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"content": "\u003cp>\u003cem>Fatal Attraction\u003c/em>, Adrian Lyne’s 1987 blockbuster that spawned an untold number of pre-internet memes and feminist theory academic papers, ostensibly concludes with the hetero nuclear family restored to its “natural” state: The manic, very unwell homewrecker Alex Forrest (Glenn Close) has been shot dead out of self-defense by Beth (Anne Archer), the wronged wife of Alex’s one-time fling Dan Gallagher (Michael Douglas). The final scene has police taking Dan’s statement and an image of a family portrait of the Gallaghers with their young daughter.\u003c/p>\n\u003cp>But an eight-episode series “reimagining” of the movie, created by Alexandra Cunningham and premiering Sunday on Paramount+, wonders: What if things had gone differently? What if we better understood what drove Alex to become unhealthily obsessed with Dan? What if we got Beth’s side of the story? What if Dan \u003cem>really\u003c/em> had to atone for his affair gone awry?\u003c/p>\n\u003cfigure id=\"attachment_13928389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-800x600.jpg\" alt=\"A white man with pale skin and unkempt hair sits at a cafe table, hands clasped together and looks up.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The reimagining of the 1987 blockbuster takes a different approach, with Dan (Joshua Jackson) trying to clear his name. \u003ccite>(Michael Moriatis/Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many “what ifs”; so little necessity for them to be answered in the form of an uninspired reheat.\u003c/p>\n\u003cp>[aside postid='pop_105090']Creatives attempting to modernize a fraught cultural touchstone often like to \u003ca href=\"https://manabouttown.tv/products/joshua-jackson-covers-man-about-towns-winter-spring-2022-23-issue\">wield their primary source’s outdatedness\u003c/a> as a shield against critiques of unoriginality, to the point where it’s become a full-on Hollywood cliché. Disney \u003ca href=\"https://www.nytimes.com/2019/05/27/movies/aladdin-disney-diversity.html\">established an entirely new genre\u003c/a> using this tactic, and \u003ca href=\"https://www.npr.org/2022/01/22/1074399208/and-just-like-that-has-a-diversity-girlfriend-problem\">plenty of other\u003c/a> franchises have done it, too.\u003c/p>\n\u003cp>\u003cem>Fatal Attraction \u003c/em>2.0, which stars Joshua Jackson as Dan the family man who strays, and Lizzy Caplan as Alex the scorned and unwell woman, likewise tries really hard to mount an enlightened case for its existence. It opens in the present day, with a grizzled Dan up for parole after serving 15 years in prison for murdering Alex. (He’s extremely contrite: “I chose to take her life … I’ve come to atone,” he tells the parole board.) It also moves the action away from Reagan-era New York into early Obama-era Los Angeles and juggles multiple timelines. (Because, of course, we must have a therapy-tinged understanding of our leads’ troubled origins.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And yet like so many others of its ilk, \u003cem>Fatal Attraction\u003c/em> can’t overcome the sense of reboot fatigue it inherently emits.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5D4XI66Vd3E\u003c/p>\n\u003cp>Dan’s remorseful speech to that parole board is convincing enough, and he’s back out in the world, ready to rejoin society and attempt to reconnect with his ex-wife Beth (Amanda Peet) and now college-aged daughter Ellen (Alyssa Jirrels), who was just a kid when all the chaos with Alex went down. But also he “didn’t kill that woman,” he will later insist, “and I’m going to prove it.”\u003c/p>\n\u003cp>Ah, yes — it’s worth noting that \u003cem>Fatal Attraction \u003c/em>is also a procedural of sorts, as Dan attempts to clear his name with the assistance of his mentor and friend Mike Gerard (Toby Huss, bringing welcomed comedic relief), a retired detective. The other major plot thread in this web of deceit takes us back some 15 years earlier, as the script traces Dan’s downfall from a respected criminal attorney to a convicted felon.\u003c/p>\n\u003cp>[aside postid='arts_13897161']Jackson and Caplan are actually well-suited for what the creators seem to be going for; he’s the ideal vessel for a version of Dan who embodies the hypocrisy of the “nice guy” (as opposed to the smarmy nature of Michael Douglas’ performance) and she’s great at rendering Alex’s mental instability as subtler and more grounded than Glenn Close’s interpretation. On paper, it checks off many of the progressive boxes: Dan’s willingness to avoid consequences for his actions at any cost is scrutinized, the criminal justice system is (somewhat) critiqued, and Alex isn’t outright dismissed as a “crazy” person.\u003c/p>\n\u003cp>It’s unfortunate that the show relies so heavily upon wringing drama and suspense out of Alex’s demise — perhaps a byproduct of our current era’s obsession with crime and murder narratives. This being a miniseries rather than a tight two-hour drama, there’s more time to sit with these characters (and many more) and get multiple versions of the same experiences, and yet that also means much of the runtime lacks the immediacy and chaotic energy that pulsated throughout the original film. (This is barely a spoiler, but no bunny is boiled, though Caplan’s Alex does far more sinister things in her quest for Dan’s affections. Nor is there an overwrought sex scene in an antique elevator — what little heat that is had between Dan and Alex will hardly satiate those who have complained about Hollywood’s relative onscreen abstinence.) This isn’t an erotic thriller so much as a mildly spicy murder mystery.\u003c/p>\n\u003cfigure id=\"attachment_13928390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-800x600.jpg\" alt=\"A pale woman sits in a courtroom, face impassive.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The eight-episodes series wonders what if things had gone differently? \u003ccite>(Monty Brinton/Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show ultimately collapses under the weight of a convoluted reveal and an utterly preposterous ending that seems designed to serve as a cliffhanger for a possible second season — for what reason, I couldn’t possibly tell you. That conclusion also completely undermines any modern sensibilities and empathy the show intended to bestow upon Alex throughout the previous seven episodes. By the time the credits rolled, all I could wonder was: What was the point of all of that?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As has been pointed out many times before — \u003ca href=\"https://www.npr.org/2012/10/17/162895778/two-very-different-working-women-at-the-movies-25-years-ago-this-week\">including by my colleague Linda Holmes\u003c/a> — movies like \u003cem>Fatal Attraction \u003c/em>make for an interesting experience partly because they so obviously emerge from larger collective anxieties of their time. In the case of the 1987 version, it played as a cautionary tale and did somewhat accurately reflect (and reinforce) a certain mainstream perspective about gender and sexuality, however sexist and conservative it was at the time. In 2023, it’s hard to place what fears this new \u003cem>Fatal Attraction \u003c/em>seeks to address. Maybe it’s the fear of telling a story about a straight white guy facing the consequences of his actions without the safety net of an established IP. But that’s hardly interesting.