them.”\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/6F4L5NkdaRY'\n title='//www.youtube.com/embed/6F4L5NkdaRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Easily slipping back into the host chair\u003c/h3>\n\u003cp>From the show’s opening moments, Stewart eased back into the host’s chair without missing a beat, firing off jokes with a familiar style that felt like he had left just a few weeks ago, rather than in 2015. He brought a confidence the program sorely needs; it’s been searching for a permanent host for more than a year since the departure of Trevor Noah, who succeeded Stewart as host.\u003c/p>\n\u003cp>Stewart returns in a unique arrangement, hosting\u003cem> The Daily Show\u003c/em> on Monday nights and serving as an executive producer for all evenings — similar to an arrangement crafted by another cable TV star, Rachel Maddow on MSNBC. The new setup allows him to avoid the grind of daily hosting, ceding the rest of the week to the show’s correspondents, starting with Jordan Klepper, who hosts Tuesday through Thursday.\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/7cmWbSv-GOE'\n title='//www.youtube.com/embed/7cmWbSv-GOE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even as he eased into familiar rhythms — poking fun at the idea that he’s an old guy returning to his old job, highlighting concerns about two other old guys competing to get their old job back — Stewart faced a new challenge: reminding everyone why he was such a venerated host in the first place.\u003c/p>\n\u003cp>In his first 16 years hosting \u003cem>The Daily Show\u003c/em>, Stewart elevated the program into an incisive look at the hypocrisies of media, politics and society. Along the way, he helped birth a style of fact-based satire that has exploded all over television, from the work by \u003cem>Daily Show\u003c/em> alums John Oliver on HBO’s \u003cem>Last Week Tonight\u003c/em> and Stephen Colbert on CBS’ \u003cem>The Late Show\u003c/em> to the sharper political tone of \u003cem>Late Night with Seth Meyers \u003c/em>and \u003cem>Jimmy Kimmel Live\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the media environment Stewart has returned to is quite different. Ratings in late night have declined, and the young audiences that once fueled the genre have moved on to TikTok and YouTube. With luck, Stewart’s appeal to \u003cem>The Daily Show\u003c/em>‘s old school fans will bring better ratings on the cable channel, but it’s still likely to be a smaller crowd than he once commanded.\u003c/p>\n\u003cp>Regardless, last night’s program shows Stewart’s still got the comedy chops and incisive ideas to power the show at least through the presidential election in November. He has \u003ca href=\"https://www.cbsnews.com/news/jon-stewart-daily-show-return-what-to-expect/\">said in interviews\u003c/a> that part of the appeal in returning was to have a place to “unload thoughts” as the election season progresses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last night’s debut proved Stewart will bring that and more, buying time for an influential show at a crossroads to figure out a new future for itself at least one more time.\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=Jon+Stewart%27s+%27Daily+Show%27+return+is+so+smooth%2C+it%27s+like+he+never+left+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Super Bowl Ads Played it Safe, but There Were Still Some Winners",
"headTitle": "Super Bowl Ads Played it Safe, but There Were Still Some Winners | KQED",
"content": "\u003cp>When I spoke with Shayne Millington about the cheeky Super Bowl ad she was planning with Cardi B, the advertising executive was excited about the prospect of tweaking male sports fans in a way Big Game ads often don’t do.\u003c/p>\n\u003cp>But the NFL threw some cold water on her plans Sunday, preventing makeup brand NYX from airing part of their ad suggesting that men may have mistaken the name of their Duck Plump lip gloss and used it in a certain private area. Instead, \u003ca href=\"https://youtu.be/LOhNE2zCvEs?si=TDLuyxJi6aLs7qgo\">they aired 30 seconds featuring Cardi B\u003c/a> and displayed a QR code viewers could use to access the full ad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5Z3vPLTpa30\u003c/p>\n\u003cp>Millington, the chief creative officer at McCann New York, told me before the game that the ad was an attempt to turn the tables on traditional Super Bowl advertising.\u003c/p>\n\u003cp>“You have to really look at how women have been portrayed in Super Bowl ads and in the past, and it’s not great,” she added. “So, on a platform as big as the Super Bowl, where men have [traditionally] had the upper hand with humor … [this time] women will have the last laugh with Cardi B.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turns out, Millington’s ad was among the sauciest in a Super Bowl where brands played it safe even more than usual, perhaps due to the mammoth, $7 million-per-30-seconds fee for airtime.\u003c/p>\n\u003cp>Political messages were subtle and shaded, including a retro-looking ad for independent presidential candidate Robert Kennedy Jr. that didn’t get near his controversial stands on vaccines and other issues (talk about a nepo baby). An ad for the website hegetsus.com aimed at boosting Jesus Christ focused on how his teachings might bring people together, not the \u003ca href=\"https://www.npr.org/2023/02/06/1154880673/jesus-commercial-super-bowl-billboard-he-gets-us-hobby-lobby-evangelical-billion\">controversial stands of one funder\u003c/a>, the family that owns notably religious craft store chain Hobby Lobby.\u003c/p>\n\u003cp>[aside postid='arts_13951795']Blame the intensely crazy pace of real-life news or the back-breaking price for ads, but this year’s crop of commercials seemed to lean away from controversy and into nostalgia, celebrity and cross promotion — with Super Bowl halftime performer Usher appearing in more spots than the Budweiser Clydesdales.\u003c/p>\n\u003cp>Here’s a breakdown of what worked and didn’t in the biggest — and most expensive — advertising showcase on American television.\u003c/p>\n\u003ch3>\u003cstrong>Best use of a celebrity poking fun at something he knows we’re all laughing at anyway: State Farm’s ‘Like a Good Neighbaa’\u003c/strong>\u003c/h3>\n\u003cp>We all know Arnold Schwarzenegger has somehow won over America’s hearts despite delivering lines in films so drenched with his Austrian accent that it sounds like English put through a Cuisinart. That’s why it’s so delightful to see him willing to send up both his action hero past and his dicey diction, playing a swashbuckling State Farm agent who somehow can’t say “labor,” “concealer” or “neighbor.” Even Jake From State Farm couldn’t help coach him through a speech pattern that, somehow, still makes all those words sound cooler when they come out of Ahnuld’s mouth. (Though his former \u003cem>Twins \u003c/em>co-star Danny DeVito untimately had to help him out.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sNGbLrrGYGs\u003c/p>\n\u003ch3>\u003cstrong>Worst use of a celebrity tolerating something we’re all laughing at anyway: BMW’s ‘Talkin’ Like Walken’\u003c/strong>\u003c/h3>\n\u003cp>How do you come up with a concept so promising — much-mimicked Hollywood eccentric Christopher Walken walks through a day where everyone is doing their own Walken impressions — and wind up with a spot so, well, odd? Where are the celebrities who do amazing Walken impressions, like Kevin Pollak, Jay Mohr or even Tom Hiddleston? Where’s the moment Walken has fun with people trying to cop his off-kilter patois, (instead of looking like he can’t wait to get off the screen)? And why is the Super Bowl’s halftime headliner Usher showing up at the end and NOT doing a Walken impersonation? Small wonder this overhyped ad is also in the running for Best Missed Opportunity. Sigh.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfB-glrgn5o\u003c/p>\n\u003ch3>Best way to get someone else to publicize your new music: Verizon’s ‘Can’t B Broken’\u003c/h3>\n\u003cp>The ad itself is a fun affair, with Beyoncé trying to “break” Verizon’s 5G network through a series of outlandish stunts (assisted by \u003cem>Veep\u003c/em> co-star Tony Hale), including creating Beyonc-A.I., the pink-themed Bar-Bey, and a musical performance in space. When none of that succeeds in bringing down Verizon, she says “OK. They ready. Drop the new music.”\u003c/p>\n\u003cp>Of course, Beyoncé meant business, dropping \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">two new tunes on her website\u003c/a> and announcing the debut of a country-inspired album, \u003cem>Act II\u003c/em>, for March 29. Forget about announcing a new album during the Grammys; Bey dropped her announcement on TV’s biggest platform, paid for by Verizon. Respect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hRaBlE6maf4\u003c/p>\n\u003ch3>\u003cstrong>Best celebrity save: Uber Eats’ ‘Don’t Forget Uber Eats’\u003c/strong>\u003c/h3>\n\u003cp>Actually, I want to forget much of this spot, which features wooden moments like David and Victoria Beckham pretending to forget she was in the Spice Girls (Will anyone catch that they’re spoofing a scene from his Netflix docuseries?) and another, um, forgettable cameo from Usher (Did you know he’s playing the Super Bowl halftime? Feels like he’s popping up in half of the Super Bowl ads to remind you!)