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"content": "\u003cfigure id=\"attachment_13935779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935779\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788.jpg\" alt=\"A woman on stage stands under an enormous screen depicting a doll clutching a tambourine. The doll is wearing a black dress and boots and has its arms raised upwards with long flowing black chiffon hanging down from them. The doll stands before a dramatic red curtain and has a guitar by its side.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-1712583958-e15db7ff42fe5b4a41c8171d5bdc8db466b4bf42-scaled-e1696355935788-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Nicks stands under an image of her new Barbie doll during a concert at New York City’s Madison Square Garden. \u003ccite>(Jamie McCarthy/ Getty Images for ABA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This Barbie is known for her bewitching voice and sense of style, particularly her love of shawls. She’s topped charts for decades, both as a band member and a solo artist. And she’s the first woman to have been inducted into the Rock & Roll Hall of fame twice.\u003c/p>\n\u003cp>Yep, she’s Stevie Nicks.\u003c/p>\n\u003cp>The Fleetwood Mac singer is the \u003ca href=\"https://www.billboard.com/music/music-news/tina-turner-barbie-where-to-buy-1235155679/\">latest icon\u003c/a> to have her likeness celebrated in doll form as part of Mattel’s Barbie series of famous musicians, along with Tina Turner, Gloria Estefan, David Bowie and Elvis Presley. It will be officially released in November.\u003c/p>\n\u003cp>https://www.instagram.com/reel/Cx5wVddxnhO/\u003c/p>\n\u003cp>Mattel says it designed the doll in honor of Nicks’ 75th birthday, which was in May. It was inspired by her outfit on the cover of the 1977 album \u003cem>Rumours\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The doll has recognizable blond bangs and smoky eye shadow, wears a flowy-sleeved black dress, platform boots and moon-shaped pendant and holds a tambourine cascading with ribbons.\u003c/p>\n\u003cp>[aside postid='pop_8404']Nicks is known for her flared, fringed all-black ensembles, a look she’s been honing since the 1970s. She told \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/10/02/barbie-stevie-nicks-interview-fleetwood-mac-fashion-missing-christine-mcvie/70964361007/\">\u003cem>USA Today\u003c/em>\u003c/a> that after her first Fleetwood Mac tour she contacted a designer, Margi Kent, and drew her a stick figure wearing a handkerchief skirt and platform boots.\u003c/p>\n\u003cp>“I said to her, ‘Margi, I want to wear this when I’m 60 because I know I’ll be on stage when I’m 60,’ even though I’d been in Fleetwood Mac all of eight months, and she said, ‘OK,’ and I went back in a week and by the time we did \u003cem>Rumours\u003c/em> I had my beautiful black outfit,” Nicks recalled.\u003c/p>\n\u003cp>More than a dozen albums, tours and Grammy nominations later, that ever-iconic ensemble is now immortalized in Barbie form.\u003c/p>\n\u003cp>Nicks \u003ca href=\"https://x.com/StevieNicks/status/1708695303392555195?s=20\">said in a tweet \u003c/a>that she was overwhelmed when Mattel first approached her with the idea of a \u003cem>Rumours\u003c/em> Barbie: “Would she look like me? Would she have my spirit? Would she have my heart?” The final product, she said, absolutely does.\u003c/p>\n\u003cp>https://twitter.com/StevieNicks/status/1708695303392555195\u003c/p>\n\u003cp>“When I look at her, I see my 27 year old self~ All the memories of walking out on a big stage in that black outfit and those gorgeous boots come rushing back~ and then I see myself now in her face,” Nicks wrote. “What we have been through since 1975~ the battles we have fought, the lessons we have learned~ together. I am her and she is me.”\u003c/p>\n\u003cp>[aside postid='arts_13933011']Nicks — who \u003ca href=\"https://variety.com/2023/music/news/stevie-nicks-2024-tour-dates-live-in-concert-1235734701/\">just extended\u003c/a> her current North America tour into next year — officially introduced \u003ca href=\"https://www.instagram.com/p/Cx4WrsvNC34/\">“Stevie Barbie”\u003c/a> on stage at New York’s Madison Square Garden on Sunday night.\u003c/p>\n\u003cp>“I hope you all love her as much as I do,” she said, holding up the figurine as the crowd cheered.\u003c/p>\n\u003cp>And it seems people do. The $55 doll sold out \u003ca href=\"https://creations.mattel.com/products/barbie-music-series-stevie-nicks-doll-hmv00\">on Mattel’s website\u003c/a> within hours of its preorder release on Monday, and quickly emerged on resale markets at \u003ca href=\"https://x.com/resellnews/status/1708906354813931763?s=20\">almost twice the price\u003c/a>.\u003c/p>\n\u003ch3>For Nicks, the ’70s-era doll represents a lifetime of memories\u003c/h3>\n\u003cfigure id=\"attachment_13935780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279.jpg\" alt=\"A young woman with shaggy blonde hair stands on stage, head turned to one side, waving her arms aloft, black chiffon material flowing down from her hands and wrists.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicks — in her signature black outfit and flowing sleeves — performs with Fleetwood Mac in May 1977. \u003ccite>(Michael Ochs Archives/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicks, a longtime \u003ca href=\"https://people.com/stevie-nicks-barbie-mattel-releases-doll-inspired-by-the-singer-7975557\">baby doll collector\u003c/a>, played an active role in designing her Barbie.\u003c/p>\n\u003cp>She \u003ca href=\"https://www.today.com/popculture/music/stevie-nicks-barbie-taylor-swift-retirement-plans-rcna117449\">told TODAY\u003c/a> that after Mattel contacted her in March, she sent them her original \u003cem>Rumours\u003c/em> dress, straight from the vault. Instead of the ballet shoes she wore on the cover, she sent them a pair of suede boots, but didn’t expect to see them on the doll because “that would be way too hard.”\u003c/p>\n\u003cp>“If you can copy these boots with a little, teeny tiny platform, you can get it,” she recalls telling the company.\u003c/p>\n\u003cp>When Mattel sent back the prototype a few months later, Nicks said, she couldn’t stop staring at the boots: “I was like, ‘Oh my God, these are real.’”\u003c/p>\n\u003cp>She did have a few suggestions, like making the doll’s teeth visible and eye shadow higher. The second version came back in June.\u003c/p>\n\u003cp>[aside postid='arts_13931753']“I opened her up and I went, ‘She’s just perfect,’ ” Nicks \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/10/02/barbie-stevie-nicks-interview-fleetwood-mac-fashion-missing-christine-mcvie/70964361007/\">told \u003cem>USA Today\u003c/em>\u003c/a>. “This little Barbie is so precious and they helped her have my soul. If nobody else in the world got her but me, I’d almost be OK with that.”\u003c/p>\n\u003cp>Nicks says the doll is meaningful because it’s not just a collectible, but a collection of all her life’s experiences.\u003c/p>\n\u003cp>She compared it to a dream catcher, \u003ca href=\"https://people.com/stevie-nicks-barbie-mattel-releases-doll-inspired-by-the-singer-7975557\">\u003cem>telling People\u003c/em>\u003c/a>, “she catches all the memories and dreams, holds them in her hands and shows them to you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I see everything in her,” she added. “When I look at her, it’s like she’s my whole life from beginning to now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit NPR\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=There%27s+now+a+Stevie+Nicks-themed+Barbie.+And+wouldn%27t+you+love+to+love+her%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mattel says it designed the doll in honor of Nicks’ 75th birthday, which was in May. It was inspired by her outfit on the cover of the 1977 album \u003cem>Rumours\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The doll has recognizable blond bangs and smoky eye shadow, wears a flowy-sleeved black dress, platform boots and moon-shaped pendant and holds a tambourine cascading with ribbons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nicks is known for her flared, fringed all-black ensembles, a look she’s been honing since the 1970s. She told \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/10/02/barbie-stevie-nicks-interview-fleetwood-mac-fashion-missing-christine-mcvie/70964361007/\">\u003cem>USA Today\u003c/em>\u003c/a> that after her first Fleetwood Mac tour she contacted a designer, Margi Kent, and drew her a stick figure wearing a handkerchief skirt and platform boots.\u003c/p>\n\u003cp>“I said to her, ‘Margi, I want to wear this when I’m 60 because I know I’ll be on stage when I’m 60,’ even though I’d been in Fleetwood Mac all of eight months, and she said, ‘OK,’ and I went back in a week and by the time we did \u003cem>Rumours\u003c/em> I had my beautiful black outfit,” Nicks recalled.\u003c/p>\n\u003cp>More than a dozen albums, tours and Grammy nominations later, that ever-iconic ensemble is now immortalized in Barbie form.\u003c/p>\n\u003cp>Nicks \u003ca href=\"https://x.com/StevieNicks/status/1708695303392555195?s=20\">said in a tweet \u003c/a>that she was overwhelmed when Mattel first approached her with the idea of a \u003cem>Rumours\u003c/em> Barbie: “Would she look like me? Would she have my spirit? Would she have my heart?” The final product, she said, absolutely does.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“When I look at her, I see my 27 year old self~ All the memories of walking out on a big stage in that black outfit and those gorgeous boots come rushing back~ and then I see myself now in her face,” Nicks wrote. “What we have been through since 1975~ the battles we have fought, the lessons we have learned~ together. I am her and she is me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nicks — who \u003ca href=\"https://variety.com/2023/music/news/stevie-nicks-2024-tour-dates-live-in-concert-1235734701/\">just extended\u003c/a> her current North America tour into next year — officially introduced \u003ca href=\"https://www.instagram.com/p/Cx4WrsvNC34/\">“Stevie Barbie”\u003c/a> on stage at New York’s Madison Square Garden on Sunday night.\u003c/p>\n\u003cp>“I hope you all love her as much as I do,” she said, holding up the figurine as the crowd cheered.\u003c/p>\n\u003cp>And it seems people do. The $55 doll sold out \u003ca href=\"https://creations.mattel.com/products/barbie-music-series-stevie-nicks-doll-hmv00\">on Mattel’s website\u003c/a> within hours of its preorder release on Monday, and quickly emerged on resale markets at \u003ca href=\"https://x.com/resellnews/status/1708906354813931763?s=20\">almost twice the price\u003c/a>.\u003c/p>\n\u003ch3>For Nicks, the ’70s-era doll represents a lifetime of memories\u003c/h3>\n\u003cfigure id=\"attachment_13935780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935780\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279.jpg\" alt=\"A young woman with shaggy blonde hair stands on stage, head turned to one side, waving her arms aloft, black chiffon material flowing down from her hands and wrists.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gettyimages-76055890-95016d8e922cd390bc3b3bcf37531a1ca034a373-scaled-e1696355151279-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicks — in her signature black outfit and flowing sleeves — performs with Fleetwood Mac in May 1977. \u003ccite>(Michael Ochs Archives/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicks, a longtime \u003ca href=\"https://people.com/stevie-nicks-barbie-mattel-releases-doll-inspired-by-the-singer-7975557\">baby doll collector\u003c/a>, played an active role in designing her Barbie.\u003c/p>\n\u003cp>She \u003ca href=\"https://www.today.com/popculture/music/stevie-nicks-barbie-taylor-swift-retirement-plans-rcna117449\">told TODAY\u003c/a> that after Mattel contacted her in March, she sent them her original \u003cem>Rumours\u003c/em> dress, straight from the vault. Instead of the ballet shoes she wore on the cover, she sent them a pair of suede boots, but didn’t expect to see them on the doll because “that would be way too hard.”\u003c/p>\n\u003cp>“If you can copy these boots with a little, teeny tiny platform, you can get it,” she recalls telling the company.\u003c/p>\n\u003cp>When Mattel sent back the prototype a few months later, Nicks said, she couldn’t stop staring at the boots: “I was like, ‘Oh my God, these are real.’”\u003c/p>\n\u003cp>She did have a few suggestions, like making the doll’s teeth visible and eye shadow higher. The second version came back in June.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I opened her up and I went, ‘She’s just perfect,’ ” Nicks \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/10/02/barbie-stevie-nicks-interview-fleetwood-mac-fashion-missing-christine-mcvie/70964361007/\">told \u003cem>USA Today\u003c/em>\u003c/a>. “This little Barbie is so precious and they helped her have my soul. If nobody else in the world got her but me, I’d almost be OK with that.”\u003c/p>\n\u003cp>Nicks says the doll is meaningful because it’s not just a collectible, but a collection of all her life’s experiences.\u003c/p>\n\u003cp>She compared it to a dream catcher, \u003ca href=\"https://people.com/stevie-nicks-barbie-mattel-releases-doll-inspired-by-the-singer-7975557\">\u003cem>telling People\u003c/em>\u003c/a>, “she catches all the memories and dreams, holds them in her hands and shows them to you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I see everything in her,” she added. “When I look at her, it’s like she’s my whole life from beginning to now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit NPR\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=There%27s+now+a+Stevie+Nicks-themed+Barbie.+And+wouldn%27t+you+love+to+love+her%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony",
"headTitle": "Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony | KQED",
"content": "\u003cp>The \u003ca href=\"https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan\">use of AI\u003c/a> in Hollywood has been one of the most contentious issues in the writers and actors \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\">strikes\u003c/a>, and the industry’s anxiety about the subject isn’t going away anytime soon. Some of that anxiety has already started to register on-screen. A mysterious robotic entity was the big villain in the \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">most recent \u003c/a>\u003cem>Mission: Impossible\u003c/em> film, and AI is also central to the ambitious but muddled new science-fiction drama \u003cem>The Creator\u003c/em>.\u003c/p>\n\u003cp>Set decades into the future, the movie begins with a prologue charting the rise of artificial intelligence. Here it’s represented as a race of humanoid robots that in time become powerful enough to detonate a nuclear weapon and wipe out the entire city of Los Angeles.\u003c/p>\n\u003cp>[aside postid='arts_13935443']As a longtime LA resident who’s seen his city destroyed in countless films before this one, I couldn’t help but watch this latest cataclysm with a chuckle and a shrug. It’s just part of the setup in a story that patches together numerous ideas from earlier, better movies. After the destruction of LA, we learn, the U.S. declared war on AI and hunted the robots to near-extinction; the few that still remain are hiding out in what is now known as New Asia.\u003c/p>\n\u003cp>The director Gareth Edwards, who wrote the script with Chris Weitz, has cited \u003cem>Blade Runner\u003c/em> and \u003cem>Apocalypse Now\u003c/em> as major influences. And indeed, there’s something queasy and heavy-handed about the way Edwards evokes the Vietnam War with images of American soldiers terrorizing the poor Asian villagers whom they suspect of sheltering robots.\u003c/p>\n\u003cp>The protagonist is a world-weary ex-special-forces operative named Joshua Taylor, played by \u003ca href=\"https://www.npr.org/2018/08/11/637811979/i-wasn-t-sure-if-it-was-true-john-david-washington-on-the-blackkklansman-story\">John David Washington\u003c/a>. He’s reluctantly joined the mission to help destroy an AI superweapon said to be capable of wiping out humanity for good. Amid the battle that ensues, Joshua manages to track down the weapon, which — in a twist that echoes earlier sci-fi classics like \u003cem>Akira \u003c/em>and \u003cem>A.I. —\u003c/em> turns out to be a pensive young robot child, played by the excellent newcomer Madeleine Yuna Voyles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joshua’s superior, played by \u003ca href=\"https://www.npr.org/2014/08/04/337371399/allison-janney-on-sex-sorkin-and-being-the-tallest-woman-in-the-room\">Allison Janney\u003c/a>, tells him to kill the robot child, but he doesn’t. Instead, he goes rogue and on the run with the child, whom he calls Alpha, or Alphie. Washington doesn’t have much range or screen presence, but he and Voyles do generate enough chemistry to make you forget you’re watching yet another man tag-teaming with a young girl — a trope familiar from movies as different as \u003cem>Paper Moon \u003c/em>and \u003cem>Léon: The Professional\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ex3C1-5Dhb8\u003c/p>\n\u003cp>Joshua’s betrayal is partly motivated by his grief over his long-lost love, a human woman named Maya who allied herself with the robots; she’s played by an underused Gemma Chan. One of the more bothersome aspects of \u003cem>The Creator\u003c/em> is the way it reflexively equates Asians with advanced technology; it’s the latest troubling example of “techno-orientalism,” a cultural concept that has spurred a million \u003cem>Blade Runner \u003c/em>term papers.\u003c/p>\n\u003cp>[aside postid='arts_13935225']In recycling so many spare parts, Edwards, best known for directing the \u003cem>Star Wars\u003c/em> prequel \u003ca href=\"https://www.npr.org/2016/12/15/504850324/rogue-one-is-a-star-wars-story-with-fewer-stars-and-a-lot-more-wars\">\u003cem>Rogue One\u003c/em>\u003c/a>, is clearly trying to tap into our memories of great Hollywood spectacles past. To his credit, he wants to give us the kind of philosophically weighty, visually immersive science-fiction blockbuster that the studios rarely attempt anymore. The most impressive aspect of \u003cem>The Creator\u003c/em> is its world building; much of the movie was shot on location in different Asian countries, and its mix of real places and futuristic design elements feels more plausible and grounded than it would have if it had been rendered exclusively in CGI.\u003c/p>\n\u003cp>But even the most strikingly beautiful images — like the one of high-tech laser beams shimmering over a beach at sunset — are tethered to a story and characters that never take on a life of their own. Not even the great\u003ca href=\"https://www.npr.org/2022/04/10/1091927653/ken-watanabe-stars-in-the-new-crime-show-tokyo-vice\"> Ken Watanabe\u003c/a> can breathe much life into his role as a stern robo-warrior who does his part to help Joshua and Alphie on their journey.\u003c/p>\n\u003cfigure id=\"attachment_13935510\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe\" alt=\"A Black man stands before a bridge at sundown. He is wearing a heavy wool coat.\" width=\"1300\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-768x431.jpe 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">John David Washington plays Joshua Taylor, a world-weary ex-special-forces operative.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the end, Edwards mounts a sincere but soggy plea for human-robot harmony, arguing that AI isn’t quite the malicious threat it might seem. That’s a sweet enough sentiment, though it’s also one of many reasons I left \u003cem>The Creator\u003c/em> asking myself: Did an AI write this?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Did+AI+write+this+film%3F+%27The+Creator%27+offers+a+muddled+plea+for+human-robot+harmony+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan\">use of AI\u003c/a> in Hollywood has been one of the most contentious issues in the writers and actors \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\">strikes\u003c/a>, and the industry’s anxiety about the subject isn’t going away anytime soon. Some of that anxiety has already started to register on-screen. A mysterious robotic entity was the big villain in the \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">most recent \u003c/a>\u003cem>Mission: Impossible\u003c/em> film, and AI is also central to the ambitious but muddled new science-fiction drama \u003cem>The Creator\u003c/em>.