\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=A+new+%27Fatal+Attraction%27+is+definitely+aware+of+your+critiques+of+the+original&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Fatal Attraction\u003c/em>, Adrian Lyne’s 1987 blockbuster that spawned an untold number of pre-internet memes and feminist theory academic papers, ostensibly concludes with the hetero nuclear family restored to its “natural” state: The manic, very unwell homewrecker Alex Forrest (Glenn Close) has been shot dead out of self-defense by Beth (Anne Archer), the wronged wife of Alex’s one-time fling Dan Gallagher (Michael Douglas). The final scene has police taking Dan’s statement and an image of a family portrait of the Gallaghers with their young daughter.\u003c/p>\n\u003cp>But an eight-episode series “reimagining” of the movie, created by Alexandra Cunningham and premiering Sunday on Paramount+, wonders: What if things had gone differently? What if we better understood what drove Alex to become unhealthily obsessed with Dan? What if we got Beth’s side of the story? What if Dan \u003cem>really\u003c/em> had to atone for his affair gone awry?\u003c/p>\n\u003cfigure id=\"attachment_13928389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-800x600.jpg\" alt=\"A white man with pale skin and unkempt hair sits at a cafe table, hands clasped together and looks up.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fa_102_mm_0725_0010_rt-8cc620eb0d8b519923565ccb215f2a4dd02e046d-1-scaled-e1682620072240.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The reimagining of the 1987 blockbuster takes a different approach, with Dan (Joshua Jackson) trying to clear his name. \u003ccite>(Michael Moriatis/Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many “what ifs”; so little necessity for them to be answered in the form of an uninspired reheat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Creatives attempting to modernize a fraught cultural touchstone often like to \u003ca href=\"https://manabouttown.tv/products/joshua-jackson-covers-man-about-towns-winter-spring-2022-23-issue\">wield their primary source’s outdatedness\u003c/a> as a shield against critiques of unoriginality, to the point where it’s become a full-on Hollywood cliché. Disney \u003ca href=\"https://www.nytimes.com/2019/05/27/movies/aladdin-disney-diversity.html\">established an entirely new genre\u003c/a> using this tactic, and \u003ca href=\"https://www.npr.org/2022/01/22/1074399208/and-just-like-that-has-a-diversity-girlfriend-problem\">plenty of other\u003c/a> franchises have done it, too.\u003c/p>\n\u003cp>\u003cem>Fatal Attraction \u003c/em>2.0, which stars Joshua Jackson as Dan the family man who strays, and Lizzy Caplan as Alex the scorned and unwell woman, likewise tries really hard to mount an enlightened case for its existence. It opens in the present day, with a grizzled Dan up for parole after serving 15 years in prison for murdering Alex. (He’s extremely contrite: “I chose to take her life … I’ve come to atone,” he tells the parole board.) It also moves the action away from Reagan-era New York into early Obama-era Los Angeles and juggles multiple timelines. (Because, of course, we must have a therapy-tinged understanding of our leads’ troubled origins.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And yet like so many others of its ilk, \u003cem>Fatal Attraction\u003c/em> can’t overcome the sense of reboot fatigue it inherently emits.\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/5D4XI66Vd3E'\n title='//www.youtube.com/embed/5D4XI66Vd3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dan’s remorseful speech to that parole board is convincing enough, and he’s back out in the world, ready to rejoin society and attempt to reconnect with his ex-wife Beth (Amanda Peet) and now college-aged daughter Ellen (Alyssa Jirrels), who was just a kid when all the chaos with Alex went down. But also he “didn’t kill that woman,” he will later insist, “and I’m going to prove it.”\u003c/p>\n\u003cp>Ah, yes — it’s worth noting that \u003cem>Fatal Attraction \u003c/em>is also a procedural of sorts, as Dan attempts to clear his name with the assistance of his mentor and friend Mike Gerard (Toby Huss, bringing welcomed comedic relief), a retired detective. The other major plot thread in this web of deceit takes us back some 15 years earlier, as the script traces Dan’s downfall from a respected criminal attorney to a convicted felon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jackson and Caplan are actually well-suited for what the creators seem to be going for; he’s the ideal vessel for a version of Dan who embodies the hypocrisy of the “nice guy” (as opposed to the smarmy nature of Michael Douglas’ performance) and she’s great at rendering Alex’s mental instability as subtler and more grounded than Glenn Close’s interpretation. On paper, it checks off many of the progressive boxes: Dan’s willingness to avoid consequences for his actions at any cost is scrutinized, the criminal justice system is (somewhat) critiqued, and Alex isn’t outright dismissed as a “crazy” person.\u003c/p>\n\u003cp>It’s unfortunate that the show relies so heavily upon wringing drama and suspense out of Alex’s demise — perhaps a byproduct of our current era’s obsession with crime and murder narratives. This being a miniseries rather than a tight two-hour drama, there’s more time to sit with these characters (and many more) and get multiple versions of the same experiences, and yet that also means much of the runtime lacks the immediacy and chaotic energy that pulsated throughout the original film. (This is barely a spoiler, but no bunny is boiled, though Caplan’s Alex does far more sinister things in her quest for Dan’s affections. Nor is there an overwrought sex scene in an antique elevator — what little heat that is had between Dan and Alex will hardly satiate those who have complained about Hollywood’s relative onscreen abstinence.) This isn’t an erotic thriller so much as a mildly spicy murder mystery.\u003c/p>\n\u003cfigure id=\"attachment_13928390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-800x600.jpg\" alt=\"A pale woman sits in a courtroom, face impassive.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/fatal-c33b8855a60fab3357f7e85f7a9597eb65f1d60b-scaled-e1682620185828.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The eight-episodes series wonders what if things had gone differently? \u003ccite>(Monty Brinton/Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show ultimately collapses under the weight of a convoluted reveal and an utterly preposterous ending that seems designed to serve as a cliffhanger for a possible second season — for what reason, I couldn’t possibly tell you. That conclusion also completely undermines any modern sensibilities and empathy the show intended to bestow upon Alex throughout the previous seven episodes. By the time the credits rolled, all I could wonder was: What was the point of all of that?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As has been pointed out many times before — \u003ca href=\"https://www.npr.org/2012/10/17/162895778/two-very-different-working-women-at-the-movies-25-years-ago-this-week\">including by my colleague Linda Holmes\u003c/a> — movies like \u003cem>Fatal Attraction \u003c/em>make for an interesting experience partly because they so obviously emerge from larger collective anxieties of their time. In the case of the 1987 version, it played as a cautionary tale and did somewhat accurately reflect (and reinforce) a certain mainstream perspective about gender and sexuality, however sexist and conservative it was at the time. In 2023, it’s hard to place what fears this new \u003cem>Fatal Attraction \u003c/em>seeks to address. Maybe it’s the fear of telling a story about a straight white guy facing the consequences of his actions without the safety net of an established IP. But that’s hardly interesting.\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=A+new+%27Fatal+Attraction%27+is+definitely+aware+of+your+critiques+of+the+original&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Three Harry Belafonte Performances You Won't Want to Miss",