\u003c/p>\n\u003cp>[aside postid='pop_105499']But the conceit — that you have to forget something to make room in your memory for Uber Eats’ awesome services — hit home when Jennifer Aniston appeared, ignoring David Schwimmer even as he reminds her they worked together for 10 years on one of the most popular sitcoms in TV history.\u003c/p>\n\u003cp>Perhaps it’s because I disliked his character Ross’ romance with Aniston’s character on \u003cem>Friends \u003c/em>so much, but when she walked away, convinced she didn’t know him, and he muttered “I hate this town,” I felt like TV justice had somehow been served.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0LXSb0PQ6HQ\u003c/p>\n\u003ch3>\u003cstrong>Best hope for Marvel fans: The ‘Deadpool’ movie\u003c/strong>\u003c/h3>\n\u003cp>That sound you heard at the game’s start wasn’t sports fans settling in for the Big Game. It was Marvel fans screaming in anticipation after realizing that Ryan Reynolds’ new \u003cem>Deadpool\u003c/em> movie won’t just feature Hugh Jackman returning as Wolverine, but Reynolds’ disfigured, wisecracking mercenary superhero getting kidnapped by the TVA — an organization from the \u003cem>Loki\u003c/em> series. And the TVA’s representative here is none other than \u003cem>Succession’\u003c/em>s Tom Wambsgans, or the actor Matthew Macfadyen. If any film can rescue the world from superhero fatigue, this might be the one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xW-zNOT4P1A\u003c/p>\n\u003ch3>\u003cstrong>Best use of a cat/worst use of a McKinnon: Hellmann’s ‘Mayo Cat’\u003c/strong>\u003c/h3>\n\u003cp>Fans know \u003cem>Saturday Night Live\u003c/em> alum Kate McKinnon has a special bond with cats — she’s even come up with \u003ca href=\"https://www.youtube.com/watch?v=bv8MDqVrRH0\">some sidesplitting sketches on the subject\u003c/a> — so it was cute to see her alongside a feline who captivates the world by simply saying “mayo.” The ad also has a cool button at the end, where the cat dates and breaks up with fellow \u003cem>SNL\u003c/em> alum Pete Davidson (“You lasted longer than most,” McKinnon quips.) But how do you spend millions on a commercial starring the funniest woman on TV and give all the action to her cat? Purrfectly frustrating. (Yes, I went there.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aUnKqXTSJWU\u003c/p>\n\u003ch3>\u003cstrong>Second best use of a celebrity poking fun at themselves: Skechers ‘Mr. T in Skechers’\u003c/strong>\u003c/h3>\n\u003cp>I’ll be honest, I didn’t notice there was no “T” in the footwear company’s name until Tony Romo upsets the famous \u003cem>A Team\u003c/em> star by pointing it out. Watching a 71-year-old Mr. T walk on hot coals and do CGI-assisted pull-ups while insisting “I pity the fool who has to touch his shoes” as he cavorts in Skechers slip-on shoes, I saw a mix of nostalgia, absurdity and good-hearted self-parody that I didn’t even knew I needed until it happened. Once again, Mr. T. for the win.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6zolFHbtEew\u003c/p>\n\u003ch3>\u003cstrong>Best tribute to a departed legend: FanDuel’s Super Bowl Kick of Destiny Part 2\u003c/strong>\u003c/h3>\n\u003cp>Reprising the stunt from last year, where the four-time Super Bowl champion tight end tried — and failed — to make a 25-yard field goal, this year’s commercial featured Gronk failing again. In a teaser for the series of ads released early, \u003cem>Rocky \u003c/em>co-star Carl Weathers was shown riding up on a motorcycle to encourage Gronkowski. After Weathers died earlier this month at age 76, producers reworked one of those ads to show the actor saying ruefully, “You gave us your all, Gronk.” Then the spot flashed to an image of Weathers with the message “Thank you, Carl. 1948 — 2024.” Glad to see the company kept him in the spot; there’s no better, classier tribute to a towering talent than tipping the hat to him on the biggest platform in the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sZtdfuNZtIU\u003c/p>\n\u003ch3>\u003cstrong>Best ‘I’m not crying, you’re crying’ ad: Google Pixel’s ‘Javier in Frame’\u003c/strong>\u003c/h3>\n\u003cp>I first gave this award last year for the \u003ca href=\"https://www.youtube.com/watch?v=IAIo-pUDl0s\">dog food ad \u003c/a>that made everyone emotional. This time, it’s Google Pixel showcasing its guided frame technology, in which the phone tells users when faces are fully in the picture frame. We see this work from the perspective of Javier, who utilizes the phone despite his problems with blurred vision to capture important moments in his life, including the birth of his child. The spot’s director, Adam Morse, is blind and it’s narrated at the end by Stevie Wonder. Poignant doesn’t begin to describe it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wYPTZIFQoDQ\u003c/p>\n\u003ch3>Most confusing movie ad: ‘Twisters’\u003c/h3>\n\u003cp>It’s not apparent from watching the Super Bowl ad whether this film is a reboot or a sequel to the 1996 film that featured Helen Hunt, Bill Paxton and Philip Seymour Hoffman (\u003ca href=\"https://variety.com/2024/film/news/twisters-super-bowl-trailer-glen-powell-daisy-edgar-jones-1235901269/\">according to\u003cem> Variety\u003c/em>\u003c/a>, it’s indeed a sequel). But after watching Glen Powell and Daisy Edgar-Jones jostling around in a 2-minute spot spouting dialogue that referenced the original, I only had one question that really needed answering: Why?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wdok0rZdmx4\u003c/p>\n\u003ch3>Best contest with the worst ad: DoorDash’s ‘All the Ads’\u003c/h3>\n\u003cp>It’s an inspired giveaway: DoorDash will provide all of the items in every Super Bowl commercial to one lucky winner, including a 2024 BMW All-Electric i5, chicken wings from Popeyes for 150-plus people, a $50,000 check for their dream home and much more (you had to watch the commercial during the game and add a promotional code \u003ca href=\"https://www.doordash-all-the-ads.com/\">at this URL\u003c/a> to enter). But hearing Laurence Fishburne majestically narrate a preview ad that uses DoorDash as a verb while products are bursting from the ground makes me want to DoorDash as far away from it all as possible.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DTLM5o-9hYg\u003c/p>\n\u003ch3>\u003cstrong>Worst use of a celebrity: ‘Sir Patrick Stewart Throws a Hail Arnold’ on Paramount+\u003c/strong>\u003c/h3>\n\u003cp>Yes, you read the title right. Patrick Stewart, star of \u003cem>Star Trek: Picard \u003c/em>on Paramount+, appears in a spot where he argues with Drew Barrymore, then orders Miami Dolphins quarterback Tua Tagovailoa to throw an animated fourth-grader from \u003cem>Hey Arnold!\u003c/em> up a mountain, before doing it himself. (The band Creed also shows up to play a song for some reason.)\u003c/p>\n\u003cp>All I want is a sample of whatever the scriptwriters were smoking when they came up with this nonsense — or when they got Stewart to agree to appear in it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YKzk1h7qrj8\u003c/p>\n\u003ch3>\u003cstrong>Second-worst use of a celebrity: Squarespace’s ‘Hello Down There’\u003c/strong>\u003c/h3>\n\u003cp>The concept’s not so bad: We’re so distracted by our phones and social media that no one on Earth notices a fleet of flying saucers overhead until the aliens build a website with Squarespace.\u003c/p>\n\u003cp>But it’s a drag seeing Oscar winner Martin Scorsese direct this bit of fluff without much humor and a punchline that goes over like, well, a badly formatted website: Scorsese, in traffic, looks at a sky filled with spaceships and tells his driver: “I told you to take Broadway. This always happens.”\u003c/p>\n\u003cp>Feels a little like hiring Frank Lloyd Wright to design your kid’s backyard playhouse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OBcd8S0YYuU\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=Super+Bowl+ads+played+it+safe%2C+but+there+were+still+some+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I spoke with Shayne Millington about the cheeky Super Bowl ad she was planning with Cardi B, the advertising executive was excited about the prospect of tweaking male sports fans in a way Big Game ads often don’t do.\u003c/p>\n\u003cp>But the NFL threw some cold water on her plans Sunday, preventing makeup brand NYX from airing part of their ad suggesting that men may have mistaken the name of their Duck Plump lip gloss and used it in a certain private area. Instead, \u003ca href=\"https://youtu.be/LOhNE2zCvEs?si=TDLuyxJi6aLs7qgo\">they aired 30 seconds featuring Cardi B\u003c/a> and displayed a QR code viewers could use to access the full ad.\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/5Z3vPLTpa30'\n title='//www.youtube.com/embed/5Z3vPLTpa30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Millington, the chief creative officer at McCann New York, told me before the game that the ad was an attempt to turn the tables on traditional Super Bowl advertising.