\u003c/p>\n\u003cp>Set decades into the future, the movie begins with a prologue charting the rise of artificial intelligence. Here it’s represented as a race of humanoid robots that in time become powerful enough to detonate a nuclear weapon and wipe out the entire city of Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a longtime LA resident who’s seen his city destroyed in countless films before this one, I couldn’t help but watch this latest cataclysm with a chuckle and a shrug. It’s just part of the setup in a story that patches together numerous ideas from earlier, better movies. After the destruction of LA, we learn, the U.S. declared war on AI and hunted the robots to near-extinction; the few that still remain are hiding out in what is now known as New Asia.\u003c/p>\n\u003cp>The director Gareth Edwards, who wrote the script with Chris Weitz, has cited \u003cem>Blade Runner\u003c/em> and \u003cem>Apocalypse Now\u003c/em> as major influences. And indeed, there’s something queasy and heavy-handed about the way Edwards evokes the Vietnam War with images of American soldiers terrorizing the poor Asian villagers whom they suspect of sheltering robots.\u003c/p>\n\u003cp>The protagonist is a world-weary ex-special-forces operative named Joshua Taylor, played by \u003ca href=\"https://www.npr.org/2018/08/11/637811979/i-wasn-t-sure-if-it-was-true-john-david-washington-on-the-blackkklansman-story\">John David Washington\u003c/a>. He’s reluctantly joined the mission to help destroy an AI superweapon said to be capable of wiping out humanity for good. Amid the battle that ensues, Joshua manages to track down the weapon, which — in a twist that echoes earlier sci-fi classics like \u003cem>Akira \u003c/em>and \u003cem>A.I. —\u003c/em> turns out to be a pensive young robot child, played by the excellent newcomer Madeleine Yuna Voyles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joshua’s superior, played by \u003ca href=\"https://www.npr.org/2014/08/04/337371399/allison-janney-on-sex-sorkin-and-being-the-tallest-woman-in-the-room\">Allison Janney\u003c/a>, tells him to kill the robot child, but he doesn’t. Instead, he goes rogue and on the run with the child, whom he calls Alpha, or Alphie. Washington doesn’t have much range or screen presence, but he and Voyles do generate enough chemistry to make you forget you’re watching yet another man tag-teaming with a young girl — a trope familiar from movies as different as \u003cem>Paper Moon \u003c/em>and \u003cem>Léon: The Professional\u003c/em>.\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/ex3C1-5Dhb8'\n title='//www.youtube.com/embed/ex3C1-5Dhb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Joshua’s betrayal is partly motivated by his grief over his long-lost love, a human woman named Maya who allied herself with the robots; she’s played by an underused Gemma Chan. One of the more bothersome aspects of \u003cem>The Creator\u003c/em> is the way it reflexively equates Asians with advanced technology; it’s the latest troubling example of “techno-orientalism,” a cultural concept that has spurred a million \u003cem>Blade Runner \u003c/em>term papers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In recycling so many spare parts, Edwards, best known for directing the \u003cem>Star Wars\u003c/em> prequel \u003ca href=\"https://www.npr.org/2016/12/15/504850324/rogue-one-is-a-star-wars-story-with-fewer-stars-and-a-lot-more-wars\">\u003cem>Rogue One\u003c/em>\u003c/a>, is clearly trying to tap into our memories of great Hollywood spectacles past. To his credit, he wants to give us the kind of philosophically weighty, visually immersive science-fiction blockbuster that the studios rarely attempt anymore. The most impressive aspect of \u003cem>The Creator\u003c/em> is its world building; much of the movie was shot on location in different Asian countries, and its mix of real places and futuristic design elements feels more plausible and grounded than it would have if it had been rendered exclusively in CGI.\u003c/p>\n\u003cp>But even the most strikingly beautiful images — like the one of high-tech laser beams shimmering over a beach at sunset — are tethered to a story and characters that never take on a life of their own. Not even the great\u003ca href=\"https://www.npr.org/2022/04/10/1091927653/ken-watanabe-stars-in-the-new-crime-show-tokyo-vice\"> Ken Watanabe\u003c/a> can breathe much life into his role as a stern robo-warrior who does his part to help Joshua and Alphie on their journey.\u003c/p>\n\u003cfigure id=\"attachment_13935510\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe\" alt=\"A Black man stands before a bridge at sundown. He is wearing a heavy wool coat.\" width=\"1300\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-768x431.jpe 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">John David Washington plays Joshua Taylor, a world-weary ex-special-forces operative.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the end, Edwards mounts a sincere but soggy plea for human-robot harmony, arguing that AI isn’t quite the malicious threat it might seem. That’s a sweet enough sentiment, though it’s also one of many reasons I left \u003cem>The Creator\u003c/em> asking myself: Did an AI write this?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Did+AI+write+this+film%3F+%27The+Creator%27+offers+a+muddled+plea+for+human-robot+harmony+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Happens When Your Secret Fiancée Becomes Your Boss? Find Out in ‘Fair Play’",
"headTitle": "What Happens When Your Secret Fiancée Becomes Your Boss? Find Out in ‘Fair Play’ | KQED",
"content": "\u003cp>Are straight cis men OK?\u003c/p>\n\u003cp>This is a question that’s haunted generation after generation, in one way or another. It usually arises in the wake of major wars or progressive political and cultural movements. And it always finds its way into art, as creatives probe the dark recesses of rattled, insecure men who feel as though their dominance is threatened by the gains of others.\u003c/p>\n\u003cp>[aside postid='arts_13935219']As evidenced by \u003cem>so many \u003c/em>events and \u003ca href=\"https://time.com/4339209/masculinity-crisis/\">trend\u003c/a> \u003ca href=\"https://www.washingtonpost.com/opinions/2023/07/10/christine-emba-masculinity-new-model/\">pieces\u003c/a> of the last few years, we are presently in such a moment. \u003cem>Fair Play\u003c/em>, the moody, unflinching feature debut of writer-director Chloe Domont, meets us here in titillating fashion: It’s about Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich), a conventionally attractive and career-minded heterosexual pair who embodies a surface-level version of the “power couple.” They’re young, horny for each other, and poised to make a ton of money working in finance. As the movie begins, they steal away from a wedding reception to have sex in a harshly lit bathroom, resulting in a laughable mishap and an impromptu marriage proposal in front of a toilet, after the engagement ring accidentally tumbles out of Luke’s pocket.\u003c/p>\n\u003cp>So this is love.\u003c/p>\n\u003cp>But then one of them gets a promotion over the other at their cutthroat hedge fund — go ahead and guess which one … why yes, you’re absolutely correct, it’s Emily — and things get awkward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compounding this already-tenuous dynamic is the very nature of their romantic relationship. Emily and Luke’s romance is a secret, and now he’s both her secret lover \u003cem>and\u003c/em> her direct report. (Outside of work, it’s unclear if they have any semblance of a social life; as everything from \u003cem>Boiler Room \u003c/em>to \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry\u003c/em>\u003c/a> has suggested, when not doing copious amounts of coke and hitting up strip clubs with colleagues, people in finance barely exist outside of shorting stocks and wooing big-time investors at all hours of the day.)\u003c/p>\n\u003cp>Luke, whether he’s willing to admit it or not, begins a descent into crisis mode.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vICUPlr3EEI\u003c/p>\n\u003cp>\u003cem>Fair Play\u003c/em> is visually moody and stylish, with most scenes taking place indoors and in dark spaces with warm, golden-toned lighting (upscale bars, restaurants) or, in contrast, the depressing dull-gray of their austere office. To its benefit, the movie isn’t as high-concept as some of its cinematic contemporaries in exploring the dangers of the wounded male ego; it’s not rendered metaphorically through \u003ca href=\"https://www.npr.org/2022/05/17/1099506418/in-men-the-men-are-definitely-not-alright\">Gothic body horror\u003c/a>, \u003ca href=\"https://www.npr.org/2022/09/23/1124324427/dont-worry-darling-and-the-mechanics-of-a-mystery\">idyllic mid-century Americana\u003c/a>, or an \u003ca href=\"https://www.npr.org/2023/07/19/1188370123/barbie-review\">iconic children’s toy\u003c/a>. Instead, Domont crafts it as a blunt, withering workplace/domestic melodrama hybrid, an all-too-real depiction of the curdling of a relationship contaminated by intense ambition and jealousy.\u003c/p>\n\u003cp>[aside postid='arts_13934736']On paper and in practice, Emily is a top-tier broker, an overachieving Harvard grad whose keen instincts about the market impress her gruff boss, Campbell, played gamely by Eddie Marsan. Luke, on the other hand, is merely coasting by. Nevertheless, Emily believes in Luke and is convinced she can help secure him the next promotion that arises; in her mind, they’re in this together. That’s not quite true.\u003c/p>\n\u003cp>The situation here is deliberately gendered, but \u003cem>Fair Play \u003c/em>still manages subtle characterizations. Luke isn’t a cartoonish misogynist. Ehrenreich convincingly depicts him as someone caught grappling with the experience of having two distinct and wholly relatable reactions at the same time: happiness for someone else and disappointment for one’s self. In this case, that tension manifests in escalating digs and jabs. He begins to retreat from Emily outside of the office and becomes obsessed with the hacky self-help musings of a motivational speaker. (His confidence is zapped, but he maintains a stranglehold on his sense of entitlement — the gall.) He’s snippier; the sex dries up.\u003c/p>\n\u003cp>Emily isn’t simply a victim of patriarchy, though; Dynevor plays her as steely and strategic in that ruthless male-dominated work environment, willing to let sexism and verbal harassment from her colleagues wash over her as she plots to ascend the ranks. At home, it’s another story, where she confronts Luke’s insecurities head-on, pushing back against his increasingly bitter demeanor. In a way, their story reverberates like a corporate world \u003ca href=\"https://www.npr.org/2018/10/03/654123643/were-off-the-deep-end-and-into-a-star-is-born\">\u003cem>A Star Is Born\u003c/em>\u003c/a>, except the rising female powerhouse refuses to let her spiraling partner bring her down, even as she fights desperately to try and save their relationship.\u003c/p>\n\u003cfigure id=\"attachment_13935445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg\" alt=\"A white man carries a smiling white woman across a busy road. There's a yellow taxi and parked car visible directly behind them.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luke and Emily (Alden Ehrenreich and Phoebe Dynevor) have a hard time withstanding a dynamic shift in power at work in ‘Fair Play.’ \u003ccite>(Sergej Radovic/ Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luke’s resentment builds believably to a nightmarish crescendo that has striking consequences for their relationship and their positions at the firm — it’s both a completely familiar and utterly astonishing outcome to behold, one that’s played out in relationships in some form of the extreme since, well, forever. Of course, it feels especially acute now. The draw of \u003cem>Fair Play\u003c/em> lies in the alignment of that inevitability with Domont’s dynamic storytelling vision. It more than meets this umpteenth era of male “crisis.”\u003c/p>\n\u003cp>\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\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fair Play’ hits select theaters on Sept. 29 and begins streaming on Netflix on Oct. 6.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+happens+when+your+secret+fiancee+becomes+your+boss%3F+Find+out+in+%27Fair+Play%27&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>Compounding this already-tenuous dynamic is the very nature of their romantic relationship. Emily and Luke’s romance is a secret, and now he’s both her secret lover \u003cem>and\u003c/em> her direct report. (Outside of work, it’s unclear if they have any semblance of a social life; as everything from \u003cem>Boiler Room \u003c/em>to \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry\u003c/em>\u003c/a> has suggested, when not doing copious amounts of coke and hitting up strip clubs with colleagues, people in finance barely exist outside of shorting stocks and wooing big-time investors at all hours of the day.)\u003c/p>\n\u003cp>Luke, whether he’s willing to admit it or not, begins a descent into crisis mode.\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/vICUPlr3EEI'\n title='//www.youtube.com/embed/vICUPlr3EEI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fair Play\u003c/em> is visually moody and stylish, with most scenes taking place indoors and in dark spaces with warm, golden-toned lighting (upscale bars, restaurants) or, in contrast, the depressing dull-gray of their austere office. To its benefit, the movie isn’t as high-concept as some of its cinematic contemporaries in exploring the dangers of the wounded male ego; it’s not rendered metaphorically through \u003ca href=\"https://www.npr.org/2022/05/17/1099506418/in-men-the-men-are-definitely-not-alright\">Gothic body horror\u003c/a>, \u003ca href=\"https://www.npr.org/2022/09/23/1124324427/dont-worry-darling-and-the-mechanics-of-a-mystery\">idyllic mid-century Americana\u003c/a>, or an \u003ca href=\"https://www.npr.org/2023/07/19/1188370123/barbie-review\">iconic children’s toy\u003c/a>. Instead, Domont crafts it as a blunt, withering workplace/domestic melodrama hybrid, an all-too-real depiction of the curdling of a relationship contaminated by intense ambition and jealousy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On paper and in practice, Emily is a top-tier broker, an overachieving Harvard grad whose keen instincts about the market impress her gruff boss, Campbell, played gamely by Eddie Marsan. Luke, on the other hand, is merely coasting by. Nevertheless, Emily believes in Luke and is convinced she can help secure him the next promotion that arises; in her mind, they’re in this together. That’s not quite true.\u003c/p>\n\u003cp>The situation here is deliberately gendered, but \u003cem>Fair Play \u003c/em>still manages subtle characterizations. Luke isn’t a cartoonish misogynist. Ehrenreich convincingly depicts him as someone caught grappling with the experience of having two distinct and wholly relatable reactions at the same time: happiness for someone else and disappointment for one’s self. In this case, that tension manifests in escalating digs and jabs. He begins to retreat from Emily outside of the office and becomes obsessed with the hacky self-help musings of a motivational speaker. (His confidence is zapped, but he maintains a stranglehold on his sense of entitlement — the gall.) He’s snippier; the sex dries up.\u003c/p>\n\u003cp>Emily isn’t simply a victim of patriarchy, though; Dynevor plays her as steely and strategic in that ruthless male-dominated work environment, willing to let sexism and verbal harassment from her colleagues wash over her as she plots to ascend the ranks. At home, it’s another story, where she confronts Luke’s insecurities head-on, pushing back against his increasingly bitter demeanor. In a way, their story reverberates like a corporate world \u003ca href=\"https://www.npr.org/2018/10/03/654123643/were-off-the-deep-end-and-into-a-star-is-born\">\u003cem>A Star Is Born\u003c/em>\u003c/a>, except the rising female powerhouse refuses to let her spiraling partner bring her down, even as she fights desperately to try and save their relationship.\u003c/p>\n\u003cfigure id=\"attachment_13935445\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg\" alt=\"A white man carries a smiling white woman across a busy road. There's a yellow taxi and parked car visible directly behind them.\" width=\"1920\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/fair-play_2-b9be758f1ced8b20eb5a194268c4c89683ab3e1f-scaled-e1695842742822-1536x1151.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luke and Emily (Alden Ehrenreich and Phoebe Dynevor) have a hard time withstanding a dynamic shift in power at work in ‘Fair Play.’ \u003ccite>(Sergej Radovic/ Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luke’s resentment builds believably to a nightmarish crescendo that has striking consequences for their relationship and their positions at the firm — it’s both a completely familiar and utterly astonishing outcome to behold, one that’s played out in relationships in some form of the extreme since, well, forever. Of course, it feels especially acute now. The draw of \u003cem>Fair Play\u003c/em> lies in the alignment of that inevitability with Domont’s dynamic storytelling vision. It more than meets this umpteenth era of male “crisis.”\u003c/p>\n\u003cp>\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\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fair Play’ hits select theaters on Sept. 29 and begins streaming on Netflix on Oct. 6.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+happens+when+your+secret+fiancee+becomes+your+boss%3F+Find+out+in+%27Fair+Play%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dystopian Suspense ‘Land of Milk and Honey’ Satisfies All Manner of Appetites",