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"content": "\u003cp>On Tuesday, the towering pioneer \u003ca href=\"https://www.kqed.org/arts/13928229/harry-belafonte-dies\">Harry Belafonte\u003c/a> passed away at 96. For many, Belafonte’s image as a humanitarian looms large. Notably, he was a close friend and collaborator with Martin Luther King Jr., protested against South African apartheid, and was an outspoken critic of American leadership, including George W. Bush’s decision to invade Iraq.\u003c/p>\n\u003cp>[aside postid='arts_13928229']But he also rose to fame as a popular recording artist and star of stage and screen, in a career that spanned multiple decades. During the 1950s, he was the rare Black actor to achieve leading man status in Hollywood (see: \u003ca href=\"https://www.tcm.com/tcmdb/title/70323/carmen-jones/#overview\">\u003cem>Carmen Jones\u003c/em>\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=bOUBLJaVKNI\">\u003cem>The World, the Flesh and the Devil\u003c/em>\u003c/a>) and his album \u003cem>Calypso\u003c/em>, featuring his signature hit “\u003ca href=\"https://www.npr.org/2011/10/12/141243628/harry-belafonte-out-of-struggle-a-beautiful-voice\">Banana Boat Song\u003c/a>,” was a best-seller. He was an EGOT winner (including a non-competitive Jean Hersholt Humanitarian Oscar) and a driving force behind the creation of the 1985 all-star charity single, “\u003ca href=\"https://www.youtube.com/watch?v=s3wNuru4U0I\">We Are the World\u003c/a>.” He even created one of the most \u003ca href=\"https://www.youtube.com/watch?v=tPaKWihFs_Q\">memorable moments in Muppet history\u003c/a>.\u003c/p>\n\u003cp>Quite frankly: Belafonte’s influence touched so many corners of popular culture and political progress, and his death marks a huge loss for the arts and activist communities. The recommendations below represent a mere fraction of his immense wealth of creative contributions — but they’re among his very best.\u003c/p>\n\u003ch3>\u003cem>Odds Against Tomorrow \u003c/em>(1959)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=vSzDfNn3kYc\u003c/p>\n\u003cp>In one of the last great film noirs of the classic era, Belafonte stars as Johnny Ingram, a gambling addict and nightclub singer in deep debt to a mobster. Desperate to wipe the slate clean (and protect his ex-wife and their daughter), Johnny teams up with a crooked ex-cop, played by Ed Begley Sr. and a racist ex-con, played by Robert Ryan. The cast is stacked and director Robert Wise is working at the top of his game, but Belafonte stands out in part because he’s playing a complex character in an era where even his peer and close friend Sidney Poitier was often stuck in one-dimensional roles. Johnny is a tense and edgy performance, simmering with resentment and urgency from a hard life.\u003c/p>\n\u003ch3>\u003cem>Buck and the Preacher \u003c/em>(1972)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r-24cY5PjSI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not to downplay his many accomplishments, but it’s worth noting Belafonte was also very beautiful. Those matinee idol looks helped propel him to stardom, but in the revisionist western \u003cem>Buck and the Preacher —\u003c/em> Sidney Poitier’s directorial debut — he gets to let loose by playing against type as a shady vagabond named Preacher, who dons matted hair and yellowed teeth. Set shortly after the end of the Civil War, Preacher teams up with Poitier’s solemn and stately Buck to help protect formerly enslaved Black people from white mercenaries who want to force them back to work on plantations. Preacher’s a huckster brimming with bombast, and Belafonte chews up the scenery in this great performance.\u003c/p>\n\u003ch3>\u003cem>BlacKKKlansman \u003c/em>(2018)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=1Aoukxd0GvI&t=1s\u003c/p>\n\u003cp>Belafonte’s final film appearance might also be among his most fitting. He only appears in one scene of Spike Lee’s historical drama as a fictional character recounting the real-life 1916 lynching of Jesse Washington. Belafonte, seated in a wicker chair that recalls a famous image of \u003ca href=\"https://www.archives.gov/research/african-americans/individuals/huey-newton\">Black Panther Huey P. Newton\u003c/a>, is positioned as an elder statesman. As he describes the horrors of that lynching and draws a connection to D.W. Griffith’s \u003cem>Birth of a Nation\u003c/em>, he’s essentially playing a version of himself: A stirring storyteller and political force, passing down wisdom and history to the next generation of activists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Candice Lim and edited by Jessica Reedy. It was hosted by Stephen Thompson. The text was edited by Ciera Crawford. \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=Three+Harry+Belafonte+performances+you+won%27t+want+to+miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But he also rose to fame as a popular recording artist and star of stage and screen, in a career that spanned multiple decades. During the 1950s, he was the rare Black actor to achieve leading man status in Hollywood (see: \u003ca href=\"https://www.tcm.com/tcmdb/title/70323/carmen-jones/#overview\">\u003cem>Carmen Jones\u003c/em>\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=bOUBLJaVKNI\">\u003cem>The World, the Flesh and the Devil\u003c/em>\u003c/a>) and his album \u003cem>Calypso\u003c/em>, featuring his signature hit “\u003ca href=\"https://www.npr.org/2011/10/12/141243628/harry-belafonte-out-of-struggle-a-beautiful-voice\">Banana Boat Song\u003c/a>,” was a best-seller. He was an EGOT winner (including a non-competitive Jean Hersholt Humanitarian Oscar) and a driving force behind the creation of the 1985 all-star charity single, “\u003ca href=\"https://www.youtube.com/watch?v=s3wNuru4U0I\">We Are the World\u003c/a>.” He even created one of the most \u003ca href=\"https://www.youtube.com/watch?v=tPaKWihFs_Q\">memorable moments in Muppet history\u003c/a>.\u003c/p>\n\u003cp>Quite frankly: Belafonte’s influence touched so many corners of popular culture and political progress, and his death marks a huge loss for the arts and activist communities. The recommendations below represent a mere fraction of his immense wealth of creative contributions — but they’re among his very best.\u003c/p>\n\u003ch3>\u003cem>Odds Against Tomorrow \u003c/em>(1959)\u003c/h3>\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/vSzDfNn3kYc'\n title='//www.youtube.com/embed/vSzDfNn3kYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In one of the last great film noirs of the classic era, Belafonte stars as Johnny Ingram, a gambling addict and nightclub singer in deep debt to a mobster. Desperate to wipe the slate clean (and protect his ex-wife and their daughter), Johnny teams up with a crooked ex-cop, played by Ed Begley Sr. and a racist ex-con, played by Robert Ryan. The cast is stacked and director Robert Wise is working at the top of his game, but Belafonte stands out in part because he’s playing a complex character in an era where even his peer and close friend Sidney Poitier was often stuck in one-dimensional roles. Johnny is a tense and edgy performance, simmering with resentment and urgency from a hard life.