\u003c/p>\n\u003cp>“You have to really look at how women have been portrayed in Super Bowl ads and in the past, and it’s not great,” she added. “So, on a platform as big as the Super Bowl, where men have [traditionally] had the upper hand with humor … [this time] women will have the last laugh with Cardi B.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turns out, Millington’s ad was among the sauciest in a Super Bowl where brands played it safe even more than usual, perhaps due to the mammoth, $7 million-per-30-seconds fee for airtime.\u003c/p>\n\u003cp>Political messages were subtle and shaded, including a retro-looking ad for independent presidential candidate Robert Kennedy Jr. that didn’t get near his controversial stands on vaccines and other issues (talk about a nepo baby). An ad for the website hegetsus.com aimed at boosting Jesus Christ focused on how his teachings might bring people together, not the \u003ca href=\"https://www.npr.org/2023/02/06/1154880673/jesus-commercial-super-bowl-billboard-he-gets-us-hobby-lobby-evangelical-billion\">controversial stands of one funder\u003c/a>, the family that owns notably religious craft store chain Hobby Lobby.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Blame the intensely crazy pace of real-life news or the back-breaking price for ads, but this year’s crop of commercials seemed to lean away from controversy and into nostalgia, celebrity and cross promotion — with Super Bowl halftime performer Usher appearing in more spots than the Budweiser Clydesdales.\u003c/p>\n\u003cp>Here’s a breakdown of what worked and didn’t in the biggest — and most expensive — advertising showcase on American television.\u003c/p>\n\u003ch3>\u003cstrong>Best use of a celebrity poking fun at something he knows we’re all laughing at anyway: State Farm’s ‘Like a Good Neighbaa’\u003c/strong>\u003c/h3>\n\u003cp>We all know Arnold Schwarzenegger has somehow won over America’s hearts despite delivering lines in films so drenched with his Austrian accent that it sounds like English put through a Cuisinart. That’s why it’s so delightful to see him willing to send up both his action hero past and his dicey diction, playing a swashbuckling State Farm agent who somehow can’t say “labor,” “concealer” or “neighbor.” Even Jake From State Farm couldn’t help coach him through a speech pattern that, somehow, still makes all those words sound cooler when they come out of Ahnuld’s mouth. (Though his former \u003cem>Twins \u003c/em>co-star Danny DeVito untimately had to help him out.)\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/sNGbLrrGYGs'\n title='//www.youtube.com/embed/sNGbLrrGYGs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Worst use of a celebrity tolerating something we’re all laughing at anyway: BMW’s ‘Talkin’ Like Walken’\u003c/strong>\u003c/h3>\n\u003cp>How do you come up with a concept so promising — much-mimicked Hollywood eccentric Christopher Walken walks through a day where everyone is doing their own Walken impressions — and wind up with a spot so, well, odd? Where are the celebrities who do amazing Walken impressions, like Kevin Pollak, Jay Mohr or even Tom Hiddleston? Where’s the moment Walken has fun with people trying to cop his off-kilter patois, (instead of looking like he can’t wait to get off the screen)? And why is the Super Bowl’s halftime headliner Usher showing up at the end and NOT doing a Walken impersonation? Small wonder this overhyped ad is also in the running for Best Missed Opportunity. Sigh.\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/sfB-glrgn5o'\n title='//www.youtube.com/embed/sfB-glrgn5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best way to get someone else to publicize your new music: Verizon’s ‘Can’t B Broken’\u003c/h3>\n\u003cp>The ad itself is a fun affair, with Beyoncé trying to “break” Verizon’s 5G network through a series of outlandish stunts (assisted by \u003cem>Veep\u003c/em> co-star Tony Hale), including creating Beyonc-A.I., the pink-themed Bar-Bey, and a musical performance in space. When none of that succeeds in bringing down Verizon, she says “OK. They ready. Drop the new music.”\u003c/p>\n\u003cp>Of course, Beyoncé meant business, dropping \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">two new tunes on her website\u003c/a> and announcing the debut of a country-inspired album, \u003cem>Act II\u003c/em>, for March 29. Forget about announcing a new album during the Grammys; Bey dropped her announcement on TV’s biggest platform, paid for by Verizon. Respect.\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/hRaBlE6maf4'\n title='//www.youtube.com/embed/hRaBlE6maf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best celebrity save: Uber Eats’ ‘Don’t Forget Uber Eats’\u003c/strong>\u003c/h3>\n\u003cp>Actually, I want to forget much of this spot, which features wooden moments like David and Victoria Beckham pretending to forget she was in the Spice Girls (Will anyone catch that they’re spoofing a scene from his Netflix docuseries?) and another, um, forgettable cameo from Usher (Did you know he’s playing the Super Bowl halftime? Feels like he’s popping up in half of the Super Bowl ads to remind you!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the conceit — that you have to forget something to make room in your memory for Uber Eats’ awesome services — hit home when Jennifer Aniston appeared, ignoring David Schwimmer even as he reminds her they worked together for 10 years on one of the most popular sitcoms in TV history.\u003c/p>\n\u003cp>Perhaps it’s because I disliked his character Ross’ romance with Aniston’s character on \u003cem>Friends \u003c/em>so much, but when she walked away, convinced she didn’t know him, and he muttered “I hate this town,” I felt like TV justice had somehow been served.\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/0LXSb0PQ6HQ'\n title='//www.youtube.com/embed/0LXSb0PQ6HQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best hope for Marvel fans: The ‘Deadpool’ movie\u003c/strong>\u003c/h3>\n\u003cp>That sound you heard at the game’s start wasn’t sports fans settling in for the Big Game. It was Marvel fans screaming in anticipation after realizing that Ryan Reynolds’ new \u003cem>Deadpool\u003c/em> movie won’t just feature Hugh Jackman returning as Wolverine, but Reynolds’ disfigured, wisecracking mercenary superhero getting kidnapped by the TVA — an organization from the \u003cem>Loki\u003c/em> series. And the TVA’s representative here is none other than \u003cem>Succession’\u003c/em>s Tom Wambsgans, or the actor Matthew Macfadyen. If any film can rescue the world from superhero fatigue, this might be the one.\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/xW-zNOT4P1A'\n title='//www.youtube.com/embed/xW-zNOT4P1A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best use of a cat/worst use of a McKinnon: Hellmann’s ‘Mayo Cat’\u003c/strong>\u003c/h3>\n\u003cp>Fans know \u003cem>Saturday Night Live\u003c/em> alum Kate McKinnon has a special bond with cats — she’s even come up with \u003ca href=\"https://www.youtube.com/watch?v=bv8MDqVrRH0\">some sidesplitting sketches on the subject\u003c/a> — so it was cute to see her alongside a feline who captivates the world by simply saying “mayo.” The ad also has a cool button at the end, where the cat dates and breaks up with fellow \u003cem>SNL\u003c/em> alum Pete Davidson (“You lasted longer than most,” McKinnon quips.) But how do you spend millions on a commercial starring the funniest woman on TV and give all the action to her cat? Purrfectly frustrating. (Yes, I went there.)\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/aUnKqXTSJWU'\n title='//www.youtube.com/embed/aUnKqXTSJWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Second best use of a celebrity poking fun at themselves: Skechers ‘Mr. T in Skechers’\u003c/strong>\u003c/h3>\n\u003cp>I’ll be honest, I didn’t notice there was no “T” in the footwear company’s name until Tony Romo upsets the famous \u003cem>A Team\u003c/em> star by pointing it out. Watching a 71-year-old Mr. T walk on hot coals and do CGI-assisted pull-ups while insisting “I pity the fool who has to touch his shoes” as he cavorts in Skechers slip-on shoes, I saw a mix of nostalgia, absurdity and good-hearted self-parody that I didn’t even knew I needed until it happened. Once again, Mr. T. for the win.\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/6zolFHbtEew'\n title='//www.youtube.com/embed/6zolFHbtEew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best tribute to a departed legend: FanDuel’s Super Bowl Kick of Destiny Part 2\u003c/strong>\u003c/h3>\n\u003cp>Reprising the stunt from last year, where the four-time Super Bowl champion tight end tried — and failed — to make a 25-yard field goal, this year’s commercial featured Gronk failing again. In a teaser for the series of ads released early, \u003cem>Rocky \u003c/em>co-star Carl Weathers was shown riding up on a motorcycle to encourage Gronkowski. After Weathers died earlier this month at age 76, producers reworked one of those ads to show the actor saying ruefully, “You gave us your all, Gronk.” Then the spot flashed to an image of Weathers with the message “Thank you, Carl. 1948 — 2024.” Glad to see the company kept him in the spot; there’s no better, classier tribute to a towering talent than tipping the hat to him on the biggest platform in the world.