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"content": "\u003cfigure id=\"attachment_13935370\" class=\"wp-caption aligncenter\" style=\"max-width: 1696px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/101673225.jpg\" alt=\"A book cover featuring swirling yellow, red and grey patterns that resemble sand, and swirling blues that resemble the sea and sky.\" width=\"1696\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225.jpg 1696w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/101673225-1357x2048.jpg 1357w\" sizes=\"(max-width: 1696px) 100vw, 1696px\">\u003cfigcaption class=\"wp-caption-text\">‘Land of Milk and Honey’ by C Pam Zhang. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unhinged autocrat is a familiar figure in literature — think King Lear — but the fat cat in C Pam Zhang’s dystopian novel,\u003cem> Land of Milk and Honey\u003c/em>, has an updated \u003ca href=\"https://www.kqed.org/arts/13913720/elon-musks-crash-course-shows-the-tragic-cost-of-his-leadership\">Elon Musk\u003c/a> vibe. In a not-too-distant world, where most plant and animal species have been smothered by a smog that blankets the planet, human beings largely subsist on bags of “mung-protein-soy-algal flour distributed by the government.”\u003c/p>\n\u003cp>[aside postid='arts_13934631']But not Zhang’s unnamed entrepreneur, who’s bought himself a mountaintop in Italy where the sun still shines. He’s leased shares of this land to wealthy investors and lured top scientists to work on “de-extinction” teams, where they cultivate animals and precious seeds in underground farms and orchards. Like Musk with his SpaceX, this guy also has the ultimate Plan B in the works, should Planet Earth be irredeemably lost.\u003c/p>\n\u003cp>The narrator of \u003cem>Land of Milk and Honey\u003c/em> is also unnamed. She’s a young Asian American chef who finds herself stuck in England when America’s borders close, and also stuck in a profession without a future. The menus of the few restaurants that remain cater to a growing demand for nativist recipes. The chef tells us that:\u003c/p>\n\u003cblockquote>\u003cp>As they shut borders to refugees, so countries shut their palates to all but those cuisines deemed essential. In England, the shrinking supplies of frozen fish were reserved for kippers, or gray renditions of cod and chips — and, of course, a few atrociously expensive French preparations …\u003c/p>\u003c/blockquote>\n\u003cp>In desperation, the chef applies for a job at the so-called “elite research community\u003cem>” \u003c/em>presided over by the mogul, or, as she will refer to him, “my employer.” Her stated job is to whip up extravagant meals to delight the tastebuds of the rich residents and prospective investors, as well as the mogul’s charismatic daughter, Aida.\u003c/p>\n\u003cp>[aside postid='arts_13934945']But the longer the chef toils away in the isolated compound, the more she realizes that she’s been hired less for her cooking skills, than for her appearance: specifically, for the fact that she, like Aida’s mother who’s vanished, is Asian. Never mind that their ethnicities are not exactly the same. As the chef tells us: “It has always been easy to disappear as an Asian woman. …[To be] mistaken for Japanese or Korean or Lao women decades older or younger, several shades darker or lighter, for my own mother once I hit puberty.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given that it’s a novel about the struggle to fend off deprivation and extinction, \u003cem>Land of Milk and Honey\u003c/em> is gloriously lush. Zhang’s sensuous style makes us see, smell and, above all, taste the lure of that sun-dappled mountain enclave.\u003c/p>\n\u003cp>Here, for instance, is the moment where our narrator descends into one of the mogul’s vast storerooms for the first time:\u003c/p>\n\u003cblockquote>\u003cp>Others have estimated the value in those rooms of grains, of nuts, of beans; … I can only say what happened when I pressed my face to a wheel of ten-year Parmigiano, how in a burst of grass and ripe pineapple I stood in some green meadow. … And I can tell you of the ferocious crack in my heart when I walked into the deep freezer to see chickens, pigs, rabbits, cows, pheasants, tunas, sturgeon, boars hung two by two. No more boars roamed the world above. … I knew, then, why the storerooms were guarded as if they held gold, or nuclear armaments. They hid something rarer still: a passage back through time.”\u003c/p>\u003c/blockquote>\n\u003cp>As she did in her debut novel, \u003ca href=\"https://www.npr.org/2020/04/10/830569652/in-how-much-of-these-hills-is-gold-this-land-is-not-your-land\">\u003cem>How Much of These Hills Is Gold\u003c/em>\u003c/a>, which toyed with the expectations of the classic Western, Zhang here helps herself to generous portions of another type of genre: the vintage sci-fi disaster movie. I’m thinking especially of the 1951 classic, \u003cem>When Worlds Collide. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13935317']Zhang invests this pop plotline with emotional gravitas and up-to-date relevancy through the character of the chef, a young woman who belongs to what’s dubbed “Generation Mayfly,” because her cohort’s life expectancy is shorter than that of their parents. Our chef tells us that: “So much of what my generation has been promised disintegrated at our touch.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Land of Milk and Honey \u003c/em>is an atmospheric and poetically suspenseful novel about all manner of appetites: for power, food, love, life. At its center is one of the most baroque banquet scenes you’ll ever be invited to — one that wickedly tests the pluck of even the most ravenous eaters and readers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=The+dystopian+suspense+%27Land+of+Milk+and+Honey%27+satisfies+all+manner+of+appetites&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But not Zhang’s unnamed entrepreneur, who’s bought himself a mountaintop in Italy where the sun still shines. He’s leased shares of this land to wealthy investors and lured top scientists to work on “de-extinction” teams, where they cultivate animals and precious seeds in underground farms and orchards. Like Musk with his SpaceX, this guy also has the ultimate Plan B in the works, should Planet Earth be irredeemably lost.\u003c/p>\n\u003cp>The narrator of \u003cem>Land of Milk and Honey\u003c/em> is also unnamed. She’s a young Asian American chef who finds herself stuck in England when America’s borders close, and also stuck in a profession without a future. The menus of the few restaurants that remain cater to a growing demand for nativist recipes. The chef tells us that:\u003c/p>\n\u003cblockquote>\u003cp>As they shut borders to refugees, so countries shut their palates to all but those cuisines deemed essential. In England, the shrinking supplies of frozen fish were reserved for kippers, or gray renditions of cod and chips — and, of course, a few atrociously expensive French preparations …\u003c/p>\u003c/blockquote>\n\u003cp>In desperation, the chef applies for a job at the so-called “elite research community\u003cem>” \u003c/em>presided over by the mogul, or, as she will refer to him, “my employer.” Her stated job is to whip up extravagant meals to delight the tastebuds of the rich residents and prospective investors, as well as the mogul’s charismatic daughter, Aida.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given that it’s a novel about the struggle to fend off deprivation and extinction, \u003cem>Land of Milk and Honey\u003c/em> is gloriously lush. Zhang’s sensuous style makes us see, smell and, above all, taste the lure of that sun-dappled mountain enclave.\u003c/p>\n\u003cp>Here, for instance, is the moment where our narrator descends into one of the mogul’s vast storerooms for the first time:\u003c/p>\n\u003cblockquote>\u003cp>Others have estimated the value in those rooms of grains, of nuts, of beans; … I can only say what happened when I pressed my face to a wheel of ten-year Parmigiano, how in a burst of grass and ripe pineapple I stood in some green meadow. … And I can tell you of the ferocious crack in my heart when I walked into the deep freezer to see chickens, pigs, rabbits, cows, pheasants, tunas, sturgeon, boars hung two by two. No more boars roamed the world above. … I knew, then, why the storerooms were guarded as if they held gold, or nuclear armaments. They hid something rarer still: a passage back through time.”\u003c/p>\u003c/blockquote>\n\u003cp>As she did in her debut novel, \u003ca href=\"https://www.npr.org/2020/04/10/830569652/in-how-much-of-these-hills-is-gold-this-land-is-not-your-land\">\u003cem>How Much of These Hills Is Gold\u003c/em>\u003c/a>, which toyed with the expectations of the classic Western, Zhang here helps herself to generous portions of another type of genre: the vintage sci-fi disaster movie. I’m thinking especially of the 1951 classic, \u003cem>When Worlds Collide. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zhang invests this pop plotline with emotional gravitas and up-to-date relevancy through the character of the chef, a young woman who belongs to what’s dubbed “Generation Mayfly,” because her cohort’s life expectancy is shorter than that of their parents. Our chef tells us that: “So much of what my generation has been promised disintegrated at our touch.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Land of Milk and Honey \u003c/em>is an atmospheric and poetically suspenseful novel about all manner of appetites: for power, food, love, life. At its center is one of the most baroque banquet scenes you’ll ever be invited to — one that wickedly tests the pluck of even the most ravenous eaters and readers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=The+dystopian+suspense+%27Land+of+Milk+and+Honey%27+satisfies+all+manner+of+appetites&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "There’s a Lot to Love in the ‘Hair Love’-Inspired TV Series ‘Young Love’",
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"content": "\u003cdiv class=\"storyMajorUpdateDate\">Zuri is a precocious 7-year-old who keeps her parents on their toes. One moment, she’s about to shave her face using her dad’s shaving cream and razor (mom and dad, in a burst of parental intuition, jump into the bathroom to stop that, just in the nick). In another, she’s trying to be nice as her mom tugs her hair into a frazzle of braids that her dad has to secretly undo and redo.\u003c/div>\n\u003cp>Zuri’s mom Angela is off her game for a good reason: she’s stepping back into the world after recovering from cancer treatments. And that wonderful combination of cute kid and struggling parents is what distinguishes \u003cem>Young Love\u003c/em>, which is a new series on Max spun out of an Oscar-winning short film.\u003c/p>\n\u003cp>[aside postid='arts_13871032']Issa Rae provides the voice of Angela, a hair stylist who is nervous enough about returning to her old salon that she circles Zuri’s school several times in the morning, delaying the drop-off to avoid going back to work.\u003c/p>\n\u003cp>Music fans will recognize rap star and actor Scott Mescudi — aka, Kid Cudi — as Zuri’s dad Stephen, an aspiring hip hop producer who learned to microwave frozen pancakes for breakfast and used zip ties to corral his daughter’s hair while Angela was in the hospital.\u003c/p>\n\u003cp>“I’m going to act like I didn’t hear any of that,” Angela says, after learning about Stephen’s shortcuts.\u003c/p>\n\u003cp>Rae and Mescudi are joined by veteran character actors Harry Lennix and Loretta Devine, who play Angela’s old-school parents, and Brooke Monroe Conaway shines as Zuri, who sounds super cute and innocent, even when she’s cutting up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tQq0YCRLUn0\u003c/p>\n\u003ch3>Family life that is both universal and specific\u003c/h3>\n\u003cp>This is the bustling, beautiful Black family at the heart of \u003cem>Young Love\u003c/em>, which continues the story of characters from the Oscar-winning short film, \u003cem>Hair Love\u003c/em>. That six-minute movie, released in 2019 and funded by a Kickstarter campaign, told the story of a Black father taking on a fearsome challenge — fixing his daughter’s hair, coached along by an online video.\u003c/p>\n\u003cp>[aside postid='arts_13934736']The kicker at the film’s end: The woman coaching in the video was Angela, who was waiting for Zuri and Stephen to pick her up from the hospital. As Zuri hugs her, we see the treatments have taken Angela’s hair away.\u003c/p>\n\u003cp>\u003cem>Young Love\u003c/em>‘s creator Matthew A. Cherry also wrote and co-directed \u003cem>Hair Love\u003c/em>, crafting both projects to celebrate and normalize Black hair and Black families.\u003c/p>\n\u003cp>In \u003cem>Young Love\u003c/em>, we see moments when they’re like any other family — Millennial parents struggling to balance work, home and an unexpected health scare. But they’re also steeped in Black culture, with a mom who works in a Black hair salon and a kid who dreams of sporting the coolest Afro puffs in town.\u003c/p>\n\u003cfigure id=\"attachment_13935210\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg\" alt=\"An illustration of a Black woman with her hands on a small Black girl's shoulders. They are reflected in an oval mirror.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae is Angela and Brooke Monroe Conaway is Zuri on ‘Young Love.’ \u003ccite>(Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The TV series also has a different storytelling style than the film, which relied a lot on creative imagery and striking visuals to tell its story. \u003cem>Young Love\u003c/em> has slightly more sophisticated animation and a lot more dialogue, with a playful cleverness that centers the family in a caring community, even as they occasionally toss knowing wisecracks at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple yet entertaining and heartwarming formula. And at a time when so much TV is so cynical and depressing, it’s a pleasure to sink into a series that is smart, culturally on point and optimistic about the power of family to overcome all obstacles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=There%27s+a+lot+to+love+in+the+%27Hair+Love%27-inspired+TV+series+%27Young+Love%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Issa Rae provides the voice of Angela, a hair stylist who is nervous enough about returning to her old salon that she circles Zuri’s school several times in the morning, delaying the drop-off to avoid going back to work.\u003c/p>\n\u003cp>Music fans will recognize rap star and actor Scott Mescudi — aka, Kid Cudi — as Zuri’s dad Stephen, an aspiring hip hop producer who learned to microwave frozen pancakes for breakfast and used zip ties to corral his daughter’s hair while Angela was in the hospital.\u003c/p>\n\u003cp>“I’m going to act like I didn’t hear any of that,” Angela says, after learning about Stephen’s shortcuts.\u003c/p>\n\u003cp>Rae and Mescudi are joined by veteran character actors Harry Lennix and Loretta Devine, who play Angela’s old-school parents, and Brooke Monroe Conaway shines as Zuri, who sounds super cute and innocent, even when she’s cutting up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The kicker at the film’s end: The woman coaching in the video was Angela, who was waiting for Zuri and Stephen to pick her up from the hospital. As Zuri hugs her, we see the treatments have taken Angela’s hair away.\u003c/p>\n\u003cp>\u003cem>Young Love\u003c/em>‘s creator Matthew A. Cherry also wrote and co-directed \u003cem>Hair Love\u003c/em>, crafting both projects to celebrate and normalize Black hair and Black families.\u003c/p>\n\u003cp>In \u003cem>Young Love\u003c/em>, we see moments when they’re like any other family — Millennial parents struggling to balance work, home and an unexpected health scare. But they’re also steeped in Black culture, with a mom who works in a Black hair salon and a kid who dreams of sporting the coolest Afro puffs in town.\u003c/p>\n\u003cfigure id=\"attachment_13935210\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg\" alt=\"An illustration of a Black woman with her hands on a small Black girl's shoulders. They are reflected in an oval mirror.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/yl-angela-young-zuri-young-love_custom-2e62e9ae8780453c9d99dfb7eb5b4f16b96acc81-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Issa Rae is Angela and Brooke Monroe Conaway is Zuri on ‘Young Love.’ \u003ccite>(Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The TV series also has a different storytelling style than the film, which relied a lot on creative imagery and striking visuals to tell its story. \u003cem>Young Love\u003c/em> has slightly more sophisticated animation and a lot more dialogue, with a playful cleverness that centers the family in a caring community, even as they occasionally toss knowing wisecracks at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a simple yet entertaining and heartwarming formula. And at a time when so much TV is so cynical and depressing, it’s a pleasure to sink into a series that is smart, culturally on point and optimistic about the power of family to overcome all obstacles.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=There%27s+a+lot+to+love+in+the+%27Hair+Love%27-inspired+TV+series+%27Young+Love%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This Rare Bob Ross Painting Could Be Yours — for Close to $10 Million",
"headTitle": "This Rare Bob Ross Painting Could Be Yours — for Close to $10 Million | KQED",
"content": "\u003cp>A painting from the very first episode of Bob Ross’ \u003cem>The Joy of Painting\u003c/em> could be yours, but not for cheap.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://modernartifact.com/products/bob-ross-signed-on-air-original-painting-from-season-1-episode-1-of-the-joy-of-painting-1\">\u003cem>A Walk in the Woods\u003c/em>\u003c/a>, the piece is listed at $9.85 million and could be the most expensive and historically resonant Ross piece to ever be sold.\u003c/p>\n\u003cp>The work depicts a meandering stone path, a cerulean pond and a handful of luminescent trees — all elements that were painted in under 30 minutes during the 1983 premiere of what would become the hit PBS show.\u003c/p>\n\u003cp>[aside postid='arts_13902109']The following 31 seasons (403 episodes) of the \u003cem>Joy of Painting \u003c/em>propelled Ross into one of the most recognizable faces in the 20th century art world, not to mention a pop culture icon known for his upbeat attitude and hokey aphorisms.\u003c/p>\n\u003cp>Before he even picks up a paintbrush in Episode 1, Ross lays out what the audience can expect from the show: simple step-by-step instructions rendered with just a few basic tools and the same paint colors from week to week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s no secret to this. Anyone can paint,” he says later on, dabbing at the canvas in a shape that will later clarify into a tree. “All you need is a dream in your heart and a little practice.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oh5p5f5_-7A&t=1s\u003c/p>\n\u003cp>The painting is signed “Ross” in red on the lower left corner. Whoever buys the painting will receive a written statement from its original owner — a PBS volunteer who bought the painting at a benefit auction.\u003c/p>\n\u003cp>“I don’t know the exact number that she paid at that point, but knowing what others paid around the same period, I’d assume it was somewhere under $100,” says Ryan Nelson, the owner of Modern Artifact gallery in Minneapolis.\u003c/p>\n\u003cp>[aside postid='arts_13867846']Nelson, whose gallery has become the primary facilitator of the growing Ross market, said he purchased the painting from the PBS volunteer with the intention of selling it, but now isn’t so sure he’s ready to let it go.\u003c/p>\n\u003cp>“I think that the greatest thing we can do with it is travel it. I’d rather we get this in front of the public,” he said. “But there are definitely offers that I would probably have to take.”\u003c/p>\n\u003cp>He’s confident he’ll get his asking price, even if most Ross paintings that he’s traded don’t even break the six-figure range.\u003c/p>\n\u003cp>Part of his confidence comes from the recent cultural resurgence Ross has enjoyed as younger generations discover his appeal through the internet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-0PqMKQG7D4\u003c/p>\n\u003cp>That moment could be traced back to 2015, when \u003ca href=\"https://techcrunch.com/2015/11/09/after-pulling-in-5-6m-viewers-twitch-is-keeping-bob-ross-on-the-air/\">the streaming service Twitch marathoned old Ross episodes \u003c/a>and attracted some 5.6 million viewers.\u003c/p>\n\u003cp>Today, the \u003ca href=\"https://www.youtube.com/@bobross_thejoyofpainting\">official Bob Ross YouTube page\u003c/a> boasts over 5.62 million subscribers. Netflix re-launched Ross’s second series, 1991’s \u003cem>Beauty is Everywhere\u003c/em>, in 2016, and reruns of \u003cem>The Joy of Painting\u003c/em> still appear regularly on public television.\u003c/p>\n\u003cp>The increase in popularity has come with increased interest in owning a Ross painting. But, as \u003ca href=\"https://www.nytimes.com/video/arts/100000005865824/bob-ross-paintings-mystery.html\">\u003cem>The\u003c/em> \u003cem>New York Times\u003c/em> put it in a 2019 investigation\u003c/a>, the lack of available Ross work is among “the internet’s greatest mysteries.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/1991/12/22/arts/television-bob-ross-the-frugal-gourmet-of-painting.html\">Ross once said he painted over 30,000 paintings\u003c/a> in his lifetime, and he likely painted 1,143 alone for the filming of the show: \u003ca href=\"https://fivethirtyeight.com/features/a-statistical-analysis-of-the-work-of-bob-ross/\">An analysis by the website FiveThirtyEight\u003c/a> calculated he produced paintings for 381 of the 403 episodes, and his standard process was to make three of the same paintings for each show; one as a template to copy, one on camera and a third after the show for use in instructional materials.\u003c/p>\n\u003cp>An estimated 1,165 of his pieces are being stored by his surviving company, Bob Ross Inc., which told \u003ca href=\"https://www.nytimes.com/2019/07/12/arts/bob-ross-paintings-mystery.html\">\u003cem>The New York Times\u003c/em> in 2019\u003c/a> that it has no intention of selling off the works, but has \u003ca href=\"https://www.npr.org/2019/10/06/765716441/the-lasting-legacy-of-bob-ross-and-his-colorful-world-of-happy-accidents\">since parted with a few to the Smithsonian’s National Museum of American History. \u003c/a>\u003c/p>\n\u003cp>[aside postid='arts_13934843']What happened to the rest of the work? Some internet aficionados say that Ross didn’t want his paintings available for sale because it would’ve detracted from the joy he derived from his work. Nelson doesn’t buy that theory.