\u003c/p>\n\u003ch3>\u003cem>Buck and the Preacher \u003c/em>(1972)\u003c/h3>\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/r-24cY5PjSI'\n title='//www.youtube.com/embed/r-24cY5PjSI'\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>Not to downplay his many accomplishments, but it’s worth noting Belafonte was also very beautiful. Those matinee idol looks helped propel him to stardom, but in the revisionist western \u003cem>Buck and the Preacher —\u003c/em> Sidney Poitier’s directorial debut — he gets to let loose by playing against type as a shady vagabond named Preacher, who dons matted hair and yellowed teeth. Set shortly after the end of the Civil War, Preacher teams up with Poitier’s solemn and stately Buck to help protect formerly enslaved Black people from white mercenaries who want to force them back to work on plantations. Preacher’s a huckster brimming with bombast, and Belafonte chews up the scenery in this great performance.\u003c/p>\n\u003ch3>\u003cem>BlacKKKlansman \u003c/em>(2018)\u003c/h3>\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/1Aoukxd0GvI'\n title='//www.youtube.com/embed/1Aoukxd0GvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Belafonte’s final film appearance might also be among his most fitting. He only appears in one scene of Spike Lee’s historical drama as a fictional character recounting the real-life 1916 lynching of Jesse Washington. Belafonte, seated in a wicker chair that recalls a famous image of \u003ca href=\"https://www.archives.gov/research/african-americans/individuals/huey-newton\">Black Panther Huey P. Newton\u003c/a>, is positioned as an elder statesman. As he describes the horrors of that lynching and draws a connection to D.W. Griffith’s \u003cem>Birth of a Nation\u003c/em>, he’s essentially playing a version of himself: A stirring storyteller and political force, passing down wisdom and history to the next generation of activists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Candice Lim and edited by Jessica Reedy. It was hosted by Stephen Thompson. The text was edited by Ciera Crawford. \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=Three+Harry+Belafonte+performances+you+won%27t+want+to+miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Chevalier,’ Erased Composer Joseph Bologne Gets a Lush Biopic",
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"content": "\u003cp>Joseph Bologne, the Chevalier de Saint-Georges, was an extraordinarily accomplished man in Marie Antoinette’s France. He was a scholar, a fencer, a virtuoso violinist and a famous and sought-after composer who wrote string quartets, symphonies and operas. His influence was vast, but he was all but erased from history books because Bologne was also Black, born in 1745 in the French colony of Guadeloupe to a wealthy French plantation owner and an enslaved Senegalese teenager.\u003c/p>\n\u003cp>At the height of his celebrity and renown in France, he even put his name forth to lead the Royal Academy of Music at the Paris Opera. Though qualified for the prestigious post, his appointment was blocked. He would later become a revolutionary and lead an all-Black regiment. Three years after his death in 1799, Napoleon Bonaparte reestablished slavery in France and many of his works were destroyed.\u003c/p>\n\u003cp>[aside postid='arts_13927621']It’s his story — or a fictionalized version of it with the requisite drama, romance, scandal and tears to fill in the many gaps in his biography — that’s told in the new film \u003cem>Chevalier\u003c/em>, which opens in theaters this week with Kelvin Harrison Jr. in the title role. In this France, everyone has English accents and he’s introduced having a very public violin-off with a very flustered Wolfgang Amadeus Mozart in front of a large audience. Though this makes for a rousing start to the film, this is very unlikely to have happened, like quite a bit in the film. But it’s inspired by something real — scholars have posited that Mozart would have been well aware of Bologne and was perhaps even directly influenced by his string concertos.\u003c/p>\n\u003cp>These and many more embellishments are easy to forgive, however. For one, they’re necessary to fill in the vast holes in a history that was purposefully neglected. It’s also entertainment that functions just as well if you have found yourself at \u003cem>Chevalier\u003c/em> not knowing that it is inspired by truth.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LtCIImfSCk&t=30s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film, directed by Stephen Williams, Bologne’s father recognizes him as a musical prodigy and sends him to a boarding school in France to nurture his talent. This is also likely a fabrication and apparently it was more common than the film shows for the fathers of mixed-race children to send them to these schools. But at school he distinguishes himself in spite of resistance and racism — his father leaves him with a haunting requirement that excellence is his only defense. After a tense bout with a champion fencer, he catches the attention of Queen Marie Antoinette (Lucy Boynton), who gives him the title of nobility.\u003c/p>\n\u003cp>[aside postid='arts_13927175']Harrison and the script (written by \u003cem>Atlanta\u003c/em> scribe Stefani Robinson) make Bologne quite arrogant, at least at first. He made incredible strides in French society and had the talent to back it up. When he decides to put his name in the hat for the Paris Opera position, he rebuffs the advances of an older star, Marie-Madeleine Guimard (Minnie Driver), and fixates on a younger talent Marie-Joséphine de Comarieu (Samara Weaving) who he later starts an ill-advised affair with while writing an opera for her. \u003cem>Fleabag\u003c/em>’s Sian Clifford is a nice presence too as an opera producer and Marie-Joséphine’s cousin. It is quite a bit of soap opera fabrication, that’s a bit melodramatic but not ineffective.\u003c/p>\n\u003cp>And it’s all serving to get Bologne, who had been quite content playing the necessary games to thrive within the system, to reach a moment of radicalization and revolt (along with much of France) as he grapples with injustices and prejudices. The arrival of his mother helps shatter his illusions too.\u003c/p>\n\u003cp>In the end, \u003cem>Chevalier\u003c/em> may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production. And it is especially important in a moment of fanciful \u003cem>Bridgerton\u003c/em>s to focus the lens on important people of color who did actually exist and who have been forgotten and erased.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\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>‘Chevalier’ is out on April 21, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joseph Bologne, the Chevalier de Saint-Georges, was an extraordinarily accomplished man in Marie Antoinette’s France. He was a scholar, a fencer, a virtuoso violinist and a famous and sought-after composer who wrote string quartets, symphonies and operas. His influence was vast, but he was all but erased from history books because Bologne was also Black, born in 1745 in the French colony of Guadeloupe to a wealthy French plantation owner and an enslaved Senegalese teenager.