\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/sZtdfuNZtIU'\n title='//www.youtube.com/embed/sZtdfuNZtIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best ‘I’m not crying, you’re crying’ ad: Google Pixel’s ‘Javier in Frame’\u003c/strong>\u003c/h3>\n\u003cp>I first gave this award last year for the \u003ca href=\"https://www.youtube.com/watch?v=IAIo-pUDl0s\">dog food ad \u003c/a>that made everyone emotional. This time, it’s Google Pixel showcasing its guided frame technology, in which the phone tells users when faces are fully in the picture frame. We see this work from the perspective of Javier, who utilizes the phone despite his problems with blurred vision to capture important moments in his life, including the birth of his child. The spot’s director, Adam Morse, is blind and it’s narrated at the end by Stevie Wonder. Poignant doesn’t begin to describe it.\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/wYPTZIFQoDQ'\n title='//www.youtube.com/embed/wYPTZIFQoDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Most confusing movie ad: ‘Twisters’\u003c/h3>\n\u003cp>It’s not apparent from watching the Super Bowl ad whether this film is a reboot or a sequel to the 1996 film that featured Helen Hunt, Bill Paxton and Philip Seymour Hoffman (\u003ca href=\"https://variety.com/2024/film/news/twisters-super-bowl-trailer-glen-powell-daisy-edgar-jones-1235901269/\">according to\u003cem> Variety\u003c/em>\u003c/a>, it’s indeed a sequel). But after watching Glen Powell and Daisy Edgar-Jones jostling around in a 2-minute spot spouting dialogue that referenced the original, I only had one question that really needed answering: Why?\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/wdok0rZdmx4'\n title='//www.youtube.com/embed/wdok0rZdmx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best contest with the worst ad: DoorDash’s ‘All the Ads’\u003c/h3>\n\u003cp>It’s an inspired giveaway: DoorDash will provide all of the items in every Super Bowl commercial to one lucky winner, including a 2024 BMW All-Electric i5, chicken wings from Popeyes for 150-plus people, a $50,000 check for their dream home and much more (you had to watch the commercial during the game and add a promotional code \u003ca href=\"https://www.doordash-all-the-ads.com/\">at this URL\u003c/a> to enter). But hearing Laurence Fishburne majestically narrate a preview ad that uses DoorDash as a verb while products are bursting from the ground makes me want to DoorDash as far away from it all as possible.\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/DTLM5o-9hYg'\n title='//www.youtube.com/embed/DTLM5o-9hYg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Worst use of a celebrity: ‘Sir Patrick Stewart Throws a Hail Arnold’ on Paramount+\u003c/strong>\u003c/h3>\n\u003cp>Yes, you read the title right. Patrick Stewart, star of \u003cem>Star Trek: Picard \u003c/em>on Paramount+, appears in a spot where he argues with Drew Barrymore, then orders Miami Dolphins quarterback Tua Tagovailoa to throw an animated fourth-grader from \u003cem>Hey Arnold!\u003c/em> up a mountain, before doing it himself. (The band Creed also shows up to play a song for some reason.)\u003c/p>\n\u003cp>All I want is a sample of whatever the scriptwriters were smoking when they came up with this nonsense — or when they got Stewart to agree to appear in it.\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/YKzk1h7qrj8'\n title='//www.youtube.com/embed/YKzk1h7qrj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Second-worst use of a celebrity: Squarespace’s ‘Hello Down There’\u003c/strong>\u003c/h3>\n\u003cp>The concept’s not so bad: We’re so distracted by our phones and social media that no one on Earth notices a fleet of flying saucers overhead until the aliens build a website with Squarespace.\u003c/p>\n\u003cp>But it’s a drag seeing Oscar winner Martin Scorsese direct this bit of fluff without much humor and a punchline that goes over like, well, a badly formatted website: Scorsese, in traffic, looks at a sky filled with spaceships and tells his driver: “I told you to take Broadway. This always happens.”\u003c/p>\n\u003cp>Feels a little like hiring Frank Lloyd Wright to design your kid’s backyard playhouse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Beyoncé Releases Two New Songs During the Super Bowl, Teasing More to Come",
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"content": "\u003cp>Beyoncé teased, announced and dropped new music in the span of less than an hour during Sunday’s Super Bowl.\u003c/p>\n\u003cp>“Okay, they ready! Drop the new music,” Beyoncé says in the final seconds of a \u003ca href=\"https://www.instagram.com/reel/C3Os7bUxELf/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Verizon commercial\u003c/a> that aired during the third quarter.\u003c/p>\n\u003cp>[aside postid='arts_13873945']Social media, already \u003ca href=\"https://www.npr.org/2024/02/10/1230621176/super-bowl-58\">buzzing from the Super Bowl action\u003c/a> on and off the field (star-studded stands, halftime show and commercials included), went into a further frenzy.\u003c/p>\n\u003cp>Within minutes, Beyoncé’s accounts had made it official.\u003c/p>\n\u003cp>The star posted a minute-long \u003ca href=\"https://www.instagram.com/p/C3Ot8xfRIaA/\">video to Instagram\u003c/a> showing a taxi with a Texas vanity plate (“HOLD-EM”) driving through dusty roads, past radio towers and a sign for “Radio Texas.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It ends with a crowd gathered in front of a billboard of her waving next to the words “Texas! Hold ’em,” as a song with those words starts to play. The video ends with: “act ii” and the date March 29.\u003c/p>\n\u003cp>Her \u003ca href=\"https://www.beyonce.com/\">official website \u003c/a>advertises the same video and date, as well as the name of two songs: “Texas Hold ‘Em” and “16 carriages.” Thirty-second snippets of both songs were \u003ca href=\"https://tidal.com/browse/album/344957697\">posted to Tidal\u003c/a> shortly thereafter. Then the full versions dropped on Spotify and YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-fV37wdHG8U\u003c/p>\n\u003cp>The accompanying images show Beyoncé wearing cowboy hats and other decidedly Western wear.\u003c/p>\n\u003cp>Notably, Beyoncé \u003ca href=\"https://x.com/Beyonce/status/1542540338002219008?s=20\">advertised\u003c/a> her 2022 album \u003cem>Renaissance\u003c/em> as “act i.”\u003c/p>\n\u003cp>It \u003ca href=\"https://www.grammy.com/news/beyonce-most-grammys-in-history-renaissance-best-dance-electronic-album-2023-grammys-acceptance-speech\">won the Grammy\u003c/a> for best Dance/Electronic Music Album in 2023, a record-breaking 32nd for the Houston-born icon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g92AYBlNOi0\u003c/p>\n\u003cdiv class=\"fullattribution\">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+releases+two+new+songs+during+the+Super+Bowl%2C+teasing+more+to+come&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>My obsession with literature exploded in my early teens. Back then, my diet consisted mostly of whatever classics I could find, novels by Jules Verne, poetry by Mario Benedetti, and a lot of horror novels by Stephen King, Richard Laymon, and Bentley Little — all of which I was arguably way too young to be reading.\u003c/p>\n\u003cp>[aside postid='arts_13935838']Then I discovered cryptozoology and went down a rabbit hole, consuming anything I could find about cryptids like Nessie, mokèlé-mbèmbé, and the chupacabras as well as animals that had jumped from cryptozoology to the pages of science books — the giant squid (\u003cem>Architeuthis dux\u003c/em>) and the coelacanth. My favorite cryptid? Bigfoot. Books, documentaries shot with a $12 budget, shaky footage online; I couldn’t get enough. I wanted to know more about it, but also about the folks who swore it was real, the people who had seen it, the devout researchers who spent countless nights out in the middle of woods looking for the famous creature I’d seen in the Patterson-Gimlin film (which is, along with the Zapruder film, probably one of the most scrutinized pieces of footage in history).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oPlRr_OfxZI\u003c/p>\n\u003cp>When I heard John O’Connor’s \u003cem>The Secret History of Bigfoot: Field Notes on a North American Monster\u003c/em> was coming, I knew I had to read it. My expectations were somewhere close to the exosphere — unfair, I know — but O’Connor surpassed all of them.