\u003c/p>\n\u003cp>“He sold them at malls, he gave them away at paintings lessons and so there are a lot of paintings that went out there,” he said. “I believe, sadly, that a lot of those paintings didn’t make it to the popularity that Ross is today.”\u003c/p>\n\u003cp>But in a way, that’s also how Ross would’ve wanted it, Nelson said. He wasn’t interested in giving his art to well-to-do collector types or seeking fortune alongside his fame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The one thing that’s clear is that Ross wanted everyone to learn to paint. The rest may have just been a happy accident.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=This+rare+Bob+Ross+painting+could+be+yours+%E2%80%94+for+close+to+%2410+million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A painting from the very first episode of Bob Ross’ \u003cem>The Joy of Painting\u003c/em> could be yours, but not for cheap.\u003c/p>\n\u003cp>Titled \u003ca href=\"https://modernartifact.com/products/bob-ross-signed-on-air-original-painting-from-season-1-episode-1-of-the-joy-of-painting-1\">\u003cem>A Walk in the Woods\u003c/em>\u003c/a>, the piece is listed at $9.85 million and could be the most expensive and historically resonant Ross piece to ever be sold.\u003c/p>\n\u003cp>The work depicts a meandering stone path, a cerulean pond and a handful of luminescent trees — all elements that were painted in under 30 minutes during the 1983 premiere of what would become the hit PBS show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The following 31 seasons (403 episodes) of the \u003cem>Joy of Painting \u003c/em>propelled Ross into one of the most recognizable faces in the 20th century art world, not to mention a pop culture icon known for his upbeat attitude and hokey aphorisms.\u003c/p>\n\u003cp>Before he even picks up a paintbrush in Episode 1, Ross lays out what the audience can expect from the show: simple step-by-step instructions rendered with just a few basic tools and the same paint colors from week to week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s no secret to this. Anyone can paint,” he says later on, dabbing at the canvas in a shape that will later clarify into a tree. “All you need is a dream in your heart and a little practice.”\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/oh5p5f5_-7A'\n title='//www.youtube.com/embed/oh5p5f5_-7A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The painting is signed “Ross” in red on the lower left corner. Whoever buys the painting will receive a written statement from its original owner — a PBS volunteer who bought the painting at a benefit auction.\u003c/p>\n\u003cp>“I don’t know the exact number that she paid at that point, but knowing what others paid around the same period, I’d assume it was somewhere under $100,” says Ryan Nelson, the owner of Modern Artifact gallery in Minneapolis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nelson, whose gallery has become the primary facilitator of the growing Ross market, said he purchased the painting from the PBS volunteer with the intention of selling it, but now isn’t so sure he’s ready to let it go.\u003c/p>\n\u003cp>“I think that the greatest thing we can do with it is travel it. I’d rather we get this in front of the public,” he said. “But there are definitely offers that I would probably have to take.”\u003c/p>\n\u003cp>He’s confident he’ll get his asking price, even if most Ross paintings that he’s traded don’t even break the six-figure range.\u003c/p>\n\u003cp>Part of his confidence comes from the recent cultural resurgence Ross has enjoyed as younger generations discover his appeal through the internet.\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/-0PqMKQG7D4'\n title='//www.youtube.com/embed/-0PqMKQG7D4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That moment could be traced back to 2015, when \u003ca href=\"https://techcrunch.com/2015/11/09/after-pulling-in-5-6m-viewers-twitch-is-keeping-bob-ross-on-the-air/\">the streaming service Twitch marathoned old Ross episodes \u003c/a>and attracted some 5.6 million viewers.\u003c/p>\n\u003cp>Today, the \u003ca href=\"https://www.youtube.com/@bobross_thejoyofpainting\">official Bob Ross YouTube page\u003c/a> boasts over 5.62 million subscribers. Netflix re-launched Ross’s second series, 1991’s \u003cem>Beauty is Everywhere\u003c/em>, in 2016, and reruns of \u003cem>The Joy of Painting\u003c/em> still appear regularly on public television.\u003c/p>\n\u003cp>The increase in popularity has come with increased interest in owning a Ross painting. But, as \u003ca href=\"https://www.nytimes.com/video/arts/100000005865824/bob-ross-paintings-mystery.html\">\u003cem>The\u003c/em> \u003cem>New York Times\u003c/em> put it in a 2019 investigation\u003c/a>, the lack of available Ross work is among “the internet’s greatest mysteries.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/1991/12/22/arts/television-bob-ross-the-frugal-gourmet-of-painting.html\">Ross once said he painted over 30,000 paintings\u003c/a> in his lifetime, and he likely painted 1,143 alone for the filming of the show: \u003ca href=\"https://fivethirtyeight.com/features/a-statistical-analysis-of-the-work-of-bob-ross/\">An analysis by the website FiveThirtyEight\u003c/a> calculated he produced paintings for 381 of the 403 episodes, and his standard process was to make three of the same paintings for each show; one as a template to copy, one on camera and a third after the show for use in instructional materials.\u003c/p>\n\u003cp>An estimated 1,165 of his pieces are being stored by his surviving company, Bob Ross Inc., which told \u003ca href=\"https://www.nytimes.com/2019/07/12/arts/bob-ross-paintings-mystery.html\">\u003cem>The New York Times\u003c/em> in 2019\u003c/a> that it has no intention of selling off the works, but has \u003ca href=\"https://www.npr.org/2019/10/06/765716441/the-lasting-legacy-of-bob-ross-and-his-colorful-world-of-happy-accidents\">since parted with a few to the Smithsonian’s National Museum of American History. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What happened to the rest of the work? Some internet aficionados say that Ross didn’t want his paintings available for sale because it would’ve detracted from the joy he derived from his work. Nelson doesn’t buy that theory.\u003c/p>\n\u003cp>“He sold them at malls, he gave them away at paintings lessons and so there are a lot of paintings that went out there,” he said. “I believe, sadly, that a lot of those paintings didn’t make it to the popularity that Ross is today.”\u003c/p>\n\u003cp>But in a way, that’s also how Ross would’ve wanted it, Nelson said. He wasn’t interested in giving his art to well-to-do collector types or seeking fortune alongside his fame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The one thing that’s clear is that Ross wanted everyone to learn to paint. The rest may have just been a happy accident.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=This+rare+Bob+Ross+painting+could+be+yours+%E2%80%94+for+close+to+%2410+million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New TV Shows Take on the Hazard of Working While Black",
"headTitle": "New TV Shows Take on the Hazard of Working While Black | KQED",
"content": "\u003cp>\u003cem>(Spoiler alert: There’s a few details dropped here about Hulu’s ‘The Other Black Girl’ and ‘Dreaming Whilst Black’ on Showtime.)\u003c/em>\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl\u003c/em> kicks off with an uncomfortable scenario familiar to many who have experienced the tension of being the only Black person working in a mostly-white office — otherwise known as Working While Black.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Nella, played with a deft earnestness by Sinclair Daniel, just wants to get through her duties as a frustrated, underappreciated editorial assistant at Manhattan publishing house Wagner Books. But she’s interrupted by a well-meaning white colleague who has texted her a link to a column titled: “The Token in the Corporate Machine: Being Black in a White Workplace”\u003c/p>\n\u003cp>“You know, I’m always looking for ways to be a better ally to you,” her coworker says, with an unsettling, overly energetic chirpyness. “You should read [the column], like, right now! And share if it resonates.”\u003c/p>\n\u003cp>One look at Nella’s face shows what’s really resonating: another disappointing encounter with tokenism in her workplace with someone who doesn’t actually see \u003cem>her\u003c/em>. Instead, they see some image of her shaped by their own presumptions — someone who can help fulfill their desire to feel socially progressive and impactful, regardless of what Nella actually needs or wants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7gmYkNE0wYw\u003c/p>\n\u003cp>This is the delicious anxiety explored by \u003cem>The Other Black Girl \u003c/em>and another Black-centered series which dropped on Showtime earlier this week, the British comedy \u003cem>Dreaming Whilst Black\u003c/em>. Both shows talk about race, class, gender, upward mobility and lots of other issues in compelling ways.\u003c/p>\n\u003cp>But what stuck with me was how each show speaks incisively — and asks solid questions — about what it means to be a Black person moving through a mostly white world, especially in work/office spaces. And how those spaces can pit Black folks — indeed, all marginalized people — against one another, often when they need each other most.\u003c/p>\n\u003ch3>An ally who becomes something else\u003c/h3>\n\u003cfigure id=\"attachment_13934748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe\" alt=\"An attractive Black woman with long locs puts her arm around another Black woman. They look at each other warmly\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sinclair Daniel as Nella, Ashleigh Murray as Hazel on Hulu’s ‘The Other Black Girl.’ \u003ccite>(Wilford Harwood/ Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Nella’s case, she thinks a true ally has arrived when the company hires Hazel, a new editorial assistant who talks earnestly about growing up in Harlem and her graduation from the historically Black college Howard University.\u003c/p>\n\u003cp>[aside postid='arts_13933824']But when Nella decides to confront a problematic white author about a character in his new novel named Shartricia — the book’s only Black character, who has a child by a man she doesn’t know and zero friends who aren’t struggling with substance abuse issues — Hazel does not have her work sister’s back.\u003c/p>\n\u003cp>“I think Shartricia has potential,” says Hazel, given a sneaky, yet sophisticated charm by Ashleigh Murray. “I’m excited to read it again with a specific eye on her.”\u003c/p>\n\u003cp>As the saying goes, all skinfolk ain’t kinfolk.\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl \u003c/em>is based on a book by Zakiya Dalila Harris, who also co-wrote some episodes, serves as an executive producer and is sister to our own \u003cem>Pop Culture Happy Hour\u003c/em> host Aisha Harris (who had no input on NPR’s decision to cover the show). The program wears its influences and messaging on its sleeve — so the pressure that comes from Nella realizing she works in an office which values symbolic diversity over actual progress is rendered with ominous music and horror movie tropes.\u003c/p>\n\u003cp>Still, those tropes signal a bracing truth — when one other Black person makes him or herself look good in the office by sabotaging another, it can feel like that moment in \u003cem>The Shining\u003c/em> when Jack Nicholson’s character finally turns on his family.\u003c/p>\n\u003ch3>A lighter look at tokenism and microaggressions\u003c/h3>\n\u003cfigure id=\"attachment_13934749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe\" alt=\"A Black man in a suit with dreadlocks tied up over his head stands in a drab kitchen with a tired looking young white man to his left and a bearded middle aged white man to his right.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Owen as Adam, Adjani Salmon as Kwabena and Toby Williams as Tom in ‘Dreaming Whilst Black.’ \u003ccite>(Anup Bhatt/ Big Deal Films/ A24/ Courtesy of SHOWTIME)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now on Showtime, the British comedy \u003cem>Dreaming Whilst Black \u003c/em>takes a lighter approach. It features co-writer Adjani Salmon as Kwabena, an aspiring film director stuck in a dead-end office job who realizes his white co-worker has asked him for film recommendations for an upcoming date — not because he’s a deft student of the industry working on his own short film — but because the white co-worker is dating a Black woman.\u003c/p>\n\u003cp>[aside postid='arts_13934372']“I’ve been Googling Black Oscar films…\u003cem>The Color Purple\u003c/em>?” the office mate says. Kwabena, ever tolerant, says, “I feel like, for a first date, you might want to choose something without rape?”\u003c/p>\n\u003cp>The office mate then moves to the next film on the list, \u003cem>12 Years a Slave\u003c/em>, prompting Kwabena to say, “Bro, that’s slavery AND rape.”\u003c/p>\n\u003cp>As the show progresses, Kwabena notes he and a South Asian woman are the only people in the office pressured to eat lunch away from their desks over the smell of their food.\u003c/p>\n\u003cp>Later, when he’s dragged to a lame karaoke bar by his co-workers and winds up facing a bar full of white people singing the n-word in a song and expecting him to join in, he quits the job on the spot. (A touch that I love: when he tells a friend who is also Black about it, she wryly notes that some rappers have made a fortune to say the n-word around white people.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kClYnLkRR1Q\u003c/p>\n\u003cp>It’s true enough that lampooning earnestly clueless white people can be like shooting fish in a barrel. But, as someone who has been that sole Black person in an office, I was really touched and entertained by the sour truth behind the easy punchlines in both shows.\u003c/p>\n\u003cp>[aside postid='arts_13934433']Both \u003cem>Dreaming Whilst Black\u003c/em> and \u003cem>The Other Black Girl\u003c/em> have a lot more to say about a lot more things. Kwabena faces all sorts of complications — many self-inflicted — while trying to get his short film made. And Nella uncovers a larger conspiracy centered on co-opting Blackness which sometimes feels like the sequel to \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>Underlying it all is a spot-on depiction of the wryly humorous and downright horrific moments perpetrated by white people often blithely unaware of how much power comes from simply being in the majority.\u003c/p>\n\u003cp>It’s the bittersweet icing on a sumptuous cake — incisive moments from two series whose insights on race and society speak powerfully to this modern moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by\u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem> Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=New+TV+shows+take+on+the+hazard+of+Working+While+Black+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>(Spoiler alert: There’s a few details dropped here about Hulu’s ‘The Other Black Girl’ and ‘Dreaming Whilst Black’ on Showtime.)\u003c/em>\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl\u003c/em> kicks off with an uncomfortable scenario familiar to many who have experienced the tension of being the only Black person working in a mostly-white office — otherwise known as Working While Black.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nella, played with a deft earnestness by Sinclair Daniel, just wants to get through her duties as a frustrated, underappreciated editorial assistant at Manhattan publishing house Wagner Books. But she’s interrupted by a well-meaning white colleague who has texted her a link to a column titled: “The Token in the Corporate Machine: Being Black in a White Workplace”\u003c/p>\n\u003cp>“You know, I’m always looking for ways to be a better ally to you,” her coworker says, with an unsettling, overly energetic chirpyness. “You should read [the column], like, right now! And share if it resonates.”\u003c/p>\n\u003cp>One look at Nella’s face shows what’s really resonating: another disappointing encounter with tokenism in her workplace with someone who doesn’t actually see \u003cem>her\u003c/em>. Instead, they see some image of her shaped by their own presumptions — someone who can help fulfill their desire to feel socially progressive and impactful, regardless of what Nella actually needs or wants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7gmYkNE0wYw'\n title='//www.youtube.com/embed/7gmYkNE0wYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the delicious anxiety explored by \u003cem>The Other Black Girl \u003c/em>and another Black-centered series which dropped on Showtime earlier this week, the British comedy \u003cem>Dreaming Whilst Black\u003c/em>. Both shows talk about race, class, gender, upward mobility and lots of other issues in compelling ways.\u003c/p>\n\u003cp>But what stuck with me was how each show speaks incisively — and asks solid questions — about what it means to be a Black person moving through a mostly white world, especially in work/office spaces. And how those spaces can pit Black folks — indeed, all marginalized people — against one another, often when they need each other most.\u003c/p>\n\u003ch3>An ally who becomes something else\u003c/h3>\n\u003cfigure id=\"attachment_13934748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe\" alt=\"An attractive Black woman with long locs puts her arm around another Black woman. They look at each other warmly\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sinclair Daniel as Nella, Ashleigh Murray as Hazel on Hulu’s ‘The Other Black Girl.’ \u003ccite>(Wilford Harwood/ Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Nella’s case, she thinks a true ally has arrived when the company hires Hazel, a new editorial assistant who talks earnestly about growing up in Harlem and her graduation from the historically Black college Howard University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But when Nella decides to confront a problematic white author about a character in his new novel named Shartricia — the book’s only Black character, who has a child by a man she doesn’t know and zero friends who aren’t struggling with substance abuse issues — Hazel does not have her work sister’s back.\u003c/p>\n\u003cp>“I think Shartricia has potential,” says Hazel, given a sneaky, yet sophisticated charm by Ashleigh Murray. “I’m excited to read it again with a specific eye on her.”\u003c/p>\n\u003cp>As the saying goes, all skinfolk ain’t kinfolk.\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl \u003c/em>is based on a book by Zakiya Dalila Harris, who also co-wrote some episodes, serves as an executive producer and is sister to our own \u003cem>Pop Culture Happy Hour\u003c/em> host Aisha Harris (who had no input on NPR’s decision to cover the show). The program wears its influences and messaging on its sleeve — so the pressure that comes from Nella realizing she works in an office which values symbolic diversity over actual progress is rendered with ominous music and horror movie tropes.\u003c/p>\n\u003cp>Still, those tropes signal a bracing truth — when one other Black person makes him or herself look good in the office by sabotaging another, it can feel like that moment in \u003cem>The Shining\u003c/em> when Jack Nicholson’s character finally turns on his family.\u003c/p>\n\u003ch3>A lighter look at tokenism and microaggressions\u003c/h3>\n\u003cfigure id=\"attachment_13934749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe\" alt=\"A Black man in a suit with dreadlocks tied up over his head stands in a drab kitchen with a tired looking young white man to his left and a bearded middle aged white man to his right.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Owen as Adam, Adjani Salmon as Kwabena and Toby Williams as Tom in ‘Dreaming Whilst Black.’ \u003ccite>(Anup Bhatt/ Big Deal Films/ A24/ Courtesy of SHOWTIME)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now on Showtime, the British comedy \u003cem>Dreaming Whilst Black \u003c/em>takes a lighter approach. It features co-writer Adjani Salmon as Kwabena, an aspiring film director stuck in a dead-end office job who realizes his white co-worker has asked him for film recommendations for an upcoming date — not because he’s a deft student of the industry working on his own short film — but because the white co-worker is dating a Black woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’ve been Googling Black Oscar films…\u003cem>The Color Purple\u003c/em>?” the office mate says. Kwabena, ever tolerant, says, “I feel like, for a first date, you might want to choose something without rape?”\u003c/p>\n\u003cp>The office mate then moves to the next film on the list, \u003cem>12 Years a Slave\u003c/em>, prompting Kwabena to say, “Bro, that’s slavery AND rape.”\u003c/p>\n\u003cp>As the show progresses, Kwabena notes he and a South Asian woman are the only people in the office pressured to eat lunch away from their desks over the smell of their food.\u003c/p>\n\u003cp>Later, when he’s dragged to a lame karaoke bar by his co-workers and winds up facing a bar full of white people singing the n-word in a song and expecting him to join in, he quits the job on the spot. (A touch that I love: when he tells a friend who is also Black about it, she wryly notes that some rappers have made a fortune to say the n-word around white people.)\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/kClYnLkRR1Q'\n title='//www.youtube.com/embed/kClYnLkRR1Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s true enough that lampooning earnestly clueless white people can be like shooting fish in a barrel. But, as someone who has been that sole Black person in an office, I was really touched and entertained by the sour truth behind the easy punchlines in both shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both \u003cem>Dreaming Whilst Black\u003c/em> and \u003cem>The Other Black Girl\u003c/em> have a lot more to say about a lot more things. Kwabena faces all sorts of complications — many self-inflicted — while trying to get his short film made. And Nella uncovers a larger conspiracy centered on co-opting Blackness which sometimes feels like the sequel to \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>Underlying it all is a spot-on depiction of the wryly humorous and downright horrific moments perpetrated by white people often blithely unaware of how much power comes from simply being in the majority.\u003c/p>\n\u003cp>It’s the bittersweet icing on a sumptuous cake — incisive moments from two series whose insights on race and society speak powerfully to this modern moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Face to Face’ Is a Murder Mystery That Lives up to the Tradition of Nordic Noir",