\u003c/p>\n\u003cp>At the height of his celebrity and renown in France, he even put his name forth to lead the Royal Academy of Music at the Paris Opera. Though qualified for the prestigious post, his appointment was blocked. He would later become a revolutionary and lead an all-Black regiment. Three years after his death in 1799, Napoleon Bonaparte reestablished slavery in France and many of his works were destroyed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s his story — or a fictionalized version of it with the requisite drama, romance, scandal and tears to fill in the many gaps in his biography — that’s told in the new film \u003cem>Chevalier\u003c/em>, which opens in theaters this week with Kelvin Harrison Jr. in the title role. In this France, everyone has English accents and he’s introduced having a very public violin-off with a very flustered Wolfgang Amadeus Mozart in front of a large audience. Though this makes for a rousing start to the film, this is very unlikely to have happened, like quite a bit in the film. But it’s inspired by something real — scholars have posited that Mozart would have been well aware of Bologne and was perhaps even directly influenced by his string concertos.\u003c/p>\n\u003cp>These and many more embellishments are easy to forgive, however. For one, they’re necessary to fill in the vast holes in a history that was purposefully neglected. It’s also entertainment that functions just as well if you have found yourself at \u003cem>Chevalier\u003c/em> not knowing that it is inspired by truth.\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/-LtCIImfSCk'\n title='//www.youtube.com/embed/-LtCIImfSCk'\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>In the film, directed by Stephen Williams, Bologne’s father recognizes him as a musical prodigy and sends him to a boarding school in France to nurture his talent. This is also likely a fabrication and apparently it was more common than the film shows for the fathers of mixed-race children to send them to these schools. But at school he distinguishes himself in spite of resistance and racism — his father leaves him with a haunting requirement that excellence is his only defense. After a tense bout with a champion fencer, he catches the attention of Queen Marie Antoinette (Lucy Boynton), who gives him the title of nobility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harrison and the script (written by \u003cem>Atlanta\u003c/em> scribe Stefani Robinson) make Bologne quite arrogant, at least at first. He made incredible strides in French society and had the talent to back it up. When he decides to put his name in the hat for the Paris Opera position, he rebuffs the advances of an older star, Marie-Madeleine Guimard (Minnie Driver), and fixates on a younger talent Marie-Joséphine de Comarieu (Samara Weaving) who he later starts an ill-advised affair with while writing an opera for her. \u003cem>Fleabag\u003c/em>’s Sian Clifford is a nice presence too as an opera producer and Marie-Joséphine’s cousin. It is quite a bit of soap opera fabrication, that’s a bit melodramatic but not ineffective.\u003c/p>\n\u003cp>And it’s all serving to get Bologne, who had been quite content playing the necessary games to thrive within the system, to reach a moment of radicalization and revolt (along with much of France) as he grapples with injustices and prejudices. The arrival of his mother helps shatter his illusions too.\u003c/p>\n\u003cp>In the end, \u003cem>Chevalier\u003c/em> may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production. And it is especially important in a moment of fanciful \u003cem>Bridgerton\u003c/em>s to focus the lens on important people of color who did actually exist and who have been forgotten and erased.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\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>‘Chevalier’ is out on April 21, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sinister Twin Sisters Wield All the Power in the Latest ‘Dead Ringers’ Adaptation",
"headTitle": "Sinister Twin Sisters Wield All the Power in the Latest ‘Dead Ringers’ Adaptation | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/2005/03/17/4934043/david-cronenberg-on-a-history-of-violence\">David Cronenberg\u003c/a>’s 1988 movie \u003cem>Dead Ringers, \u003c/em>like the book on which it was based, was all about birth, death, love and power — but mostly from the male point of view. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4273728\">Jeremy Irons\u003c/a> played twin gynecologists: an impulsive and sometimes predatory doctor named Elliot, and a more reserved doctor named Beverly.\u003c/p>\n\u003cp>Elliot enjoyed using his position of authority to seduce some of his infertility patients, and even some of Beverly’s, by pretending to be his twin brother. This new six-episode Prime Video adaptation of \u003cem>Dead Ringers \u003c/em>preserves all of that. But showrunner Alice Birch, who created this TV version, changes it, too, by giving its female characters all the power.\u003c/p>\n\u003cp>Birch’s credits include \u003ca href=\"https://www.npr.org/2020/04/29/847617296/normal-people-is-a-love-story-to-cherish\">\u003cem>Normal People\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2017/07/13/536642559/lady-macbeth-a-new-bride-flouts-the-rigid-rules-of-society-and-humanity\">\u003cem>Lady Macbeth \u003c/em>\u003c/a>and Season 2 of \u003ca href=\"https://www.npr.org/series/1045640636/succession-recaps\">\u003cem>Succession\u003c/em>\u003c/a>. Here she’s assembled a writer’s room populated entirely by women. The result is like a polar opposite of \u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem>A Handmaid’s Tale. \u003c/em>\u003c/a>Women are in positions of power, both as doctors and as wealthy medical donors, and aggressively pursue both their ambitions and their passions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FA_XOruRFfU\u003c/p>\n\u003cp>For this new \u003cem>Dead Ringers, \u003c/em>the Mantle twins, Beverly and Elliot, are played by \u003ca href=\"https://www.npr.org/2016/08/27/491613525/rachel-weisz-plays-with-identity-in-complete-unknown\">Rachel Weisz\u003c/a>, who was so brilliant opposite Olivia Colman in the period movie \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a>\u003cem>. \u003c/em>She’s brilliant here, too, opposite herself. Her Beverly wears her hair in a tight bun, while Elliot wears her hair down and flowing — but viewers can also tell the twins apart by everything from posture to vocal tone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13927815']It’s a masterful acting achievement, up there with such multiple-role showcases as \u003ca href=\"https://www.npr.org/2014/04/18/303758926/tatiana-maslany-on-looking-herself-in-the-eye\">Tatiana Maslany\u003c/a> in \u003ca href=\"https://www.npr.org/2015/04/17/400199569/clone-drama-orphan-black-returns-as-complex-and-complicated-as-ever\">\u003cem>Orphan Black\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2010/04/01/124902112/toni-collette-keeping-track-of-multiple-personalities\">Toni Collette\u003c/a> in \u003ca href=\"https://www.npr.org/2009/01/16/99454416/the-united-states-of-tara-diablo-cody-serves-up-diablo-cody-goodness\">\u003cem>The United States of Tara. \u003c/em>\u003c/a>As Elliot, she’s in her office, counseling a married couple when the pregnant wife excuses herself to use the bathroom. The amoral Elliot takes the opportunity to focus on the husband, and play with him like a toy — flattering him, seducing him, then humiliating him, all in the space of one quick bathroom break.