\u003c/p>\n\u003cp>If you’re looking for a book that proves the existence of Bigfoot, look elsewhere. If you want a book that’s all about discrediting evidence and making those who believe in Bigfoot look like mumbling fools wearing tinfoil hats, also look elsewhere. \u003cem>The Secret History of Bigfoot \u003c/em>is a smart, engaging, incredibly informative, hilarious, and wonderfully immersive journey not only into the history of Bigfoot in North America and the culture around but also a deep, honest, heartfelt look at the people who obsess about, the meaning of its myth’s lingering appeal, and the psychology behind it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>O’Connor, a journalist and self-diagnosed skeptic, is fascinated by Bigfoot, so he spent a year travelling around the country, talking to those who live for Sasquatch, and tracking Bigfoot in the untamed terrain of the Pacific Northwest. The book would’ve been interesting if O’Connor merely transcribed his interviews with those looking for Bigfoot. But his research and interviews also include psychologists and scientists — and he delves deep into everything from history and philosophy to politics and the flawed nature of memory. The result is one of the most compelling nonfiction books you’ll read this year.\u003c/p>\n\u003cp>[aside postid='arts_13896082']There are two elements that make this is fantastic read. The first is O’Connor’s voice. As knowledgeable as he is funny and as well-read as he is self-deprecating, O’Connor quickly turns into the perfect narrator for this adventure. His quest for understanding is powerful, and he presents every person in this book with the same gravitas. Yes, this is a hilarious narrative, but also a very serious and enlightening one in which O’Connor prefers to make fun of himself instead of making fun of others (except for folks who are convinced the election was stolen).\u003c/p>\n\u003cfigure id=\"attachment_13952046\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png\" alt=\"Cover of The Secret History of Bigfoot. Text over an image of trees.\" width=\"830\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-800x1172.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-768x1125.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Secret History of Bigfoot’ by John O’Connor. \u003ccite>(Sourcebooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second element is the breadth and scope of this book. This is about Bigfoot, about its history and the people trying to find him, but O’Connor somehow manages to take the discussion into unexpected places without ever straying far from the creature at the core of the narrative. Occam’s razor, Heisenberg’s uncertainty principle, the effects of unreliable witness accounts and racism in our legal system, pseudoscience and its appeal, “the magnetic tug of hidden things,” and “the considerable gap between perception and reality” are all part of this book. So are Fernando Pessoa, Henry David Thoreau, M.C. Escher, Joseph Campbell, the Appalachian Trail, the movies \u003cem>Harry and the Hendersons\u003c/em> and \u003cem>Predator,\u003c/em> Immanuel Kant, Martin Heidegger, and Dr. Jeff Meldrum, a full professor of anatomy and anthropology at Idaho State University who was always the voice of reason in many of those documentaries I used to watch. And those are only a few of the people, cultural products, and ideas in the book. O’Connor is brilliant in an engaging way. You’ll learn things reading this book, but you’ll never feel like he’s trying to teach you something or preaching about his own beliefs.\u003c/p>\n\u003cp>[aside postid='news_10708114']\u003cem>The Secret History of Bigfoot \u003c/em>is a wonderful book about one of the most ubiquitous myths in the U.S. and around the world: a wild man, a hairy beast stalking the woods, a magical creature that remains untouched by the mess we’ve made. It’s also a celebration of one of the weirdest subcultures we have and a narrative that fully embraces the fact that we sometimes need to believe in something that’s bigger and freer than us. Bigfoot, a large being stomping around in the woods, is all of that and more. He speaks to us of fear, sure, but also of magic and the wildness of nature. Bigfoot might be out there, but its presence is all over this book. Go look for it. I assure you it’s an amazing adventure you can embark on without leaving your house.\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=Is+Bigfoot+real%3F+A+new+book+dives+deep+into+the+legend&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>O’Connor, a journalist and self-diagnosed skeptic, is fascinated by Bigfoot, so he spent a year travelling around the country, talking to those who live for Sasquatch, and tracking Bigfoot in the untamed terrain of the Pacific Northwest. The book would’ve been interesting if O’Connor merely transcribed his interviews with those looking for Bigfoot. But his research and interviews also include psychologists and scientists — and he delves deep into everything from history and philosophy to politics and the flawed nature of memory. The result is one of the most compelling nonfiction books you’ll read this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are two elements that make this is fantastic read. The first is O’Connor’s voice. As knowledgeable as he is funny and as well-read as he is self-deprecating, O’Connor quickly turns into the perfect narrator for this adventure. His quest for understanding is powerful, and he presents every person in this book with the same gravitas. Yes, this is a hilarious narrative, but also a very serious and enlightening one in which O’Connor prefers to make fun of himself instead of making fun of others (except for folks who are convinced the election was stolen).\u003c/p>\n\u003cfigure id=\"attachment_13952046\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png\" alt=\"Cover of The Secret History of Bigfoot. Text over an image of trees.\" width=\"830\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-800x1172.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-768x1125.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Secret History of Bigfoot’ by John O’Connor. \u003ccite>(Sourcebooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second element is the breadth and scope of this book. This is about Bigfoot, about its history and the people trying to find him, but O’Connor somehow manages to take the discussion into unexpected places without ever straying far from the creature at the core of the narrative. Occam’s razor, Heisenberg’s uncertainty principle, the effects of unreliable witness accounts and racism in our legal system, pseudoscience and its appeal, “the magnetic tug of hidden things,” and “the considerable gap between perception and reality” are all part of this book. So are Fernando Pessoa, Henry David Thoreau, M.C. Escher, Joseph Campbell, the Appalachian Trail, the movies \u003cem>Harry and the Hendersons\u003c/em> and \u003cem>Predator,\u003c/em> Immanuel Kant, Martin Heidegger, and Dr. Jeff Meldrum, a full professor of anatomy and anthropology at Idaho State University who was always the voice of reason in many of those documentaries I used to watch. And those are only a few of the people, cultural products, and ideas in the book. O’Connor is brilliant in an engaging way. You’ll learn things reading this book, but you’ll never feel like he’s trying to teach you something or preaching about his own beliefs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Secret History of Bigfoot \u003c/em>is a wonderful book about one of the most ubiquitous myths in the U.S. and around the world: a wild man, a hairy beast stalking the woods, a magical creature that remains untouched by the mess we’ve made. It’s also a celebration of one of the weirdest subcultures we have and a narrative that fully embraces the fact that we sometimes need to believe in something that’s bigger and freer than us. Bigfoot, a large being stomping around in the woods, is all of that and more. He speaks to us of fear, sure, but also of magic and the wildness of nature. Bigfoot might be out there, but its presence is all over this book. Go look for it. I assure you it’s an amazing adventure you can embark on without leaving your house.\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=Is+Bigfoot+real%3F+A+new+book+dives+deep+into+the+legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>More than 100 million people in the United States are expected to watch the Super Bowl this weekend. Some will tune in for the football, others for \u003ca href=\"https://www.kqed.org/arts/13873945/the-weird-and-not-very-wonderful-history-of-the-super-bowl-halftime-show\">the half-time show\u003c/a> or the commercials, and some \u003ca href=\"https://www.kqed.org/arts/13951795/super-bowl-bay-area-taylor-swift-fans-travis-kelce-49ers\">just to see Taylor Swift\u003c/a>.\u003c/p>\n\u003cp>But there’s one thing \u003cem>most\u003c/em> people will do: Eat.\u003c/p>\n\u003cp>[aside postid='arts_13951795']Some restaurants have been preparing for this moment for months.\u003c/p>\n\u003cp>“We would talk to our meat vendor over the summer and ask them to freeze pallets of wings or at least pre-purchase for us at a certain, agreed-up on price,” says Marc Schechter, owner of \u003ca href=\"https://squarepieguys.com/\">Square Pie Guys\u003c/a> pizza in San Francisco — home of the 49s who face off against the Kansas City Chiefs on Sunday. “We were trying very early on to lock in a lower price.”