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"content": "\u003cp>It’s one of the amusing paradoxes of popular culture that Scandinavia has very few murders yet probably leads the world in murder mysteries. It just keeps churning out a seemingly endless supply of what’s called Nordic Noir, from the groundbreaking 1960s procedurals by Maj Sjöwall and Per Wahlöö, to today’s crime novels by\u003ca href=\"https://www.npr.org/2018/04/12/599919038/jo-nesb-gives-macbeth-a-gritty-action-packed-update\"> Jo Nesbø \u003c/a>and Camilla Läckberg, to international TV hits like \u003ca href=\"https://www.npr.org/2011/03/31/135009963/the-killing-twin-peaks-meets-24-on-amc\">\u003cem>The Killing\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/10/200828653/new-series-the-bridge-seeks-an-audience-in-two-languages\">\u003cem>The Bridge\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The noir spirit occupies the center of Viaplay, a relatively new streaming service that specializes in Nordic television. I’ve watched a bunch of their crime shows, several of them good, and the one I’ve enjoyed the most is \u003cem>Face to Face\u003c/em>, a neatly turned Danish thriller whose protagonists — different in each season — attempt to solve a murder over the course of eight half-hour episodes. The third and final season just dropped, and it’s a real humdinger: Imagine if \u003ca href=\"https://www.npr.org/2022/01/18/1073771835/succession-actor-brian-cox-on-logan-roy\">Logan Roy\u003c/a> from \u003ca href=\"https://www.npr.org/2023/05/29/1178689904/succession-series-finale-recap\">\u003cem>Succession\u003c/em> \u003c/a>had to solve a murder.\u003c/p>\n\u003cp>[aside postid='arts_13932418']Lars Mikkelsen — whom you’ll know from \u003ca href=\"https://www.npr.org/2014/02/04/271525839/borgen-is-denmarks-west-wing-but-even-better\">\u003cem>Borgen\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2018/10/25/660436868/house-of-cards-without-kevin-spacey\">\u003cem>House of Cards\u003c/em>\u003c/a> — stars as real estate baron Holger Lang, a smart, heartless developer with a graying beard as forbidding as he is. As the action begins, he gets sent footage of his young protege, Christina, being stabbed to death. Burning to figure out who did it, he rushes to his office and begins questioning his scruffy, ne’er-do-well brother, Markus, a wounded soul played with great feeling by Pilou Asbæk, from \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>Game of Thrones\u003c/em>\u003c/a> and also \u003cem>Borgen\u003c/em>. Could Markus have set up Christina’s murder?\u003c/p>\n\u003cp>Things get really nasty, and Holger stalks out, following a lead he’s gotten from Markus. In each of the next seven episodes, Holger meets someone new — his lawyer, his business rival, the chief of police, etc. — and engages in long talks that feel more like inquisitions than conversations. As the twists multiply and the action builds to an ending that \u003ca href=\"https://www.npr.org/2015/04/21/401222454/revisiting-a-suburbia-gone-sour-in-ross-macdonalds-crime-fiction\">Ross Macdonald\u003c/a> might’ve appreciated, Holger comes to realize that there are a great many things about his life — and his relationships with other people — about which he has been ruinously wrong.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u_ahDLxyQnU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the show’s writer-and-director Christoffer Boe conceived \u003cem>Face to Face\u003c/em> before the pandemic, its conceit is perfect for a world in which one doesn’t want a lot of people on set. With a couple of exceptions, each episode focuses on essentially two characters talking. We watch Holger circle around someone he mistrusts, grilling them, pouncing on their lies and, in return, having them fight back with stinging rejoinders and questions of their own.\u003c/p>\n\u003cp>The show’s format is not as austere as it may sound. The great Hong Kong director \u003ca href=\"https://www.npr.org/2005/08/24/4814337/past-and-future-love-wong-kar-wais-2046\">Wong Kar-Wai\u003c/a> once remarked that “TV is dialogue” — and he’s right. Forget about flying dragons and those boring action scenes they use to pad out episodes of \u003ca href=\"https://www.npr.org/2019/10/29/774352718/tom-clancy-s-jack-ryan-offers-a-dose-of-retro-heroism-in-its-2nd-season\">\u003cem>Jack Ryan \u003c/em>\u003c/a>and all those \u003ca href=\"https://www.npr.org/2023/06/21/1183516470/review-marvel-secret-invasion\">Marvel series\u003c/a>. Even in big-budget shows, people’s favorite moments are nearly always the two-handers filled with talk that reveals character — Walter and Jesse arguing in \u003ca href=\"https://www.npr.org/2013/09/30/227740741/breaking-bad-lands-its-finale-a-little-too-cleanly\">\u003cem>Breaking Bad\u003c/em>\u003c/a>, Jaime and Brienne becoming unexpectedly close in \u003cem>Game of Thrones\u003c/em>, pastry whiz Marcus making a personal connection with Will Poulter’s Copenhagen-based chef in \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13933824']The talk in Season 3 of \u003cem>Face to Face\u003c/em> sucks you right in, in no small part because every single performance is excellent — starting with the portrayal of Holger, whose blend of acuity and blindness Mikkelsen reveals with seismographic precision. Angrily protecting his empire and his sense of himself, he’s positively Sherlockean in his ability to take a seemingly random fact or statement and tease out its hidden meaning. Yet even as Holger’s brilliant, he’s often stunned to realize that nobody is quite who he thought they were.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ever since Sophocles wrote \u003cem>Oedipus Rex\u003c/em>, the best mystery stories have featured heroes who don’t merely discover the truth about a murder but the truth about themselves. And that’s what happens in \u003cem>Face to Face\u003c/em>, whose heroes go on a journey of self-discovery. I’m not about to compare this series to Greek tragedy. Nobody will be watching Holger’s story in 2,500 years. But it does remind us of an ancient truth: The biggest mystery of all is the self.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=%27Face+to+Face%27+is+a+murder+mystery+that+lives+up+to+the+tradition+of+Nordic+Noir&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s one of the amusing paradoxes of popular culture that Scandinavia has very few murders yet probably leads the world in murder mysteries. It just keeps churning out a seemingly endless supply of what’s called Nordic Noir, from the groundbreaking 1960s procedurals by Maj Sjöwall and Per Wahlöö, to today’s crime novels by\u003ca href=\"https://www.npr.org/2018/04/12/599919038/jo-nesb-gives-macbeth-a-gritty-action-packed-update\"> Jo Nesbø \u003c/a>and Camilla Läckberg, to international TV hits like \u003ca href=\"https://www.npr.org/2011/03/31/135009963/the-killing-twin-peaks-meets-24-on-amc\">\u003cem>The Killing\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/10/200828653/new-series-the-bridge-seeks-an-audience-in-two-languages\">\u003cem>The Bridge\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The noir spirit occupies the center of Viaplay, a relatively new streaming service that specializes in Nordic television. I’ve watched a bunch of their crime shows, several of them good, and the one I’ve enjoyed the most is \u003cem>Face to Face\u003c/em>, a neatly turned Danish thriller whose protagonists — different in each season — attempt to solve a murder over the course of eight half-hour episodes. The third and final season just dropped, and it’s a real humdinger: Imagine if \u003ca href=\"https://www.npr.org/2022/01/18/1073771835/succession-actor-brian-cox-on-logan-roy\">Logan Roy\u003c/a> from \u003ca href=\"https://www.npr.org/2023/05/29/1178689904/succession-series-finale-recap\">\u003cem>Succession\u003c/em> \u003c/a>had to solve a murder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lars Mikkelsen — whom you’ll know from \u003ca href=\"https://www.npr.org/2014/02/04/271525839/borgen-is-denmarks-west-wing-but-even-better\">\u003cem>Borgen\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2018/10/25/660436868/house-of-cards-without-kevin-spacey\">\u003cem>House of Cards\u003c/em>\u003c/a> — stars as real estate baron Holger Lang, a smart, heartless developer with a graying beard as forbidding as he is. As the action begins, he gets sent footage of his young protege, Christina, being stabbed to death. Burning to figure out who did it, he rushes to his office and begins questioning his scruffy, ne’er-do-well brother, Markus, a wounded soul played with great feeling by Pilou Asbæk, from \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>Game of Thrones\u003c/em>\u003c/a> and also \u003cem>Borgen\u003c/em>. Could Markus have set up Christina’s murder?\u003c/p>\n\u003cp>Things get really nasty, and Holger stalks out, following a lead he’s gotten from Markus. In each of the next seven episodes, Holger meets someone new — his lawyer, his business rival, the chief of police, etc. — and engages in long talks that feel more like inquisitions than conversations. As the twists multiply and the action builds to an ending that \u003ca href=\"https://www.npr.org/2015/04/21/401222454/revisiting-a-suburbia-gone-sour-in-ross-macdonalds-crime-fiction\">Ross Macdonald\u003c/a> might’ve appreciated, Holger comes to realize that there are a great many things about his life — and his relationships with other people — about which he has been ruinously wrong.\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/u_ahDLxyQnU'\n title='//www.youtube.com/embed/u_ahDLxyQnU'\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>While the show’s writer-and-director Christoffer Boe conceived \u003cem>Face to Face\u003c/em> before the pandemic, its conceit is perfect for a world in which one doesn’t want a lot of people on set. With a couple of exceptions, each episode focuses on essentially two characters talking. We watch Holger circle around someone he mistrusts, grilling them, pouncing on their lies and, in return, having them fight back with stinging rejoinders and questions of their own.\u003c/p>\n\u003cp>The show’s format is not as austere as it may sound. The great Hong Kong director \u003ca href=\"https://www.npr.org/2005/08/24/4814337/past-and-future-love-wong-kar-wais-2046\">Wong Kar-Wai\u003c/a> once remarked that “TV is dialogue” — and he’s right. Forget about flying dragons and those boring action scenes they use to pad out episodes of \u003ca href=\"https://www.npr.org/2019/10/29/774352718/tom-clancy-s-jack-ryan-offers-a-dose-of-retro-heroism-in-its-2nd-season\">\u003cem>Jack Ryan \u003c/em>\u003c/a>and all those \u003ca href=\"https://www.npr.org/2023/06/21/1183516470/review-marvel-secret-invasion\">Marvel series\u003c/a>. Even in big-budget shows, people’s favorite moments are nearly always the two-handers filled with talk that reveals character — Walter and Jesse arguing in \u003ca href=\"https://www.npr.org/2013/09/30/227740741/breaking-bad-lands-its-finale-a-little-too-cleanly\">\u003cem>Breaking Bad\u003c/em>\u003c/a>, Jaime and Brienne becoming unexpectedly close in \u003cem>Game of Thrones\u003c/em>, pastry whiz Marcus making a personal connection with Will Poulter’s Copenhagen-based chef in \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The talk in Season 3 of \u003cem>Face to Face\u003c/em> sucks you right in, in no small part because every single performance is excellent — starting with the portrayal of Holger, whose blend of acuity and blindness Mikkelsen reveals with seismographic precision. Angrily protecting his empire and his sense of himself, he’s positively Sherlockean in his ability to take a seemingly random fact or statement and tease out its hidden meaning. Yet even as Holger’s brilliant, he’s often stunned to realize that nobody is quite who he thought they were.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ever since Sophocles wrote \u003cem>Oedipus Rex\u003c/em>, the best mystery stories have featured heroes who don’t merely discover the truth about a murder but the truth about themselves. And that’s what happens in \u003cem>Face to Face\u003c/em>, whose heroes go on a journey of self-discovery. I’m not about to compare this series to Greek tragedy. Nobody will be watching Holger’s story in 2,500 years. But it does remind us of an ancient truth: The biggest mystery of all is the self.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=%27Face+to+Face%27+is+a+murder+mystery+that+lives+up+to+the+tradition+of+Nordic+Noir&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Organizers of the annual Burning Man music and arts festival lifted a driving ban on Monday afternoon as muddy roads that had stranded thousands of attendees in the Nevada desert had dried up enough to allow people to begin leaving.\u003c/p>\n\u003cp>[aside postid='arts_13933276']“Exodus operations have officially begun in Black Rock City,” \u003ca href=\"https://burningman.org/event/wetplaya2023/\">organizers posted\u003c/a> Monday at 2 p.m. local time, about seven hours before the festival’s fiery conclusion. The torching of a giant, faceless, man-shaped effigy was carried out Monday evening, after having been postponed twice due to the weather.\u003c/p>\n\u003cp>But as of Tuesday morning, the festival was asking participants to consider staying a little longer if they could. Traffic was so congested that at one point, it was taking drivers roughly seven hours to traverse a 5-mile route, pocked with puddles, to the nearest paved road. By midmorning, that time had dropped to 2-3 hours, \u003ca href=\"https://twitter.com/bmantraffic/status/1699080461656699198\">the organizers said on social media. \u003c/a>\u003c/p>\n\u003cp>And that was just the beginning of the journey home for the roughly 72,000 attendees who traveled to the festival’s remote site in northern Nevada, about 120 miles north of the nearest airport in Reno. \u003ca href=\"https://twitter.com/RenoAirport/status/1698911517566210426\">The airport warned on social media\u003c/a> that it did not have the facilities to house travelers for long periods of time while they sorted out plans.\u003c/p>\n\u003cp>https://twitter.com/RenoAirport/status/1698911517566210426\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even during normal years, exodus\u003ca href=\"https://survival.burningman.org/transportation-traffic/exodus/\"> traffic jams can last for six to nine hours\u003c/a>, according to the organizers. Cars, trucks and RVs stuffed with sleeping bags, stoves and tents all cram onto a single two-lane road leading to the nearest major highway.\u003c/p>\n\u003cp>But this year’s participants had been stranded since Sunday, after storms turned the desert playa into a mud bath. Close to an inch of precipitation flooded the area starting on Friday, prompting event organizers to close access to the festival until vehicles could safely pass and to warn campers to conserve food and water.\u003c/p>\n\u003ch3>Wet weather didn’t dampen the Burning Man spirit\u003c/h3>\n\u003cp>Despite reports of stuck vehicles, overflowing port-a-potties, postponed bus pickups and spotty Wi-Fi service, \u003ca href=\"https://www.npr.org/2023/09/02/1197441202/burning-man-festival-rains-floods-stranded-nevada\">several attendees who spoke to NPR\u003c/a> say the wet weather hadn’t dampened moods.\u003c/p>\n\u003cp>“We’re pooling all our food as far as resources. And I would say honestly, walking around the city, spirits are pretty high,” attendee Anya Kamenetz \u003ca href=\"https://www.npr.org/2023/09/03/1197461152/thousands-of-burning-man-attendees-are-stranded-in-the-nevada-desert\">said on Sunday\u003c/a>.\u003c/p>\n\u003cp>The challenging conditions are testing a community of so-called burners, which touts self-reliance and communal effort among its \u003ca href=\"https://burningman.org/about/10-principles/\">core principles\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13885765']Event volunteer Josh Lease said that in true Burning Man spirit, people were sharing warm clothes and phone chargers where they could — and they kept the music blaring.\u003c/p>\n\u003cp>“It’s like any other Burning Man, just muddy,” he told NPR on Saturday evening.\u003c/p>\n\u003cp>“The warnings do sound very dire, and of course, the organization has to tell people to take care,” said \u003ca href=\"https://www.npr.org/people/1196799368/claudia-peschiutta\">Claudia Peschiutta\u003c/a>, an editor with NPR’s \u003cem>Morning Edition\u003c/em> who attended the event, but “I haven’t seen one person who seems worried about it at all.”\u003c/p>\n\u003cp>Some frustration, however, started to seep in for some attendees by Sunday.\u003c/p>\n\u003cp>In rainy Burning Mans past, longtime burner Joe Bamberg said he’s seen couches, carpets and clothes eventually dry out. But this time, he said, “all is damp and will be ruined by mold,” he said.\u003c/p>\n\u003cp>“I am not thrilled,” said Bamberg, who added: “People make do, it is part of the adventure.”\u003c/p>\n\u003cp>Meanwhile, authorities in Nevada were investigating a death at the site. The Pershing County sheriff said on Saturday that a person was found dead on the playa but declined to offer any further details \u003ca href=\"https://www.cnn.com/videos/us/2023/09/03/burning-man-stranded-update-county-official-cnntm-vpx.cnn\">in an interview with CNN\u003c/a> on Monday.