\u003c/p>\n\u003cp>Twin sister Beverly is a lot more reserved — so much so that when she has the chance to examine Genevieve, an imposingly attractive actress played by Britne Oldford, she runs to Elliot for help. Elliot understands that her sister has a crush on the actress, so Elliot offers to take Beverly’s place in the exam room and not only deliver to Genevieve the bad news about her latest medical results — but, as Beverly, to begin to flirt with her.\u003c/p>\n\u003cp>This relationship turns into a very twisted love triangle. And at the same time, there’s a more professional seduction going on. The twins are courted by a pair of super-wealthy investors, a big pharma billionaire and her trophy wife, who are interested in funding the twins’ research and birthing facilities. Their discussions allow \u003cem>Dead Ringers\u003c/em> to dive deeply, and very heatedly, into such issues as abortion, medical experimentation and the very definition of human life.\u003c/p>\n\u003cp>[aside postid='arts_13927532']One twin sister wants to push the envelope scientifically, and sometimes questionably. The other wants to make the delivery of babies as natural and comfortable a procedure as possible. The twins begin to clash — professionally, personally, romantically — and their reality begins to blur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Directors Sean Durkin and others make the visuals as intense as the psychological rivalry: lots of mirrors and blood, and more and more surprises the longer the drama builds. Michael McKean from \u003ca href=\"https://www.npr.org/2022/08/16/1117671911/better-call-saul-finale-soars-as-a-meditation-on-consequences-and-regret\">\u003cem>Better Call Saul \u003c/em>\u003c/a>has a small but sinister role, but doesn’t show up until episode five. And Brittany Bradford, in a single scene as a ghostly apparition, shows up even later … and, like so much of this new \u003cem>Dead Ringers, \u003c/em>will haunt you in ways you won’t soon forget.\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=Sinister+twin+sisters+wield+all+the+power+in+the+latest+%27Dead+Ringers%27+adaptation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/2005/03/17/4934043/david-cronenberg-on-a-history-of-violence\">David Cronenberg\u003c/a>’s 1988 movie \u003cem>Dead Ringers, \u003c/em>like the book on which it was based, was all about birth, death, love and power — but mostly from the male point of view. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4273728\">Jeremy Irons\u003c/a> played twin gynecologists: an impulsive and sometimes predatory doctor named Elliot, and a more reserved doctor named Beverly.\u003c/p>\n\u003cp>Elliot enjoyed using his position of authority to seduce some of his infertility patients, and even some of Beverly’s, by pretending to be his twin brother. This new six-episode Prime Video adaptation of \u003cem>Dead Ringers \u003c/em>preserves all of that. But showrunner Alice Birch, who created this TV version, changes it, too, by giving its female characters all the power.\u003c/p>\n\u003cp>Birch’s credits include \u003ca href=\"https://www.npr.org/2020/04/29/847617296/normal-people-is-a-love-story-to-cherish\">\u003cem>Normal People\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2017/07/13/536642559/lady-macbeth-a-new-bride-flouts-the-rigid-rules-of-society-and-humanity\">\u003cem>Lady Macbeth \u003c/em>\u003c/a>and Season 2 of \u003ca href=\"https://www.npr.org/series/1045640636/succession-recaps\">\u003cem>Succession\u003c/em>\u003c/a>. Here she’s assembled a writer’s room populated entirely by women. The result is like a polar opposite of \u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem>A Handmaid’s Tale. \u003c/em>\u003c/a>Women are in positions of power, both as doctors and as wealthy medical donors, and aggressively pursue both their ambitions and their passions.\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/FA_XOruRFfU'\n title='//www.youtube.com/embed/FA_XOruRFfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For this new \u003cem>Dead Ringers, \u003c/em>the Mantle twins, Beverly and Elliot, are played by \u003ca href=\"https://www.npr.org/2016/08/27/491613525/rachel-weisz-plays-with-identity-in-complete-unknown\">Rachel Weisz\u003c/a>, who was so brilliant opposite Olivia Colman in the period movie \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a>\u003cem>. \u003c/em>She’s brilliant here, too, opposite herself. Her Beverly wears her hair in a tight bun, while Elliot wears her hair down and flowing — but viewers can also tell the twins apart by everything from posture to vocal tone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s a masterful acting achievement, up there with such multiple-role showcases as \u003ca href=\"https://www.npr.org/2014/04/18/303758926/tatiana-maslany-on-looking-herself-in-the-eye\">Tatiana Maslany\u003c/a> in \u003ca href=\"https://www.npr.org/2015/04/17/400199569/clone-drama-orphan-black-returns-as-complex-and-complicated-as-ever\">\u003cem>Orphan Black\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2010/04/01/124902112/toni-collette-keeping-track-of-multiple-personalities\">Toni Collette\u003c/a> in \u003ca href=\"https://www.npr.org/2009/01/16/99454416/the-united-states-of-tara-diablo-cody-serves-up-diablo-cody-goodness\">\u003cem>The United States of Tara. \u003c/em>\u003c/a>As Elliot, she’s in her office, counseling a married couple when the pregnant wife excuses herself to use the bathroom. The amoral Elliot takes the opportunity to focus on the husband, and play with him like a toy — flattering him, seducing him, then humiliating him, all in the space of one quick bathroom break.\u003c/p>\n\u003cp>Twin sister Beverly is a lot more reserved — so much so that when she has the chance to examine Genevieve, an imposingly attractive actress played by Britne Oldford, she runs to Elliot for help. Elliot understands that her sister has a crush on the actress, so Elliot offers to take Beverly’s place in the exam room and not only deliver to Genevieve the bad news about her latest medical results — but, as Beverly, to begin to flirt with her.\u003c/p>\n\u003cp>This relationship turns into a very twisted love triangle. And at the same time, there’s a more professional seduction going on. The twins are courted by a pair of super-wealthy investors, a big pharma billionaire and her trophy wife, who are interested in funding the twins’ research and birthing facilities. Their discussions allow \u003cem>Dead Ringers\u003c/em> to dive deeply, and very heatedly, into such issues as abortion, medical experimentation and the very definition of human life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One twin sister wants to push the envelope scientifically, and sometimes questionably. The other wants to make the delivery of babies as natural and comfortable a procedure as possible. The twins begin to clash — professionally, personally, romantically — and their reality begins to blur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Directors Sean Durkin and others make the visuals as intense as the psychological rivalry: lots of mirrors and blood, and more and more surprises the longer the drama builds. Michael McKean from \u003ca href=\"https://www.npr.org/2022/08/16/1117671911/better-call-saul-finale-soars-as-a-meditation-on-consequences-and-regret\">\u003cem>Better Call Saul \u003c/em>\u003c/a>has a small but sinister role, but doesn’t show up until episode five. And Brittany Bradford, in a single scene as a ghostly apparition, shows up even later … and, like so much of this new \u003cem>Dead Ringers, \u003c/em>will haunt you in ways you won’t soon forget.\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=Sinister+twin+sisters+wield+all+the+power+in+the+latest+%27Dead+Ringers%27+adaptation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Scholastic Wanted to License Her Children’s Book — if She Cut a Part About ‘Racism’",