\u003c/p>\n\u003cp>Schechter expects to go through a whole lot of wings this weekend, along with a couple thousand pounds of mozzarella cheese for his deep-dish pizzas. He and his team began battering wings on Thursday, days before the big game.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That planning will help, as fans are expected to splurge. Whether ordering out for pizza and wings or cooking up nachos at home, the average Super Bowl fan is expected to spend about $43 on food and drinks this Sunday, \u003ca href=\"https://www.circana.com/wp-content/uploads/2024/02/2024-Super-Bowl-Spend.pdf\">according to the market research firm Circana\u003c/a>. That’s 23% more than last year.\u003c/p>\n\u003cp>“It’s a celebration,” says Circana vice president Joan Driggs. “You’re going to do what you want to do. Maybe it’s your tradition. Maybe you’re adding a little something to the mix to spice it up. But people are going to go all in.”\u003c/p>\n\u003cp>It helps that wages are now outpacing inflation and food prices have moderated over the last year. Wings, in particular, are plentiful this season and prices have fallen for the second year in a row. \u003ca href=\"https://www.wellsfargo.com/com/insights/agri-food-intelligence/wells-fargo-reveals-top-pick-super-bowl/#:~:text=The%202024%20Super%20Bowl%20celebration,a%20touchdown%20in%20job%20growth.\">Research from Wells Fargo \u003c/a>shows fresh chicken wing prices have dropped about 5% from last year while the price of frozen wings has fallen about 11%.\u003c/p>\n\u003ch3>Kansas City restaurant expects brisk business for its hickory-smoked ribs and brisket\u003c/h3>\n\u003cp>Beef prices, on the other hand, continue to climb, as cattle ranchers slowly rebuild their herds after years of drought. That means Chiefs fans may have to pay more for a Kansas City strip steak or barbecued ribs.\u003c/p>\n\u003cp>Nevertheless, Gates Bar-B-Q in Kansas City expects to do a brisk take-out business this weekend.\u003c/p>\n\u003cp>“‘There’s so many people that are coming in from out of town for friends and family,” says Arzelia Gates, whose grandfather started the barbecue business almost 80 years ago. “We are very much a part of that.”\u003c/p>\n\u003cp>[aside postid='arts_13951768']Gates says even with elevated beef prices, customers are hungry for the restaurant’s hickory-smoked ribs and brisket.\u003c/p>\n\u003cp>“We use three stages so it gives you the tenderness of the meat,” she says. “And then we get that smoky flavor throughout.”\u003c/p>\n\u003cp>Although grocery prices are still high, they haven’t increased much in the past year — just 1.3% overall. And some foods, like shrimp, have actually gotten cheaper.\u003c/p>\n\u003cp>“Some people are going to get lucky this year,” says Michael Swanson, a food economist at Wells Fargo. “The people that love shrimp are lucky and the guys who have to have that burger are going to pay a little bit more.”\u003c/p>\n\u003cfigure id=\"attachment_13952029\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952029\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1369643597-376a83033e6763d50d4d923872a90e2d2380e079-scaled-e1707504593665.jpg\" alt=\"Avocados, cut in half.\" width=\"1920\" height=\"1439\">\u003cfigcaption class=\"wp-caption-text\">Grocery prices have risen just 1.3% over the last year, while wages have jumped more than three times as fast. \u003ccite>(Justin Sullivan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Beer and guacamole are ok, but chips and dip are more expensive\u003c/h3>\n\u003cp>Guacamole and beer prices are essentially flat — rising less than 1% over the last year. (This is one case where “flat” in connection with beer is a good thing.) But prices are still climbing for other Super Bowl staples such as chips and dip and especially soft drinks.\u003c/p>\n\u003cp>Soda prices have risen sharply since the beginning of the pandemic, which is partly the result of costly aluminum cans.\u003c/p>\n\u003cp>Super Bowl hosts “might want to think about those 2-liter bottles with some ice and some cups,” Swanson says. “They really save you a lot of money.”\u003c/p>\n\u003cp>[aside postid='arts_13873945']While savvy shoppers may try to save on some items, Swanson expects a lot of people to spend freely this Super Bowl. They’ve got money in their pockets, since wages have risen faster than food prices this past year. And there are 2.9 million more jobs now than there were a year ago.\u003c/p>\n\u003cp>“For all the issues that we have — and they’re real issues — people have to appreciate the fact that it’s going to be a blowout Super Bowl,” Swanson says. “Most people, when they have a job they’re going to spend money.”\u003c/p>\n\u003cp>Restaurant owners Schechter and Gates say it’s a super opportunity to eat, drink and celebrate, no matter which team you’re rooting for.\u003c/p>\n\u003cp>“Go ‘Niners,” Schechter says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Gates chimes in, “Go Chiefs.”\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=Good+thing%2C+wings+cost+less+and+beer%27s+flat%3A+Super+Bowl+fans+are+expected+to+splurge+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 100 million people in the United States are expected to watch the Super Bowl this weekend. Some will tune in for the football, others for \u003ca href=\"https://www.kqed.org/arts/13873945/the-weird-and-not-very-wonderful-history-of-the-super-bowl-halftime-show\">the half-time show\u003c/a> or the commercials, and some \u003ca href=\"https://www.kqed.org/arts/13951795/super-bowl-bay-area-taylor-swift-fans-travis-kelce-49ers\">just to see Taylor Swift\u003c/a>.\u003c/p>\n\u003cp>But there’s one thing \u003cem>most\u003c/em> people will do: Eat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some restaurants have been preparing for this moment for months.\u003c/p>\n\u003cp>“We would talk to our meat vendor over the summer and ask them to freeze pallets of wings or at least pre-purchase for us at a certain, agreed-up on price,” says Marc Schechter, owner of \u003ca href=\"https://squarepieguys.com/\">Square Pie Guys\u003c/a> pizza in San Francisco — home of the 49s who face off against the Kansas City Chiefs on Sunday. “We were trying very early on to lock in a lower price.”\u003c/p>\n\u003cp>Schechter expects to go through a whole lot of wings this weekend, along with a couple thousand pounds of mozzarella cheese for his deep-dish pizzas. He and his team began battering wings on Thursday, days before the big game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That planning will help, as fans are expected to splurge. Whether ordering out for pizza and wings or cooking up nachos at home, the average Super Bowl fan is expected to spend about $43 on food and drinks this Sunday, \u003ca href=\"https://www.circana.com/wp-content/uploads/2024/02/2024-Super-Bowl-Spend.pdf\">according to the market research firm Circana\u003c/a>. That’s 23% more than last year.\u003c/p>\n\u003cp>“It’s a celebration,” says Circana vice president Joan Driggs. “You’re going to do what you want to do. Maybe it’s your tradition. Maybe you’re adding a little something to the mix to spice it up. But people are going to go all in.”\u003c/p>\n\u003cp>It helps that wages are now outpacing inflation and food prices have moderated over the last year. Wings, in particular, are plentiful this season and prices have fallen for the second year in a row. \u003ca href=\"https://www.wellsfargo.com/com/insights/agri-food-intelligence/wells-fargo-reveals-top-pick-super-bowl/#:~:text=The%202024%20Super%20Bowl%20celebration,a%20touchdown%20in%20job%20growth.\">Research from Wells Fargo \u003c/a>shows fresh chicken wing prices have dropped about 5% from last year while the price of frozen wings has fallen about 11%.\u003c/p>\n\u003ch3>Kansas City restaurant expects brisk business for its hickory-smoked ribs and brisket\u003c/h3>\n\u003cp>Beef prices, on the other hand, continue to climb, as cattle ranchers slowly rebuild their herds after years of drought. That means Chiefs fans may have to pay more for a Kansas City strip steak or barbecued ribs.\u003c/p>\n\u003cp>Nevertheless, Gates Bar-B-Q in Kansas City expects to do a brisk take-out business this weekend.\u003c/p>\n\u003cp>“‘There’s so many people that are coming in from out of town for friends and family,” says Arzelia Gates, whose grandfather started the barbecue business almost 80 years ago. “We are very much a part of that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gates says even with elevated beef prices, customers are hungry for the restaurant’s hickory-smoked ribs and brisket.\u003c/p>\n\u003cp>“We use three stages so it gives you the tenderness of the meat,” she says. “And then we get that smoky flavor throughout.”\u003c/p>\n\u003cp>Although grocery prices are still high, they haven’t increased much in the past year — just 1.3% overall. And some foods, like shrimp, have actually gotten cheaper.\u003c/p>\n\u003cp>“Some people are going to get lucky this year,” says Michael Swanson, a food economist at Wells Fargo. “The people that love shrimp are lucky and the guys who have to have that burger are going to pay a little bit more.”