\u003c/p>\n\u003cfigure id=\"attachment_13934282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burning Man attendees walk through a muddy desert plain on Saturday, after heavy rains pelted the annual Nevada festival. \u003ccite>(Julie Jammot/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Some burners made the trek out on foot\u003c/h3>\n\u003cp>The \u003ca href=\"https://burningman.org/\">Burning Man Organization\u003c/a> had begun telling attendees to shelter in place on Saturday, when it announced that access into and out of the site was closed for the remainder of the event, which runs from Aug. 27 through Sep. 4. Only emergency vehicles were allowed to pass, the organization said in a \u003ca href=\"https://docs.google.com/spreadsheets/d/1AfpmyriBHIFQ_Jymw3wHn9dtAGTgLcAjbnogNPsLvEA/htmlview#gid=0\">statement\u003c/a>.\u003c/p>\n\u003cp>“Conserve food, water, and fuel, and shelter in a warm, safe space,” the statement urged those stuck in the desert.\u003c/p>\n\u003cp>Although they urged attendees against driving on Sunday, event officials said that some vehicles designed for off-road terrain had been able to navigate the mud and successfully leave the event.\u003c/p>\n\u003cp>Other attendees chose to walk several miles across the muck to exit the grounds.\u003c/p>\n\u003cp>Music producer Diplo said he and comedian Chris Rock escaped the event on Saturday after walking 6 miles before hitching a ride from a fan in a pickup truck.\u003c/p>\n\u003cp>“I legit walked the side of the road for hours with my thumb out cuz I have a show in dc tonight and didnt want to let yall down,” \u003ca href=\"https://www.instagram.com/reel/CwtMcuQuuDY/?utm_source=ig_web_copy_link\">he wrote in an Instagram post\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CwtMcuQuuDY/\u003c/p>\n\u003cp>Neal Katyal, former acting Obama-era solicitor general, also made the trek out. He \u003ca href=\"https://twitter.com/neal_katyal/status/1698302619083509871?s=20\">said he was safe\u003c/a> after his first trip to the festival ended with “an incredibly harrowing 6-mile hike at midnight through heavy and slippery mud.”\u003c/p>\n\u003cp>President Biden had been briefed on the situation, according to a White House official. Event attendees were told over the weekend to listen to state and local officials, and event organizers, the administration official said.\u003c/p>\n\u003cp>[aside postid='arts_13839695']“We have come here knowing this is a place where we bring everything we need to survive,” the organization said in a statement Saturday night. “It is because of this that we are all well-prepared for a weather event like this.”\u003c/p>\n\u003cp>“We have done table-top drills for events like this. We are engaged full-time on all aspects of safety and looking ahead to our Exodus as our next priority.”\u003c/p>\n\u003cp>More than 70,000 people visit the makeshift town of Black Rock City every year to dance, make art and join a self-sufficient, counter-cultural community.\u003c/p>\n\u003cp>The weeklong festival began in 1986 as a small gathering in San Francisco. Today, celebrities, tech moguls and social media influencers are common attendees. \u003ca href=\"https://tickets.burningman.org/?_gl=1%2Anja9og%2A_ga%2AMTk2NDMwOTYxMS4xNjkzOTEwMDA3%2A_ga_411YJ8ZFDE%2AMTY5MzkxNzEzNy4yLjEuMTY5MzkxOTEzNy4wLjAuMA..\">This year’s ticket prices\u003c/a> started at $575.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The weekend’s events weren’t the first time the entrance had been blocked at this year’s festival. A group of climate protesters caused \u003ca href=\"https://www.theguardian.com/culture/2023/aug/28/burning-man-protest-climate-change-environment\">miles of gridlock\u003c/a> at the start of the event by parking a 28-foot trailer in the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Burning+Man+festival+attendees%2C+finally+free+to+leave%2C+face+hours+of+traffic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Exodus operations have officially begun in Black Rock City,” \u003ca href=\"https://burningman.org/event/wetplaya2023/\">organizers posted\u003c/a> Monday at 2 p.m. local time, about seven hours before the festival’s fiery conclusion. The torching of a giant, faceless, man-shaped effigy was carried out Monday evening, after having been postponed twice due to the weather.\u003c/p>\n\u003cp>But as of Tuesday morning, the festival was asking participants to consider staying a little longer if they could. Traffic was so congested that at one point, it was taking drivers roughly seven hours to traverse a 5-mile route, pocked with puddles, to the nearest paved road. By midmorning, that time had dropped to 2-3 hours, \u003ca href=\"https://twitter.com/bmantraffic/status/1699080461656699198\">the organizers said on social media. \u003c/a>\u003c/p>\n\u003cp>And that was just the beginning of the journey home for the roughly 72,000 attendees who traveled to the festival’s remote site in northern Nevada, about 120 miles north of the nearest airport in Reno. \u003ca href=\"https://twitter.com/RenoAirport/status/1698911517566210426\">The airport warned on social media\u003c/a> that it did not have the facilities to house travelers for long periods of time while they sorted out plans.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even during normal years, exodus\u003ca href=\"https://survival.burningman.org/transportation-traffic/exodus/\"> traffic jams can last for six to nine hours\u003c/a>, according to the organizers. Cars, trucks and RVs stuffed with sleeping bags, stoves and tents all cram onto a single two-lane road leading to the nearest major highway.\u003c/p>\n\u003cp>But this year’s participants had been stranded since Sunday, after storms turned the desert playa into a mud bath. Close to an inch of precipitation flooded the area starting on Friday, prompting event organizers to close access to the festival until vehicles could safely pass and to warn campers to conserve food and water.\u003c/p>\n\u003ch3>Wet weather didn’t dampen the Burning Man spirit\u003c/h3>\n\u003cp>Despite reports of stuck vehicles, overflowing port-a-potties, postponed bus pickups and spotty Wi-Fi service, \u003ca href=\"https://www.npr.org/2023/09/02/1197441202/burning-man-festival-rains-floods-stranded-nevada\">several attendees who spoke to NPR\u003c/a> say the wet weather hadn’t dampened moods.\u003c/p>\n\u003cp>“We’re pooling all our food as far as resources. And I would say honestly, walking around the city, spirits are pretty high,” attendee Anya Kamenetz \u003ca href=\"https://www.npr.org/2023/09/03/1197461152/thousands-of-burning-man-attendees-are-stranded-in-the-nevada-desert\">said on Sunday\u003c/a>.\u003c/p>\n\u003cp>The challenging conditions are testing a community of so-called burners, which touts self-reliance and communal effort among its \u003ca href=\"https://burningman.org/about/10-principles/\">core principles\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Event volunteer Josh Lease said that in true Burning Man spirit, people were sharing warm clothes and phone chargers where they could — and they kept the music blaring.\u003c/p>\n\u003cp>“It’s like any other Burning Man, just muddy,” he told NPR on Saturday evening.\u003c/p>\n\u003cp>“The warnings do sound very dire, and of course, the organization has to tell people to take care,” said \u003ca href=\"https://www.npr.org/people/1196799368/claudia-peschiutta\">Claudia Peschiutta\u003c/a>, an editor with NPR’s \u003cem>Morning Edition\u003c/em> who attended the event, but “I haven’t seen one person who seems worried about it at all.”\u003c/p>\n\u003cp>Some frustration, however, started to seep in for some attendees by Sunday.\u003c/p>\n\u003cp>In rainy Burning Mans past, longtime burner Joe Bamberg said he’s seen couches, carpets and clothes eventually dry out. But this time, he said, “all is damp and will be ruined by mold,” he said.\u003c/p>\n\u003cp>“I am not thrilled,” said Bamberg, who added: “People make do, it is part of the adventure.”\u003c/p>\n\u003cp>Meanwhile, authorities in Nevada were investigating a death at the site. The Pershing County sheriff said on Saturday that a person was found dead on the playa but declined to offer any further details \u003ca href=\"https://www.cnn.com/videos/us/2023/09/03/burning-man-stranded-update-county-official-cnntm-vpx.cnn\">in an interview with CNN\u003c/a> on Monday.\u003c/p>\n\u003cfigure id=\"attachment_13934282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/gettyimages-1642957320-4e5f3959be8d1d234fa4ce76db21432cf9824015.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burning Man attendees walk through a muddy desert plain on Saturday, after heavy rains pelted the annual Nevada festival. \u003ccite>(Julie Jammot/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Some burners made the trek out on foot\u003c/h3>\n\u003cp>The \u003ca href=\"https://burningman.org/\">Burning Man Organization\u003c/a> had begun telling attendees to shelter in place on Saturday, when it announced that access into and out of the site was closed for the remainder of the event, which runs from Aug. 27 through Sep. 4. Only emergency vehicles were allowed to pass, the organization said in a \u003ca href=\"https://docs.google.com/spreadsheets/d/1AfpmyriBHIFQ_Jymw3wHn9dtAGTgLcAjbnogNPsLvEA/htmlview#gid=0\">statement\u003c/a>.\u003c/p>\n\u003cp>“Conserve food, water, and fuel, and shelter in a warm, safe space,” the statement urged those stuck in the desert.\u003c/p>\n\u003cp>Although they urged attendees against driving on Sunday, event officials said that some vehicles designed for off-road terrain had been able to navigate the mud and successfully leave the event.\u003c/p>\n\u003cp>Other attendees chose to walk several miles across the muck to exit the grounds.\u003c/p>\n\u003cp>Music producer Diplo said he and comedian Chris Rock escaped the event on Saturday after walking 6 miles before hitching a ride from a fan in a pickup truck.\u003c/p>\n\u003cp>“I legit walked the side of the road for hours with my thumb out cuz I have a show in dc tonight and didnt want to let yall down,” \u003ca href=\"https://www.instagram.com/reel/CwtMcuQuuDY/?utm_source=ig_web_copy_link\">he wrote in an Instagram post\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neal Katyal, former acting Obama-era solicitor general, also made the trek out. He \u003ca href=\"https://twitter.com/neal_katyal/status/1698302619083509871?s=20\">said he was safe\u003c/a> after his first trip to the festival ended with “an incredibly harrowing 6-mile hike at midnight through heavy and slippery mud.”\u003c/p>\n\u003cp>President Biden had been briefed on the situation, according to a White House official. Event attendees were told over the weekend to listen to state and local officials, and event organizers, the administration official said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We have come here knowing this is a place where we bring everything we need to survive,” the organization said in a statement Saturday night. “It is because of this that we are all well-prepared for a weather event like this.”\u003c/p>\n\u003cp>“We have done table-top drills for events like this. We are engaged full-time on all aspects of safety and looking ahead to our Exodus as our next priority.”\u003c/p>\n\u003cp>More than 70,000 people visit the makeshift town of Black Rock City every year to dance, make art and join a self-sufficient, counter-cultural community.\u003c/p>\n\u003cp>The weeklong festival began in 1986 as a small gathering in San Francisco. Today, celebrities, tech moguls and social media influencers are common attendees. \u003ca href=\"https://tickets.burningman.org/?_gl=1%2Anja9og%2A_ga%2AMTk2NDMwOTYxMS4xNjkzOTEwMDA3%2A_ga_411YJ8ZFDE%2AMTY5MzkxNzEzNy4yLjEuMTY5MzkxOTEzNy4wLjAuMA..\">This year’s ticket prices\u003c/a> started at $575.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The weekend’s events weren’t the first time the entrance had been blocked at this year’s festival. A group of climate protesters caused \u003ca href=\"https://www.theguardian.com/culture/2023/aug/28/burning-man-protest-climate-change-environment\">miles of gridlock\u003c/a> at the start of the event by parking a 28-foot trailer in the way.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Burning+Man+festival+attendees%2C+finally+free+to+leave%2C+face+hours+of+traffic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Trail of the Lost’ is a Gripping Tale of Hikers Missing on the Pacific Crest Trail",
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"content": "\u003cp>Andrea Lankford left a decorated career as a park ranger after growing tired of the bureaucracy involved. But years later, three young men went missing on the Pacific Crest Trail in relatively similar circumstances — and she couldn’t stop thinking about them.\u003c/p>\n\u003cp>\u003cem>Trail of the Lost\u003c/em> was her answer.\u003c/p>\n\u003cp>It’s a gripping nonfiction narrative that delves deep into the cases of these three hikers who vanished while traversing the PCT. It digs into their lives and those of the people looking for them but also explores the history of the PCT and the rich, nuanced subculture, practices — and even literature — that surround it and those who undertake the 2,650-mi. journey from Mexico to Canada.\u003c/p>\n\u003cp>[aside postid='arts_13933261']As a park ranger with the National Park Service’s law enforcement team, Lankford won several awards for her investigations. She also led search and rescue missions (SAR) in wild areas all across America. With the knowledge and expertise of her years on the job, Lankford started looking into the cases of the missing hikers, and soon found herself immersed in the world of Facebook groups whose goal was to share information and help find them.\u003c/p>\n\u003cp>Lankford launched her own investigation into the disappearances and soon found herself working with the families of those missing hikers, authorities who were on the case—with varying degrees of communication and cooperation—and with other hikers and people who developed an interest in the cases and wanted to help. Together, Lankford and all those involved in the searches canvassed the areas where the hikers had last been seen, visited and interviewed those who’d had contact with them around the time of their disappearance, and followed families and friends as they desperately followed any leads.\u003c/p>\n\u003cfigure id=\"attachment_13933988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-800x1111.jpg\" alt=\"A book cover showing a tree-covered mountain range. It reads: Trail of the Lost: The relentless search to bring home the missing hikers of the Pacific Crest Trail.\" width=\"800\" height=\"1111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-800x1111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1020x1417.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-768x1067.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1106x1536.jpg 1106w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1474x2048.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607.jpg 1684w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Trail of the Lost’ by Andrea Lankford. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Trail of the Lost \u003c/em>is about the hikers and the efforts to find them, but it’s also a rich, multilayered narrative that works on three different levels. The first is the story of each of the three hikers—Chris Sylvia, David O’Sullivan, Kris Fowler. Lankford offers a small biography of each of the missing men and shows them through the eyes of those who knew them well and even those who joined the search after learning about their disappearances. The research was meticulous and Lankford used interviews to paint vivid pictures, including of what mental and emotional states they might’ve been in while hiking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right underneath the narratives about Sylvia, O’Sullivan, and Fowler are the stories of everyone looking for them. Lankford played a role in each search, but she relegated herself when writing this book and allowed friends, family, and even strangers to occupy center stage throughout most of the narrative. The story looks at the role of Facebook groups in the searches — and how crucial word of mouth can be. Many kindhearted individuals came forth and became instrumental in the searches or provided valuable information. But Lankford also writes of the many who lied for no apparent reason and muddled the investigations in the process.\u003c/p>\n\u003cp>While the stories of the hikers and everyone involved in the searches for them, including Lankford, takes up a lot of space, the narrative also shines a light on many aspects of the PCT, from its creation to the way popular books like Cheryl Strayed’s \u003cem>Wild \u003c/em>have had a massive impact on the number of people who attempt to hike the entire trail.\u003c/p>\n\u003cp>[aside postid='arts_13933542']Lankford, who on top of her SAR expertise has, among other accomplishments, thru-hiked the entire Appalachian Trail and was the first person to mountain bike the 800-mi. Arizona Trail along with her friend Beth Overton, knows just how wild and dangerous the PCT can be. The PCT is very popular, but the physical and mental demands of a thru-hike are many. Also, while the vistas are often some of the most beautiful in the country, \u003cem>Trail of the Lost \u003c/em>explores some of the dangers it hides. From the threat of mountain lions and bears to marijuana growers, mushroom poachers, and other people with bad intentions who don’t abide by the PCT’s unspoken code of ethics and camaraderie, this book also serves as an exposé on the well-known — as well as the often hidden or ignored — dangers of the PCT.\u003c/p>\n\u003cp>\u003cem>Trail of the Lost\u003c/em> is written with a clear, fast-paced, straightforward prose that still manages to be beautiful and immersive. It is also as full of hope and humanity as it is packed with pain, grief, danger, and tension. This is a book in which the PCT is as much of a character as every person Lankford writes about, and that balance makes it worthy reading.\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 Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=%27Trail+of+the+Lost%27+is+a+gripping+tale+of+hikers+missing+on+the+Pacific+Crest+Trail&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a park ranger with the National Park Service’s law enforcement team, Lankford won several awards for her investigations. She also led search and rescue missions (SAR) in wild areas all across America. With the knowledge and expertise of her years on the job, Lankford started looking into the cases of the missing hikers, and soon found herself immersed in the world of Facebook groups whose goal was to share information and help find them.\u003c/p>\n\u003cp>Lankford launched her own investigation into the disappearances and soon found herself working with the families of those missing hikers, authorities who were on the case—with varying degrees of communication and cooperation—and with other hikers and people who developed an interest in the cases and wanted to help. Together, Lankford and all those involved in the searches canvassed the areas where the hikers had last been seen, visited and interviewed those who’d had contact with them around the time of their disappearance, and followed families and friends as they desperately followed any leads.\u003c/p>\n\u003cfigure id=\"attachment_13933988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-800x1111.jpg\" alt=\"A book cover showing a tree-covered mountain range. It reads: Trail of the Lost: The relentless search to bring home the missing hikers of the Pacific Crest Trail.\" width=\"800\" height=\"1111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-800x1111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1020x1417.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-768x1067.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1106x1536.jpg 1106w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607-1474x2048.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/lost_custom-6f9c80ae90c0e417c59eb0b09367a0f54841b607.jpg 1684w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Trail of the Lost’ by Andrea Lankford. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Trail of the Lost \u003c/em>is about the hikers and the efforts to find them, but it’s also a rich, multilayered narrative that works on three different levels. The first is the story of each of the three hikers—Chris Sylvia, David O’Sullivan, Kris Fowler. Lankford offers a small biography of each of the missing men and shows them through the eyes of those who knew them well and even those who joined the search after learning about their disappearances. The research was meticulous and Lankford used interviews to paint vivid pictures, including of what mental and emotional states they might’ve been in while hiking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Right underneath the narratives about Sylvia, O’Sullivan, and Fowler are the stories of everyone looking for them. Lankford played a role in each search, but she relegated herself when writing this book and allowed friends, family, and even strangers to occupy center stage throughout most of the narrative. The story looks at the role of Facebook groups in the searches — and how crucial word of mouth can be. Many kindhearted individuals came forth and became instrumental in the searches or provided valuable information. But Lankford also writes of the many who lied for no apparent reason and muddled the investigations in the process.\u003c/p>\n\u003cp>While the stories of the hikers and everyone involved in the searches for them, including Lankford, takes up a lot of space, the narrative also shines a light on many aspects of the PCT, from its creation to the way popular books like Cheryl Strayed’s \u003cem>Wild \u003c/em>have had a massive impact on the number of people who attempt to hike the entire trail.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lankford, who on top of her SAR expertise has, among other accomplishments, thru-hiked the entire Appalachian Trail and was the first person to mountain bike the 800-mi. Arizona Trail along with her friend Beth Overton, knows just how wild and dangerous the PCT can be. The PCT is very popular, but the physical and mental demands of a thru-hike are many. Also, while the vistas are often some of the most beautiful in the country, \u003cem>Trail of the Lost \u003c/em>explores some of the dangers it hides. From the threat of mountain lions and bears to marijuana growers, mushroom poachers, and other people with bad intentions who don’t abide by the PCT’s unspoken code of ethics and camaraderie, this book also serves as an exposé on the well-known — as well as the often hidden or ignored — dangers of the PCT.\u003c/p>\n\u003cp>\u003cem>Trail of the Lost\u003c/em> is written with a clear, fast-paced, straightforward prose that still manages to be beautiful and immersive. It is also as full of hope and humanity as it is packed with pain, grief, danger, and tension. This is a book in which the PCT is as much of a character as every person Lankford writes about, and that balance makes it worthy reading.\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 Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=%27Trail+of+the+Lost%27+is+a+gripping+tale+of+hikers+missing+on+the+Pacific+Crest+Trail&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco-based preschool teacher Greg Gardner says he and his friend, singer-songwriter Cass McCombs, “have collected way too many Folkways records” over the years — by Woody Guthrie, Michael Hurley, Lead Belly, Mary Lou Williams, Ella Jenkins and others.\u003c/p>\n\u003cp>The pair are huge fans of the influential label founded in 1948 by Moses Asch. So they were thrilled when Folkways agreed to include their new \u003ca href=\"https://folkways.si.edu/news-and-press/mr-greg-cass-mccombs\">album\u003c/a> of children’s songs to the label’s 75th anniversary celebration.\u003c/p>\n\u003cp>\u003cstrong>A storied collection turns 75\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13926121']To say Moses Asch’s interests were eclectic would be an understatement. With \u003ca href=\"https://folkways.si.edu/\">Folkways\u003c/a>, he set out to, quite literally, capture the world’s sounds, from Cajun accordion to Langston Hughes’ voice, Irish ballads to the sound of steam locomotives.\u003c/p>\n\u003cp>His catalogue of more than 2,000 recordings was a fitting sonic addition to the so-called “nation’s attic.” It was also in line with the Smithsonian’s mission statement — “The increase and diffusion of knowledge” — says Folkways spokesperson Jonathan Williger\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Knowledge is not just words on a page. Sound is a major way that humans interact with the world,” says Williger, “The Folkways catalog is full of both the monumental and the minute, everything from the sound of a stapler being stapled to the March on Washington.”\u003c/p>\n\u003cfigure id=\"attachment_13933976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-800x600.jpg\" alt=\"A pastel-shaded illustration of 11 diverse people singing together. Two of them are waving pride flags.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Gay Men’s Chorus lent their voices to the song ‘Wave a Flag for Harvey Milk’ from the new Smithsonian Folkways’ album ‘Mr. Greg & Cass McCombs Sing and Play New Folk Songs for Children.’ \u003ccite>(Greg Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Folkways] records talk of serious subjects, but they do so in a really fun way, that’s silly at times and heartfelt, and I really connect to that,” says Gardner, “They sound quite simple and they’re also pretty stripped down. I’ve always loved … the realness of that.”\u003c/p>\n\u003cp>\u003cstrong>Crafting a new addition, keeping the old vibe\u003c/strong>\u003c/p>\n\u003cp>Gardner and McCombs tried to approach their new album in a way that would fit the Folkways’ vibe. \u003ca href=\"https://folkways.si.edu/mr-greg-and-cass-mccombs/sing-and-play-new-folk-songs-for-children\">\u003cem>Mr. Greg & Cass McCombs Sing and Play New Folk Songs for Children\u003c/em>\u003c/a> ranges from silly to serious with songs about a worm named \u003ca href=\"https://www.youtube.com/watch?v=_fg-YJ6to40\">Wilma\u003c/a>\u003cem>, \u003c/em>flying a paper airplane, recycling and Ruth Bader Ginsburg.\u003c/p>\n\u003cp>The lead single is \u003cem>Wave a Flag for Harvey Milk\u003c/em>\u003cem>, \u003c/em>a simple ode to the renowned gay activist and politician. The song was released in June, during Pride Month, in advance of the full album’s August release.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V4IZKm88PGE\u003c/p>\n\u003cp>McCombs and Gardner’s effort is a continuation of Folkways’ long history of releasing children’s albums such as Woody Guthrie’s \u003cem>Songs To Grow On\u003c/em> and numerous recordings by the ‘First Lady of Children’s Music,’ \u003ca href=\"https://www.npr.org/artists/16319751/ella-jenkins\">Ella Jenkins\u003c/a>.\u003c/p>\n\u003cp>Folk songs for children are, “easy to play and can be passed down from person to person,” says Williger. As a subject for a song, Harvey Milk fits Folkways’ “long history of social justice music.” Plus, it’s “about the social issues of your place,” notes Williger.\u003c/p>\n\u003cp>Gardner teaches at a school five blocks from San Francisco’s Castro District where Milk lived, worked and campaigned. He says the song began as “a sing along coloring book” he created for his preschool students. “I thought they might engage with the coloring book more than they would with me just talking about Harvey Milk,” he explains.\u003c/p>\n\u003cp>\u003cstrong>Harvey Milk “stood up for his people down by the Golden Gate”\u003c/strong>\u003c/p>\n\u003cp>In 1977, \u003ca href=\"https://milkfoundation.org/about/harvey-milk-biography\">Milk\u003c/a> became one of the first openly gay public officials in the U.S. when he was elected to the San Francisco Board of Supervisors. At the time, people could be fired from their jobs for being gay.\u003c/p>\n\u003cp>[aside postid='arts_13845645']Milk, along with other activists, campaigned to defeat a ballot proposition that would have banned gay people from working in California schools. On November 7th, 1978, the proposition was \u003ca href=\"https://www.aclunc.org/blog/celebrating-harvey-milk-and-defeat-briggs-initiative-aclutimemachine\">defeated\u003c/a> by more than a million votes.\u003c/p>\n\u003cp>Three weeks later, Milk and San Francisco Mayor George Moscone were \u003ca href=\"https://www.npr.org/2018/11/27/670657965/40-years-after-the-assassination-of-harvey-milk-lgbt-candidates-find-success\">assassinated\u003c/a> by a former city supervisor.\u003c/p>\n\u003cp>“Harvey Milk’s message of advocating for others and treating people fairly and being proud to be your true self is in line with the values that we hope to instill in the preschool classroom,” says Gardner.\u003c/p>\n\u003cp>\u003cstrong>Kids like rainbows\u003c/strong>\u003c/p>\n\u003cp>Students, parents and other community members sing\u003cem> “\u003c/em>Wave a Flag” at the annual Harvey Milk Celebration at Children’s Day School where Gardner’s been teaching for 12 years.\u003c/p>\n\u003cfigure id=\"attachment_13933977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-800x600.jpg\" alt=\"A pastel-shaded illustration of an astronaut planing a pride flag on the moon.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d.jpg 1462w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What does an astronaut have to do with Harvey Milk? Greg Gardner admits he was “running out of ideas.” But, since kids love outer space, “I thought it would be fun to include a page that has an astronaut that’s also an advocate of Harvey Milk.” \u003ccite>(Greg Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To help preschoolers understand Milk’s legacy of human rights, Gardner tries to make parallels with their own lives.\u003c/p>\n\u003cp>“Kids will have different interests and then others will question their interests. And then the original kid will, you know, get down and say, ‘Well, this person said that I can’t be Elsa, too, because they’re already Elsa.’ And, ‘I’m a boy and I can’t be Elsa.'” Gardner says he tells them, “‘Everybody has their own interests and everybody can be who they want to be, and it’s just up to you.’ And then they kind of get that and it clicks.”\u003c/p>\n\u003cp>[aside postid='arts_13880161']There’s another reason Harvey Milk’s legacy “clicks” with kids: rainbows.\u003c/p>\n\u003cp>“All kids like rainbows, seems,” Gardner has learned. When he talks to his students about Milk, they also learn about \u003ca href=\"https://gilbertbaker.com/biography/\">Gilbert Baker\u003c/a>, the San Francisco flag-maker who came up with what has become the international symbol for the LGBTQ movement. As the song says, “A flag that stands for love made of rainbow colored silk.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited by Rose Friedman.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=An+ode+to+Harvey+Milk+for+Smithsonian+Folkways%27+75th+birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco-based preschool teacher Greg Gardner says he and his friend, singer-songwriter Cass McCombs, “have collected way too many Folkways records” over the years — by Woody Guthrie, Michael Hurley, Lead Belly, Mary Lou Williams, Ella Jenkins and others.\u003c/p>\n\u003cp>The pair are huge fans of the influential label founded in 1948 by Moses Asch. So they were thrilled when Folkways agreed to include their new \u003ca href=\"https://folkways.si.edu/news-and-press/mr-greg-cass-mccombs\">album\u003c/a> of children’s songs to the label’s 75th anniversary celebration.\u003c/p>\n\u003cp>\u003cstrong>A storied collection turns 75\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To say Moses Asch’s interests were eclectic would be an understatement. With \u003ca href=\"https://folkways.si.edu/\">Folkways\u003c/a>, he set out to, quite literally, capture the world’s sounds, from Cajun accordion to Langston Hughes’ voice, Irish ballads to the sound of steam locomotives.\u003c/p>\n\u003cp>His catalogue of more than 2,000 recordings was a fitting sonic addition to the so-called “nation’s attic.” It was also in line with the Smithsonian’s mission statement — “The increase and diffusion of knowledge” — says Folkways spokesperson Jonathan Williger\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Knowledge is not just words on a page. Sound is a major way that humans interact with the world,” says Williger, “The Folkways catalog is full of both the monumental and the minute, everything from the sound of a stapler being stapled to the March on Washington.”\u003c/p>\n\u003cfigure id=\"attachment_13933976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-800x600.jpg\" alt=\"A pastel-shaded illustration of 11 diverse people singing together. Two of them are waving pride flags.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilksfchoir-9822b9538afff78db411a79e6443f37c748df5e8-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Gay Men’s Chorus lent their voices to the song ‘Wave a Flag for Harvey Milk’ from the new Smithsonian Folkways’ album ‘Mr. Greg & Cass McCombs Sing and Play New Folk Songs for Children.’ \u003ccite>(Greg Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Folkways] records talk of serious subjects, but they do so in a really fun way, that’s silly at times and heartfelt, and I really connect to that,” says Gardner, “They sound quite simple and they’re also pretty stripped down. I’ve always loved … the realness of that.”\u003c/p>\n\u003cp>\u003cstrong>Crafting a new addition, keeping the old vibe\u003c/strong>\u003c/p>\n\u003cp>Gardner and McCombs tried to approach their new album in a way that would fit the Folkways’ vibe. \u003ca href=\"https://folkways.si.edu/mr-greg-and-cass-mccombs/sing-and-play-new-folk-songs-for-children\">\u003cem>Mr. Greg & Cass McCombs Sing and Play New Folk Songs for Children\u003c/em>\u003c/a> ranges from silly to serious with songs about a worm named \u003ca href=\"https://www.youtube.com/watch?v=_fg-YJ6to40\">Wilma\u003c/a>\u003cem>, \u003c/em>flying a paper airplane, recycling and Ruth Bader Ginsburg.\u003c/p>\n\u003cp>The lead single is \u003cem>Wave a Flag for Harvey Milk\u003c/em>\u003cem>, \u003c/em>a simple ode to the renowned gay activist and politician. The song was released in June, during Pride Month, in advance of the full album’s August release.\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/V4IZKm88PGE'\n title='//www.youtube.com/embed/V4IZKm88PGE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McCombs and Gardner’s effort is a continuation of Folkways’ long history of releasing children’s albums such as Woody Guthrie’s \u003cem>Songs To Grow On\u003c/em> and numerous recordings by the ‘First Lady of Children’s Music,’ \u003ca href=\"https://www.npr.org/artists/16319751/ella-jenkins\">Ella Jenkins\u003c/a>.\u003c/p>\n\u003cp>Folk songs for children are, “easy to play and can be passed down from person to person,” says Williger. As a subject for a song, Harvey Milk fits Folkways’ “long history of social justice music.” Plus, it’s “about the social issues of your place,” notes Williger.\u003c/p>\n\u003cp>Gardner teaches at a school five blocks from San Francisco’s Castro District where Milk lived, worked and campaigned. He says the song began as “a sing along coloring book” he created for his preschool students. “I thought they might engage with the coloring book more than they would with me just talking about Harvey Milk,” he explains.\u003c/p>\n\u003cp>\u003cstrong>Harvey Milk “stood up for his people down by the Golden Gate”\u003c/strong>\u003c/p>\n\u003cp>In 1977, \u003ca href=\"https://milkfoundation.org/about/harvey-milk-biography\">Milk\u003c/a> became one of the first openly gay public officials in the U.S. when he was elected to the San Francisco Board of Supervisors. At the time, people could be fired from their jobs for being gay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Milk, along with other activists, campaigned to defeat a ballot proposition that would have banned gay people from working in California schools. On November 7th, 1978, the proposition was \u003ca href=\"https://www.aclunc.org/blog/celebrating-harvey-milk-and-defeat-briggs-initiative-aclutimemachine\">defeated\u003c/a> by more than a million votes.\u003c/p>\n\u003cp>Three weeks later, Milk and San Francisco Mayor George Moscone were \u003ca href=\"https://www.npr.org/2018/11/27/670657965/40-years-after-the-assassination-of-harvey-milk-lgbt-candidates-find-success\">assassinated\u003c/a> by a former city supervisor.\u003c/p>\n\u003cp>“Harvey Milk’s message of advocating for others and treating people fairly and being proud to be your true self is in line with the values that we hope to instill in the preschool classroom,” says Gardner.\u003c/p>\n\u003cp>\u003cstrong>Kids like rainbows\u003c/strong>\u003c/p>\n\u003cp>Students, parents and other community members sing\u003cem> “\u003c/em>Wave a Flag” at the annual Harvey Milk Celebration at Children’s Day School where Gardner’s been teaching for 12 years.\u003c/p>\n\u003cfigure id=\"attachment_13933977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-800x600.jpg\" alt=\"A pastel-shaded illustration of an astronaut planing a pride flag on the moon.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/gardnermilkastronaut-f037f62835c620433a15aa0add8db9940320460d.jpg 1462w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What does an astronaut have to do with Harvey Milk? Greg Gardner admits he was “running out of ideas.” But, since kids love outer space, “I thought it would be fun to include a page that has an astronaut that’s also an advocate of Harvey Milk.” \u003ccite>(Greg Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To help preschoolers understand Milk’s legacy of human rights, Gardner tries to make parallels with their own lives.\u003c/p>\n\u003cp>“Kids will have different interests and then others will question their interests. And then the original kid will, you know, get down and say, ‘Well, this person said that I can’t be Elsa, too, because they’re already Elsa.’ And, ‘I’m a boy and I can’t be Elsa.'” Gardner says he tells them, “‘Everybody has their own interests and everybody can be who they want to be, and it’s just up to you.’ And then they kind of get that and it clicks.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s another reason Harvey Milk’s legacy “clicks” with kids: rainbows.\u003c/p>\n\u003cp>“All kids like rainbows, seems,” Gardner has learned. When he talks to his students about Milk, they also learn about \u003ca href=\"https://gilbertbaker.com/biography/\">Gilbert Baker\u003c/a>, the San Francisco flag-maker who came up with what has become the international symbol for the LGBTQ movement. As the song says, “A flag that stands for love made of rainbow colored silk.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited by Rose Friedman.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=An+ode+to+Harvey+Milk+for+Smithsonian+Folkways%27+75th+birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "It’s Still a Haute Mess, But I Can’t Resist ‘And Just Like That...’",