"headTitle": "Scholastic Wanted to License Her Children’s Book — if She Cut a Part About ‘Racism’ | KQED",
"content": "\u003cfigure id=\"attachment_13927862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-800x715.jpg\" alt=\"An illustration shows a young man carrying a pile of books and a young woman sitting on the floor reading one. They are between two rows of bookcases. Through the window behind them, barbed wire and a guard tower is visible.\" width=\"800\" height=\"715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-800x715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-1020x911.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-768x686.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-1536x1372.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Love in the Library’, a children’s book written by Maggie Tokuda-Hall and illustrated by Yas Imamura, is a love story about finding hope in a dire setting: an internment camp where the U.S. detained Japanese Americans during World War II. \u003ccite>(Candlewick Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maggie Tokuda-Hall was thrilled when she first saw the offer from the publishing giant.\u003c/p>\n\u003cp>Scholastic wanted to license her 2022 children’s book \u003cem>Love in the Library\u003c/em>. The deal would draw a wider audience to\u003ca href=\"https://www.prettyokmaggie.com/press-kit-love-in-the-library\"> her book\u003c/a> — a love story set in a World War II incarceration camp for Japanese Americans and inspired by her grandparents, about the improbable joy found “in a place built to make people feel like they weren’t human.”\u003c/p>\n\u003cp>Then she read Scholastic’s suggested revisions to her book, included in the same email as the offer news. Her excitement at the opportunity was almost immediately tempered.\u003c/p>\n\u003cp>[aside postid='arts_13927219']The publisher\u003cstrong>‘\u003c/strong>s only suggested edit was to the author’s note: Scholastic had crossed out a key section that references “the deeply American tradition of racism” to describe the tale’s real-life historical backdrop — a time when the U.S. government forcibly relocated more than 120,000 Japanese Americans to dozens of internment sites from 1942-1945.\u003c/p>\n\u003cp>Scholastic gave its reasons for the suggested change in an email to the author and her original publisher, Candlewick Press, citing a “politically sensitive” moment for its market and a worry that the section “goes beyond what some teachers are willing to cover with the kids in their elementary classrooms.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This could lead to teachers declining to use the book, which would be a shame,” Scholastic’s email said.\u003c/p>\n\u003cp>The deal with Scholastic was contingent on not only nixing that section, according to the author, but removing the word “racism” from the author’s note entirely.\u003c/p>\n\u003cfigure id=\"attachment_13927867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-800x355.png\" alt=\"A double page spread titled Author's Note, with sections of text highlighted in red.\" width=\"800\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-800x355.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-1020x453.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-768x341.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-1536x682.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM.png 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scholastic made the suggested revisions above to Tokuda-Hall’s book in an attachment it sent to her original publisher. “They wanted to take this book and repackage it so that it was just a simple love story,” the author wrote on her blog. \u003ccite>(Prettyokmaggie.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Infuriated by what she called a “horrific demand for censorship,” Tokuda-Hall gave Scholastic a hard no.\u003c/p>\n\u003cp>The author called the offer deeply offensive in an email to Candlewick Press, which passed along Scholastic’s proposal, a response she \u003ca href=\"https://www.prettyokmaggie.com/blog/2023/4/11/scholastic-and-a-faustian-bargain\">posted publicly to her website\u003c/a> on Tuesday.\u003c/p>\n\u003cp>“I’m typically a very compromising person,” the Oakland, Calif.-based author, who is Asian American, told NPR. “But when you omit the word racism from a story about the mass incarceration of a single group of people based on their race, there’s no compromise to be had with that if you can’t agree on basic facts.”\u003c/p>\n\u003cp>Without its proper context, she said, the story “runs the risk of just being like a lovely little love story. And that’s not what it is. To pretend otherwise would do a disservice not just to [my grandparents], but also to the 120,000 other people who were incarcerated at the time.”\u003c/p>\n\u003ch3>Scholastic issues an apology\u003c/h3>\n\u003cp>Two days after the author first spoke out about the offer, Scholastic said it had apologized to Tokuda-Hall for its editing approach, in a statement sent to NPR on Thursday night.\u003c/p>\n\u003cp>[aside postid='arts_13926336']“In our initial outreach we suggested edits to Ms. Tokuda-Hall’s author’s note,” the company’s CEO Peter Warwick wrote in a statement. “This approach was wrong and not in keeping with Scholastic’s values. We don’t want to diminish or in any way minimize the racism that tragically persists against Asian-Americans.”\u003c/p>\n\u003cp>Scholastic said that during the process it had failed to consult its “mentors” for the Rising Voices collection — authors and educators from Asian American, Native Hawaiian and Pacific Islander communities — and has since reached out to them to hear their concerns. “We must never do this again,” Warwick wrote.\u003c/p>\n\u003cp>Scholastic, which had planned to feature \u003cem>Love in the Library\u003c/em> as part of its “Rising Voices Library” collection highlighting voices, said it hopes to restart the conversation with Tokuda-Hall with the aim of sharing the book with the author’s note unchanged.\u003c/p>\n\u003cp>It’s not yet clear whether Tokuda-Hall will consider their revised offer.\u003c/p>\n\u003cp>“That conversation is not concluded and so I do not have any comment yet,” she told NPR in an email.\u003c/p>\n\u003cfigure id=\"attachment_13927868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-800x1003.png\" alt=\"A young Asian-American woman wearing a spotted dress and denim jacket smiles warmly. She had long black hair.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Tokuda-Hall is based in Oakland. \u003ccite>(Red Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The author says publishers are silencing marginalized voices\u003c/h3>\n\u003cp>To Tokuda-Hall, her experience with Scholastic is another instance in which publishers are yielding to conservative advocacy groups in the face of recent\u003ca href=\"https://www.npr.org/2023/03/23/1164284891/book-bans-school-libraries-florida\"> battles over book bans and author censorship\u003c/a>.