\u003c/p>\n\u003cfigure id=\"attachment_13952029\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952029\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1369643597-376a83033e6763d50d4d923872a90e2d2380e079-scaled-e1707504593665.jpg\" alt=\"Avocados, cut in half.\" width=\"1920\" height=\"1439\">\u003cfigcaption class=\"wp-caption-text\">Grocery prices have risen just 1.3% over the last year, while wages have jumped more than three times as fast. \u003ccite>(Justin Sullivan/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Beer and guacamole are ok, but chips and dip are more expensive\u003c/h3>\n\u003cp>Guacamole and beer prices are essentially flat — rising less than 1% over the last year. (This is one case where “flat” in connection with beer is a good thing.) But prices are still climbing for other Super Bowl staples such as chips and dip and especially soft drinks.\u003c/p>\n\u003cp>Soda prices have risen sharply since the beginning of the pandemic, which is partly the result of costly aluminum cans.\u003c/p>\n\u003cp>Super Bowl hosts “might want to think about those 2-liter bottles with some ice and some cups,” Swanson says. “They really save you a lot of money.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While savvy shoppers may try to save on some items, Swanson expects a lot of people to spend freely this Super Bowl. They’ve got money in their pockets, since wages have risen faster than food prices this past year. And there are 2.9 million more jobs now than there were a year ago.\u003c/p>\n\u003cp>“For all the issues that we have — and they’re real issues — people have to appreciate the fact that it’s going to be a blowout Super Bowl,” Swanson says. “Most people, when they have a job they’re going to spend money.”\u003c/p>\n\u003cp>Restaurant owners Schechter and Gates say it’s a super opportunity to eat, drink and celebrate, no matter which team you’re rooting for.\u003c/p>\n\u003cp>“Go ‘Niners,” Schechter says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Gates chimes in, “Go Chiefs.”\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=Good+thing%2C+wings+cost+less+and+beer%27s+flat%3A+Super+Bowl+fans+are+expected+to+splurge+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>His hair is like a hedgehog, his feet are bare, his clothes are rags and his back is to the world always. His name is Handala.\u003c/p>\n\u003cp>A character created by Palestinian newspaper cartoonist Naji al-Ali in 1969 — two years after the \u003ca href=\"https://www.npr.org/series/10738897/the-six-day-war-40-years-on\">1967 Arab-Israeli war\u003c/a> — the boy known as Handala is a symbol of the Palestinian struggle and resistance to occupation to this day.\u003c/p>\n\u003cp>[aside postid='arts_13940282']As the \u003ca href=\"https://www.kqed.org/news/11972402/san-francisco-becomes-largest-city-in-u-s-to-approve-cease-fire-resolution\">Israel-Hamas war rages on in Gaza\u003c/a>, there has been renewed interest in Handala and what he represents. For instance, a group of artists in Italy recently banded together to create a poster that pays tribute to Handala.\u003c/p>\n\u003cp>An Italian publishing house asked artists to send in their work — with one rule: All the figures had to be drawn with their backs to the reader, like Handala.\u003c/p>\n\u003cp>With the 80 submissions it received, the publishing house created a poster \u003ca href=\"https://www.erisedizioni.org/ebook/Handala-1.pdf\">that is available online\u003c/a> and has been circulating widely on social media over the past few months. There is a monster, a mouse and a two-headed person, all with their backs to the reader.\u003c/p>\n\u003cfigure id=\"attachment_13951634\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg\" alt=\"\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1020x1514.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-768x1140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">In Italy, publishing house Eris Edizioni solicited contributions from artists to reimagine Handala and created a poster. It reads: “Without flags and united for Handala / To ask for an immediate cease-fire.” \u003ccite>(Anna Matilde Sali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In solidarity, a \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/viewhttps://ssl.form-mailer.jp/fms/1ca67e6f809306\">group of artists in Japan\u003c/a> created \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/view\">its own poster\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a history of who Handala and his creator are.\u003c/p>\n\u003ch3>Who is Handala?\u003c/h3>\n\u003cp>Handala is forever 10 years old — the age that Ali was when his family was forced to move during the mass displacement of Palestinians in 1948 when the state of Israel was formed. Palestinians and their supporters refer to that displacement as the \u003ca href=\"https://www.npr.org/2023/05/15/1176097958/un-nakba-day-explained-anniversary-palestine-israel\">Nakba\u003c/a>, or Arabic for “catastrophe.”\u003c/p>\n\u003cp>Ali’s refugee boy character shares his name with a resilient, bitter plant that grows in the Middle East called \u003cem>handal\u003c/em>. It has deep roots and will always grow back even if it’s weeded out.\u003c/p>\n\u003cp>[aside postid='arts_13937170']“This character represents insurgency, refusal and struggle,” says Egyptian columnist Nadi Hafez of \u003ca href=\"https://www.alqabas.com/\">\u003cem>al-Qabas\u003c/em> newspaper\u003c/a>, where Ali worked for a long time. “And it satirizes the politics around the Palestinian cause, or the politics of the Arab world, or indeed international politics when it comes to the Palestinian cause.”\u003c/p>\n\u003cp>Handala didn’t turn his back to the reader until 1973, after the Yom Kippur War, when a coalition of Arab countries led by Egypt and Syria fought Israel in October of that year. At the time, there was a push by countries including the U.S. for a settlement of the conflict. By turning Handala’s back to the world, Ali was expressing his rejection of solutions from foreign nations imposed on Palestinians.\u003c/p>\n\u003cp>“The overpowering image is Handala silently watching things going on,” says cartoonist and journalist Joe Sacco, \u003ca href=\"https://www.npr.org/2024/01/18/1225003548/joe-sacco-palestine-gaza-comics-journalism\">author of the graphic novel \u003cem>Palestine\u003c/em>\u003c/a>. “He is silent, but he is observing, and it is clear to the reader that he is knowing, he knows what’s going on. He knows there is hypocrisy.”\u003c/p>\n\u003cfigure id=\"attachment_13951636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-scaled-e1707237141692.jpg\" alt=\"Three images. A cartoon of a two figures with their backs turned, one a small boy, one a girl wearing a hijab. A mural of a small boy holding up a large slice of watermelon. A photo of a leg tattoo featuring a small boy with his back turned.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Just a few of the Handala interpretations that have been circulating on social media. \u003ccite>((L): Instagram @yesimhotinthis; (C) Roots/ Pali Graffiti Art/ Instagram @bodez.art; (R) Instagram @sensualputty, @malamiastudio, Calle Loiza.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During times of upheaval between Israel and Palestinians, Ali sometimes showed Handala engaged in activities that signify resistance, like throwing rocks, although there has been criticism of the way he depicted Israeli soldiers.\u003c/p>\n\u003cp>“The rights of resistance are understood, and when that is expressed through Handala, I think that is just a sign of incredible frustration about diplomacy, peace talks that generally lead nowhere,” Sacco says.\u003c/p>\n\u003ch3>Who was Naji al-Ali, Handala’s creator?\u003c/h3>\n\u003cp>Born in 1938 in the Palestinian village of al-Shajara in Galilee in what is now northern Israel, Naji al-Ali drew more than \u003ca href=\"https://www.versobooks.com/blogs/authors/al-ali-naji\">40,000 cartoons\u003c/a> during his career and was equally critical of Israeli and Arab governments.\u003c/p>\n\u003cp>[aside postid='arts_13937219']Ali was a pan-Arab nationalist and was jailed many times for his anti-government activism.\u003c/p>\n\u003cp>He spent much of his career in Kuwait, where he worked for \u003ca href=\"https://alseyassah.com/\">\u003cem>al-Seyassah\u003c/em>\u003c/a> newspaper and then at \u003cem>al-Qabas\u003c/em> newspaper.\u003c/p>\n\u003cp>Ali was killed in 1987, shot by unknown assailants outside \u003cem>al-Qabas\u003c/em>‘ office in London.\u003c/p>\n\u003cp>London’s Metropolitan Police reopened the case in 2017, but the murder remains unsolved.\u003c/p>\n\u003ch3>Why Handala continues to be relevant\u003c/h3>\n\u003cp>Handala’s image is popular in street art and graffiti, especially on the \u003ca href=\"https://www.researchgate.net/figure/Matthew-DeMaio-Handala-and-the-Statue-of-Liberty-Bethlehem-Wall-Courtesy-of-the_fig3_273087602\">Israeli-built barrier\u003c/a> that separates Israel from the West Bank.