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"content": "\u003cp>\u003cem>Editor’s Note: Readers should know this particular essay uses slang offensive to some readers. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>So, are you watching ‘\u003ca href=\"https://www.kqed.org/arts/13908472/and-just-like-that-sex-and-the-city-che-miranda-carrie-charlotte-nyc\">And Just Like That…\u003c/a>’\u003c/em> \u003cem>?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person B: \u003c/strong>\u003cem>Oh my god, yes! \u003c/em>\u003c/p>\n\u003cp>[A pause. A sheepish grin. And then, a lowering of their voice as if they’re revealing a deep, dark secret]\u003c/p>\n\u003cp>\u003cem>But it’s … not great, right???\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>Dude, I know! I’m cringing through every episode, but I just can’t stop watching it. It’s pretty much the only thing that’s appointment TV for me every week.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person B: \u003c/strong>\u003cem>Same! It’s kind of addicting. I need to know what’s happening, even if I can’t deal with how unserious it all is. Carrie and Aidan? Again???\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>Again! Ughhhh!!!\u003c/em>\u003c/p>\n\u003ch3>Denial\u003c/h3>\n\u003cp>I’ve experienced a variation on this interaction no less than four different times this summer, as the Season 2 run of \u003cem>And Just Like That\u003c/em>…, the \u003cem>Sex and the City \u003c/em>spin-off, has unfolded. My sample size is admittedly tiny, but an accumulation of \u003ca href=\"https://x.com/mazzypopstar/status/1694068620509462956?s=46&t=sFhCT211_mUihfKDNn8kkQ\">online chatter\u003c/a> and other critics’ reviews has convinced me, rightly or wrongly, that this sentiment is hardly unusual among \u003cem>SATC \u003c/em>fans. We’re all in this cringe-watch boat together, or at least it’s nice to believe that we are.\u003c/p>\n\u003cp>[aside postid='arts_13908472']This was inevitable. For all the wonkiness of the first season — the awkward addition of the \u003ca href=\"https://www.npr.org/2022/01/22/1074399208/and-just-like-that-has-a-diversity-girlfriend-problem\">Diversity Girlfriends\u003c/a>, the Che and Big and Samantha of it all — viewers couldn’t stop talking about \u003cem>AJLT\u003c/em>. (Recall, if you will, when \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2021-12-13/peloton-big-and-just-like-that-sex-and-the-city\">Peloton chimed in to do image control\u003c/a>.) Plenty of us were wary of the ladies’ return, especially after those dreadfully disappointing movies, but it didn’t matter then and it doesn’t matter now. Watching the series isn’t a passive experience; it begs to be viewed with as little distraction from the phone screen or household chores as possible, so that one can gossip rabidly afterward about Aidan’s ridiculous jacket or bemoan how Carrie’s full conversion into the one percent makes her far less interesting.\u003c/p>\n\u003cp>And so mid-life Carrie, Miranda, and Charlotte are here to stay, and \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/and-just-like-that-renewed-season-3-max-1235572082/amp/\">Season 3 is officially a go\u003c/a>.\u003c/p>\n\u003cp>Honestly? I say bring it on. I’m all-in now, against my better judgment. Or rather, I’m finally willing to admit to myself that I’ve always been all-in, as someone who’s watched all 21 episodes of this show thus far, and on a weekly basis no less, even as I’ve hemmed and hawed and rolled my eyes harder than Miranda ever did at Steve. I’ve succumbed to this atonement-seeking nostalgia trip because the heart wants what it wants, I guess.\u003c/p>\n\u003ch3>Acceptance\u003c/h3>\n\u003cp>Season 2 proved the show’s commitment to cringe and nonsense. Carrie has the nerve, after all those years of stress she put Miranda through, to question whether she ever really loved Big. (Do we think J. Lo has wondered the same about Marc Anthony or A-Rod now that she’s back with Ben?) Charlotte spends an episode trying to fit into a dress for her first day back in the workforce, and only finds self-acceptance with her own body when she meets a bigger and confident colleague. Samantha’s much-hyped cameo … is a much-hyped cameo.\u003c/p>\n\u003cp>[aside postid='arts_13931773']There are also far too many characters and storylines among the newest additions to the franchise to invest in any of them too deeply. Seema (Sarita Choudhury), Carrie’s friend/real estate agent, remains the most naturally embedded and well-written of the bunch. But then, of course, there’s Che (Sara Ramirez), who’s much-too-much but isn’t going anywhere, because — in the oddest pairing this season — Che and Carrie inexplicably remain friends even after their breakup with Miranda.\u003c/p>\n\u003cp>Meanwhile, Nya Miranda’s professor-turned-friend-turned-roommate, is largely sidelined this season (Karen Pittman, the actress who plays her, \u003ca href=\"https://twitter.com/thekarenpittman/status/1687932413706723328\">was also shooting \u003cem>The Morning Show\u003c/em>\u003c/a>), and when she \u003cem>is\u003c/em> on screen, she’s almost always spiraling over her ex, either directly or indirectly. And as the show’s “Lean In” representative, Lisa (Nicole Ari Parker) is trying to juggle motherhood while editing a docuseries from her immaculate walk-in closet/film studio, though so many of her thematic beats overlap with Charlotte’s as to feel redundant. (To call her character merely the “Black analog of Charlotte” would be reductive and not entirely accurate, though it does come across that way sometimes.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7IR03bsbrX0\u003c/p>\n\u003cp>And yet — something has kept me glued to this haute mess. It was “Alive!”, the fourth episode of Season 2, where I learned to stop fretting and love cringe-watching \u003cem>AJLT. \u003c/em>Not coincidentally, this is also the first episode of the series that plays as though it emerged directly from the heyday of its predecessor, with silly but relatable sex scenarios (\u003cem>Sexnarios\u003c/em>? Maybe I should write for \u003cem>AJLT\u003c/em>!), NSFW puns and barbs, and the return of familiar characters.\u003c/p>\n\u003cp>[aside postid='pop_112650']Carrie’s former \u003cem>Vogue \u003c/em>boss Enid Fricke (Candice Bergen) pops up again to ask if she’d be willing to contribute to a new startup newsletter for senior women, which sets Carrie off into an existential crisis about being perceived as a senior woman. Later, at a fundraising event for the startup, Carrie is relieved to learn Enid actually wants her to contribute as a \u003cem>donor\u003c/em>, not a writer; the shopaholic who once turned to her friends for help paying rent seems to still be adjusting to her new role as an uber-wealthy widowed socialite. But the conundrum cleverly resurfaces a lot of the crackling tension that existed between the women in the original series, with mutual admiration butting up against their own insecurities and baggage.\u003c/p>\n\u003cp>When Enid happens to recognize a photo of her boyfriend’s penis on Carrie’s phone — Bitsy Von Muffling (Julie Halston), another old acquaintance, has been trying to set Carrie up with this man, unsolicited — Enid gets in a great, mortifying line: “Carrie, are you schtupping my boyfriend?!” It’s as if all is right again in the \u003cem>SATC \u003c/em>universe.\u003c/p>\n\u003cp>Another storyline in this episode involves Charlotte, who freaks out when she learns Harry has been faking orgasms for some time now. Naturally, she discusses the issue with her pals over brunch, with Anthony (Mario Cantone) standing in for the notably absent Samantha as the sassy, vulgar commentator. Miranda admits she’d love to not have to deal with “jizz.” Carrie, ever the prude-iest of sex columnists, confesses she’s “never given [jizz] any thought” until “\u003cem>this \u003c/em>moment.” (How???) Anthony proudly proclaims he’s never dealt with this problem: “I’m like a milking machine, if you must know.” Charlotte, for her part, says she’s “always been a fan” of ejaculation and compares it to “confetti at a parade.” (Oh, Charlotte.) The banter is classic \u003cem>SATC\u003c/em>, right up there with Samantha’s “\u003ca href=\"https://www.youtube.com/watch?v=n2u57bgUjSM\">funky spunk\u003c/a>” dilemma — cheeky, groan-worthy, and pure fun.\u003c/p>\n\u003cfigure id=\"attachment_13933934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-800x600.jpg\" alt=\"A woman with long mousey-blond hair wearing an irridescent coat embraces a handsome man wearing a black shirt. He is staring at her intensely.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aidan (John Corbett) returned in Season 2, with a lot of baggage. \u003ccite>(Craig Blankenhorn/ Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is when \u003cem>AJLT \u003c/em>is at its best, and over all, Season 2 leaned a bit more into the ups and downs of dating and sex (and aging while doing both) than Season 1. Is it enough to counterbalance — \u003cem>*gestures around wildly*\u003c/em> — everything else? My head and every critic’s impulse within my body says no. But again, my heart, and that part of me that actually extracts some sort of sick pleasure from shaking my head in disbelief every few minutes, can’t help it.\u003c/p>\n\u003ch3>Embrace\u003c/h3>\n\u003cp>[aside postid='pop_101843']\u003cem>Cringe-watch\u003c/em> feels like the best summation of what it’s been like to view the misadventures of Carrie, Miranda, Charlotte, and Co. this season. To call it a \u003cem>hate-watch \u003c/em>would feel too harsh; that’s best reserved for self-serious dreck like \u003cem>The Idol\u003c/em>, or really anything Sam Levinson touches. No — while being embarrassing, it still manages to be endearing, to provide comfort in the assuredness that these characters are often going to act out of character for reasons that don’t make sense, and that Carrie is always gonna Carrie, \u003cem>hard\u003c/em>, no matter how rich she is. I don’t hate \u003cem>AJLT\u003c/em>, I’m just perplexed by its audacity to exist.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the Season 2 finale, at her dramatic Michelin chef-prepared “last supper” in that signature Upper East Side brownstone, Carrie proclaims she’s letting go of “expectations” in this stage of life, “of assuming things will go the way we think they should.” Of course, she’s talking about Big’s death, and Aidan, who, at the end of this episode, will ask Carrie to wait for him for five years while he tends to his sons’ needs in Virginia. But this is also an easy metaphor for us cringe-watchers, who have managed to let go of any expectations that \u003cem>AJLT \u003c/em>will show up the way we think it should, whatever that is. We’re just here for the mess.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=It%27s+still+a+haute+mess%2C+but+I+can%27t+resist+%27And+Just+Like+That...%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "“I don't hate ‘AJLT,’” NPR’s Aisha Harris writes, “I’m just perplexed by its audacity to exist.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: Readers should know this particular essay uses slang offensive to some readers. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>So, are you watching ‘\u003ca href=\"https://www.kqed.org/arts/13908472/and-just-like-that-sex-and-the-city-che-miranda-carrie-charlotte-nyc\">And Just Like That…\u003c/a>’\u003c/em> \u003cem>?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person B: \u003c/strong>\u003cem>Oh my god, yes! \u003c/em>\u003c/p>\n\u003cp>[A pause. A sheepish grin. And then, a lowering of their voice as if they’re revealing a deep, dark secret]\u003c/p>\n\u003cp>\u003cem>But it’s … not great, right???\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>Dude, I know! I’m cringing through every episode, but I just can’t stop watching it. It’s pretty much the only thing that’s appointment TV for me every week.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person B: \u003c/strong>\u003cem>Same! It’s kind of addicting. I need to know what’s happening, even if I can’t deal with how unserious it all is. Carrie and Aidan? Again???\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Person A: \u003c/strong>\u003cem>Again! Ughhhh!!!\u003c/em>\u003c/p>\n\u003ch3>Denial\u003c/h3>\n\u003cp>I’ve experienced a variation on this interaction no less than four different times this summer, as the Season 2 run of \u003cem>And Just Like That\u003c/em>…, the \u003cem>Sex and the City \u003c/em>spin-off, has unfolded. My sample size is admittedly tiny, but an accumulation of \u003ca href=\"https://x.com/mazzypopstar/status/1694068620509462956?s=46&t=sFhCT211_mUihfKDNn8kkQ\">online chatter\u003c/a> and other critics’ reviews has convinced me, rightly or wrongly, that this sentiment is hardly unusual among \u003cem>SATC \u003c/em>fans. We’re all in this cringe-watch boat together, or at least it’s nice to believe that we are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This was inevitable. For all the wonkiness of the first season — the awkward addition of the \u003ca href=\"https://www.npr.org/2022/01/22/1074399208/and-just-like-that-has-a-diversity-girlfriend-problem\">Diversity Girlfriends\u003c/a>, the Che and Big and Samantha of it all — viewers couldn’t stop talking about \u003cem>AJLT\u003c/em>. (Recall, if you will, when \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2021-12-13/peloton-big-and-just-like-that-sex-and-the-city\">Peloton chimed in to do image control\u003c/a>.) Plenty of us were wary of the ladies’ return, especially after those dreadfully disappointing movies, but it didn’t matter then and it doesn’t matter now. Watching the series isn’t a passive experience; it begs to be viewed with as little distraction from the phone screen or household chores as possible, so that one can gossip rabidly afterward about Aidan’s ridiculous jacket or bemoan how Carrie’s full conversion into the one percent makes her far less interesting.\u003c/p>\n\u003cp>And so mid-life Carrie, Miranda, and Charlotte are here to stay, and \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/and-just-like-that-renewed-season-3-max-1235572082/amp/\">Season 3 is officially a go\u003c/a>.\u003c/p>\n\u003cp>Honestly? I say bring it on. I’m all-in now, against my better judgment. Or rather, I’m finally willing to admit to myself that I’ve always been all-in, as someone who’s watched all 21 episodes of this show thus far, and on a weekly basis no less, even as I’ve hemmed and hawed and rolled my eyes harder than Miranda ever did at Steve. I’ve succumbed to this atonement-seeking nostalgia trip because the heart wants what it wants, I guess.\u003c/p>\n\u003ch3>Acceptance\u003c/h3>\n\u003cp>Season 2 proved the show’s commitment to cringe and nonsense. Carrie has the nerve, after all those years of stress she put Miranda through, to question whether she ever really loved Big. (Do we think J. Lo has wondered the same about Marc Anthony or A-Rod now that she’s back with Ben?) Charlotte spends an episode trying to fit into a dress for her first day back in the workforce, and only finds self-acceptance with her own body when she meets a bigger and confident colleague. Samantha’s much-hyped cameo … is a much-hyped cameo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are also far too many characters and storylines among the newest additions to the franchise to invest in any of them too deeply. Seema (Sarita Choudhury), Carrie’s friend/real estate agent, remains the most naturally embedded and well-written of the bunch. But then, of course, there’s Che (Sara Ramirez), who’s much-too-much but isn’t going anywhere, because — in the oddest pairing this season — Che and Carrie inexplicably remain friends even after their breakup with Miranda.\u003c/p>\n\u003cp>Meanwhile, Nya Miranda’s professor-turned-friend-turned-roommate, is largely sidelined this season (Karen Pittman, the actress who plays her, \u003ca href=\"https://twitter.com/thekarenpittman/status/1687932413706723328\">was also shooting \u003cem>The Morning Show\u003c/em>\u003c/a>), and when she \u003cem>is\u003c/em> on screen, she’s almost always spiraling over her ex, either directly or indirectly. And as the show’s “Lean In” representative, Lisa (Nicole Ari Parker) is trying to juggle motherhood while editing a docuseries from her immaculate walk-in closet/film studio, though so many of her thematic beats overlap with Charlotte’s as to feel redundant. (To call her character merely the “Black analog of Charlotte” would be reductive and not entirely accurate, though it does come across that way sometimes.)\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/7IR03bsbrX0'\n title='//www.youtube.com/embed/7IR03bsbrX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet — something has kept me glued to this haute mess. It was “Alive!”, the fourth episode of Season 2, where I learned to stop fretting and love cringe-watching \u003cem>AJLT. \u003c/em>Not coincidentally, this is also the first episode of the series that plays as though it emerged directly from the heyday of its predecessor, with silly but relatable sex scenarios (\u003cem>Sexnarios\u003c/em>? Maybe I should write for \u003cem>AJLT\u003c/em>!), NSFW puns and barbs, and the return of familiar characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Carrie’s former \u003cem>Vogue \u003c/em>boss Enid Fricke (Candice Bergen) pops up again to ask if she’d be willing to contribute to a new startup newsletter for senior women, which sets Carrie off into an existential crisis about being perceived as a senior woman. Later, at a fundraising event for the startup, Carrie is relieved to learn Enid actually wants her to contribute as a \u003cem>donor\u003c/em>, not a writer; the shopaholic who once turned to her friends for help paying rent seems to still be adjusting to her new role as an uber-wealthy widowed socialite. But the conundrum cleverly resurfaces a lot of the crackling tension that existed between the women in the original series, with mutual admiration butting up against their own insecurities and baggage.\u003c/p>\n\u003cp>When Enid happens to recognize a photo of her boyfriend’s penis on Carrie’s phone — Bitsy Von Muffling (Julie Halston), another old acquaintance, has been trying to set Carrie up with this man, unsolicited — Enid gets in a great, mortifying line: “Carrie, are you schtupping my boyfriend?!” It’s as if all is right again in the \u003cem>SATC \u003c/em>universe.\u003c/p>\n\u003cp>Another storyline in this episode involves Charlotte, who freaks out when she learns Harry has been faking orgasms for some time now. Naturally, she discusses the issue with her pals over brunch, with Anthony (Mario Cantone) standing in for the notably absent Samantha as the sassy, vulgar commentator. Miranda admits she’d love to not have to deal with “jizz.” Carrie, ever the prude-iest of sex columnists, confesses she’s “never given [jizz] any thought” until “\u003cem>this \u003c/em>moment.” (How???) Anthony proudly proclaims he’s never dealt with this problem: “I’m like a milking machine, if you must know.” Charlotte, for her part, says she’s “always been a fan” of ejaculation and compares it to “confetti at a parade.” (Oh, Charlotte.) The banter is classic \u003cem>SATC\u003c/em>, right up there with Samantha’s “\u003ca href=\"https://www.youtube.com/watch?v=n2u57bgUjSM\">funky spunk\u003c/a>” dilemma — cheeky, groan-worthy, and pure fun.\u003c/p>\n\u003cfigure id=\"attachment_13933934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-800x600.jpg\" alt=\"A woman with long mousey-blond hair wearing an irridescent coat embraces a handsome man wearing a black shirt. He is staring at her intensely.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/sarah-jessica-parker-john-corbett_1-0a5eaac5dee0956447fe8db102a2646cc328d004.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aidan (John Corbett) returned in Season 2, with a lot of baggage. \u003ccite>(Craig Blankenhorn/ Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is when \u003cem>AJLT \u003c/em>is at its best, and over all, Season 2 leaned a bit more into the ups and downs of dating and sex (and aging while doing both) than Season 1. Is it enough to counterbalance — \u003cem>*gestures around wildly*\u003c/em> — everything else? My head and every critic’s impulse within my body says no. But again, my heart, and that part of me that actually extracts some sort of sick pleasure from shaking my head in disbelief every few minutes, can’t help it.\u003c/p>\n\u003ch3>Embrace\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Cringe-watch\u003c/em> feels like the best summation of what it’s been like to view the misadventures of Carrie, Miranda, Charlotte, and Co. this season. To call it a \u003cem>hate-watch \u003c/em>would feel too harsh; that’s best reserved for self-serious dreck like \u003cem>The Idol\u003c/em>, or really anything Sam Levinson touches. No — while being embarrassing, it still manages to be endearing, to provide comfort in the assuredness that these characters are often going to act out of character for reasons that don’t make sense, and that Carrie is always gonna Carrie, \u003cem>hard\u003c/em>, no matter how rich she is. I don’t hate \u003cem>AJLT\u003c/em>, I’m just perplexed by its audacity to exist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the Season 2 finale, at her dramatic Michelin chef-prepared “last supper” in that signature Upper East Side brownstone, Carrie proclaims she’s letting go of “expectations” in this stage of life, “of assuming things will go the way we think they should.” Of course, she’s talking about Big’s death, and Aidan, who, at the end of this episode, will ask Carrie to wait for him for five years while he tends to his sons’ needs in Virginia. But this is also an easy metaphor for us cringe-watchers, who have managed to let go of any expectations that \u003cem>AJLT \u003c/em>will show up the way we think it should, whatever that is. We’re just here for the mess.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=It%27s+still+a+haute+mess%2C+but+I+can%27t+resist+%27And+Just+Like+That...%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
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