\u003c/p>\n\u003cfigure id=\"attachment_13951632\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1832021163_custom-be0af48d1e51b10b3376a4f77af6daf0b7a3cf40-scaled-e1707237482476.jpg\" alt=\"A young man walks past a graffiti image of a young boy with his back turned.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">A man walks near a mural of Handala in the village of al-Fara, in the occupied West Bank, following an Israeli raid on Dec. 8, 2023. \u003ccite>(Zain Jaafar/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Handala was the perfect embodiment of dispossession,” Sacco says. “Handala became the symbol for the poor and all those [ordinary] Arabs who were being shafted by their own elite, and by the West, and by Israel.”\u003c/p>\n\u003cp>Hafez, the Egyptian columnist who knew Ali, says that Handala remains important in this moment during the war.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Handala is the character that the artist Naji al-Ali has made immortal in the human consciousness,” he says.\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=Who+is+Handala%2C+the+barefoot%2C+spiky-haired+boy+who+symbolizes+Palestinian+resistance%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>His hair is like a hedgehog, his feet are bare, his clothes are rags and his back is to the world always. His name is Handala.\u003c/p>\n\u003cp>A character created by Palestinian newspaper cartoonist Naji al-Ali in 1969 — two years after the \u003ca href=\"https://www.npr.org/series/10738897/the-six-day-war-40-years-on\">1967 Arab-Israeli war\u003c/a> — the boy known as Handala is a symbol of the Palestinian struggle and resistance to occupation to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the \u003ca href=\"https://www.kqed.org/news/11972402/san-francisco-becomes-largest-city-in-u-s-to-approve-cease-fire-resolution\">Israel-Hamas war rages on in Gaza\u003c/a>, there has been renewed interest in Handala and what he represents. For instance, a group of artists in Italy recently banded together to create a poster that pays tribute to Handala.\u003c/p>\n\u003cp>An Italian publishing house asked artists to send in their work — with one rule: All the figures had to be drawn with their backs to the reader, like Handala.\u003c/p>\n\u003cp>With the 80 submissions it received, the publishing house created a poster \u003ca href=\"https://www.erisedizioni.org/ebook/Handala-1.pdf\">that is available online\u003c/a> and has been circulating widely on social media over the past few months. There is a monster, a mouse and a two-headed person, all with their backs to the reader.\u003c/p>\n\u003cfigure id=\"attachment_13951634\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg\" alt=\"\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1020x1514.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-768x1140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">In Italy, publishing house Eris Edizioni solicited contributions from artists to reimagine Handala and created a poster. It reads: “Without flags and united for Handala / To ask for an immediate cease-fire.” \u003ccite>(Anna Matilde Sali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In solidarity, a \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/viewhttps://ssl.form-mailer.jp/fms/1ca67e6f809306\">group of artists in Japan\u003c/a> created \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/view\">its own poster\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s a history of who Handala and his creator are.\u003c/p>\n\u003ch3>Who is Handala?\u003c/h3>\n\u003cp>Handala is forever 10 years old — the age that Ali was when his family was forced to move during the mass displacement of Palestinians in 1948 when the state of Israel was formed. Palestinians and their supporters refer to that displacement as the \u003ca href=\"https://www.npr.org/2023/05/15/1176097958/un-nakba-day-explained-anniversary-palestine-israel\">Nakba\u003c/a>, or Arabic for “catastrophe.”\u003c/p>\n\u003cp>Ali’s refugee boy character shares his name with a resilient, bitter plant that grows in the Middle East called \u003cem>handal\u003c/em>. It has deep roots and will always grow back even if it’s weeded out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This character represents insurgency, refusal and struggle,” says Egyptian columnist Nadi Hafez of \u003ca href=\"https://www.alqabas.com/\">\u003cem>al-Qabas\u003c/em> newspaper\u003c/a>, where Ali worked for a long time. “And it satirizes the politics around the Palestinian cause, or the politics of the Arab world, or indeed international politics when it comes to the Palestinian cause.”\u003c/p>\n\u003cp>Handala didn’t turn his back to the reader until 1973, after the Yom Kippur War, when a coalition of Arab countries led by Egypt and Syria fought Israel in October of that year. At the time, there was a push by countries including the U.S. for a settlement of the conflict. By turning Handala’s back to the world, Ali was expressing his rejection of solutions from foreign nations imposed on Palestinians.\u003c/p>\n\u003cp>“The overpowering image is Handala silently watching things going on,” says cartoonist and journalist Joe Sacco, \u003ca href=\"https://www.npr.org/2024/01/18/1225003548/joe-sacco-palestine-gaza-comics-journalism\">author of the graphic novel \u003cem>Palestine\u003c/em>\u003c/a>. “He is silent, but he is observing, and it is clear to the reader that he is knowing, he knows what’s going on. He knows there is hypocrisy.”\u003c/p>\n\u003cfigure id=\"attachment_13951636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-scaled-e1707237141692.jpg\" alt=\"Three images. A cartoon of a two figures with their backs turned, one a small boy, one a girl wearing a hijab. A mural of a small boy holding up a large slice of watermelon. A photo of a leg tattoo featuring a small boy with his back turned.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Just a few of the Handala interpretations that have been circulating on social media. \u003ccite>((L): Instagram @yesimhotinthis; (C) Roots/ Pali Graffiti Art/ Instagram @bodez.art; (R) Instagram @sensualputty, @malamiastudio, Calle Loiza.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During times of upheaval between Israel and Palestinians, Ali sometimes showed Handala engaged in activities that signify resistance, like throwing rocks, although there has been criticism of the way he depicted Israeli soldiers.\u003c/p>\n\u003cp>“The rights of resistance are understood, and when that is expressed through Handala, I think that is just a sign of incredible frustration about diplomacy, peace talks that generally lead nowhere,” Sacco says.\u003c/p>\n\u003ch3>Who was Naji al-Ali, Handala’s creator?\u003c/h3>\n\u003cp>Born in 1938 in the Palestinian village of al-Shajara in Galilee in what is now northern Israel, Naji al-Ali drew more than \u003ca href=\"https://www.versobooks.com/blogs/authors/al-ali-naji\">40,000 cartoons\u003c/a> during his career and was equally critical of Israeli and Arab governments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ali was a pan-Arab nationalist and was jailed many times for his anti-government activism.\u003c/p>\n\u003cp>He spent much of his career in Kuwait, where he worked for \u003ca href=\"https://alseyassah.com/\">\u003cem>al-Seyassah\u003c/em>\u003c/a> newspaper and then at \u003cem>al-Qabas\u003c/em> newspaper.\u003c/p>\n\u003cp>Ali was killed in 1987, shot by unknown assailants outside \u003cem>al-Qabas\u003c/em>‘ office in London.\u003c/p>\n\u003cp>London’s Metropolitan Police reopened the case in 2017, but the murder remains unsolved.\u003c/p>\n\u003ch3>Why Handala continues to be relevant\u003c/h3>\n\u003cp>Handala’s image is popular in street art and graffiti, especially on the \u003ca href=\"https://www.researchgate.net/figure/Matthew-DeMaio-Handala-and-the-Statue-of-Liberty-Bethlehem-Wall-Courtesy-of-the_fig3_273087602\">Israeli-built barrier\u003c/a> that separates Israel from the West Bank.\u003c/p>\n\u003cfigure id=\"attachment_13951632\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1832021163_custom-be0af48d1e51b10b3376a4f77af6daf0b7a3cf40-scaled-e1707237482476.jpg\" alt=\"A young man walks past a graffiti image of a young boy with his back turned.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">A man walks near a mural of Handala in the village of al-Fara, in the occupied West Bank, following an Israeli raid on Dec. 8, 2023. \u003ccite>(Zain Jaafar/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Handala was the perfect embodiment of dispossession,” Sacco says. “Handala became the symbol for the poor and all those [ordinary] Arabs who were being shafted by their own elite, and by the West, and by Israel.”\u003c/p>\n\u003cp>Hafez, the Egyptian columnist who knew Ali, says that Handala remains important in this moment during the war.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Handala is the character that the artist Naji al-Ali has made immortal in the human consciousness,” he says.\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=Who+is+Handala%2C+the+barefoot%2C+spiky-haired+boy+who+symbolizes+Palestinian+resistance%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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