\u003c/p>\n\u003cp>In one case, a Florida textbook publisher removed all explicit references to race from its lesson materials about civil rights icon Rosa Parks in order to win approval from Florida’s Department of Education, \u003ca href=\"https://www.nytimes.com/2023/03/16/us/florida-textbooks-african-american-history.html\">\u003cem>The New York Times\u003c/em> reported last month.\u003c/a>\u003c/p>\n\u003cp>Publishers, she wrote on her website before the Scholastic apology, “want to sell our suffering, smoothed down and made palatable to the white readers they prioritize. … Our voices are the first sacrifice at the altar of marketability.”\u003c/p>\n\u003cp>[aside postid='arts_13926136']It’s impossible to put a price on what Tokuda-Hall may sacrifice from rejecting the deal with Scholastic, a trusted, powerhouse publisher in the children’s market that affords authors exposure. She feared that speaking publicly about the offer could harm her reputation and career.\u003c/p>\n\u003cp>“Children’s book authors — we’re fighting over nickels. It’s not exactly gangbusters, this industry,” she said. “So, when you’re presented with any opportunity to get your story, and particularly a story that you deeply believe in, in front of more eyes, it’s a huge opportunity.”\u003c/p>\n\u003cp>But she thinks kids and their families have the most to lose from situations like this.\u003c/p>\n\u003cp>“I think they’re losing the opportunity to talk about the truth, to learn the truth, to discuss it,” she said. “No substantive change for the better can be made without reconciliation with the truth.”\u003c/p>\n\u003cp>Since going public with her experience, the author says, she’s heard from other marginalized writers and people in the publishing industry — largely people of color and queer people, she says — who have also had to make difficult choices about their work and how its presented.\u003c/p>\n\u003cp>“My DMs have been absolutely full,” she said. “People sharing pretty horrific stories that they’re just too afraid to share in public.”\u003c/p>\n\u003cp>Some authors and others in the publishing world responded publicly in support of Tokuda-Hall.\u003c/p>\n\u003cp>“By refusing to let this story be situated in context of government oppression and enslavement of other marginalized groups, past and present, It makes it safe for them to say ‘historically, mistakes were made, but look at how successful Japanese American communities are now,’ ” \u003ca href=\"https://twitter.com/dongwon/status/1646274879770046465?s=20\">literary agent DongWon Song\u003c/a> tweeted. “This is white supremacy. This is how it operates.”\u003c/p>\n\u003cp>Author Martha Brockenbrough has collected close to 400 signatures \u003ca href=\"https://twitter.com/mbrockenbrough/status/1646630393024770048?s=20\">on a letter to Scholastic\u003c/a> calling on the publisher to feature \u003cem>Love in the Library\u003c/em> without edits.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Before she received Scholastic’s apology, Tokuda-Hall said that, whether or not the publisher apologizes, her “greatest fear is that this is a momentary flurry of outrage, but nothing changes. And other creators are asked to make horrible choices like this going forward in the dark.”\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=Scholastic+wanted+to+license+her+children%27s+book+%E2%80%94+if+she+cut+a+part+about+%27racism%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13927862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-800x715.jpg\" alt=\"An illustration shows a young man carrying a pile of books and a young woman sitting on the floor reading one. They are between two rows of bookcases. Through the window behind them, barbed wire and a guard tower is visible.\" width=\"800\" height=\"715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-800x715.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-1020x911.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-768x686.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427-1536x1372.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/litl_custom-90e0e303bdd9319c3cc4a2288c813f52af1159c8-e1681753318427.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Love in the Library’, a children’s book written by Maggie Tokuda-Hall and illustrated by Yas Imamura, is a love story about finding hope in a dire setting: an internment camp where the U.S. detained Japanese Americans during World War II. \u003ccite>(Candlewick Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maggie Tokuda-Hall was thrilled when she first saw the offer from the publishing giant.\u003c/p>\n\u003cp>Scholastic wanted to license her 2022 children’s book \u003cem>Love in the Library\u003c/em>. The deal would draw a wider audience to\u003ca href=\"https://www.prettyokmaggie.com/press-kit-love-in-the-library\"> her book\u003c/a> — a love story set in a World War II incarceration camp for Japanese Americans and inspired by her grandparents, about the improbable joy found “in a place built to make people feel like they weren’t human.”\u003c/p>\n\u003cp>Then she read Scholastic’s suggested revisions to her book, included in the same email as the offer news. Her excitement at the opportunity was almost immediately tempered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The publisher\u003cstrong>‘\u003c/strong>s only suggested edit was to the author’s note: Scholastic had crossed out a key section that references “the deeply American tradition of racism” to describe the tale’s real-life historical backdrop — a time when the U.S. government forcibly relocated more than 120,000 Japanese Americans to dozens of internment sites from 1942-1945.\u003c/p>\n\u003cp>Scholastic gave its reasons for the suggested change in an email to the author and her original publisher, Candlewick Press, citing a “politically sensitive” moment for its market and a worry that the section “goes beyond what some teachers are willing to cover with the kids in their elementary classrooms.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This could lead to teachers declining to use the book, which would be a shame,” Scholastic’s email said.\u003c/p>\n\u003cp>The deal with Scholastic was contingent on not only nixing that section, according to the author, but removing the word “racism” from the author’s note entirely.\u003c/p>\n\u003cfigure id=\"attachment_13927867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-800x355.png\" alt=\"A double page spread titled Author's Note, with sections of text highlighted in red.\" width=\"800\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-800x355.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-1020x453.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-160x71.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-768x341.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM-1536x682.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.47.01-AM.png 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scholastic made the suggested revisions above to Tokuda-Hall’s book in an attachment it sent to her original publisher. “They wanted to take this book and repackage it so that it was just a simple love story,” the author wrote on her blog. \u003ccite>(Prettyokmaggie.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Infuriated by what she called a “horrific demand for censorship,” Tokuda-Hall gave Scholastic a hard no.\u003c/p>\n\u003cp>The author called the offer deeply offensive in an email to Candlewick Press, which passed along Scholastic’s proposal, a response she \u003ca href=\"https://www.prettyokmaggie.com/blog/2023/4/11/scholastic-and-a-faustian-bargain\">posted publicly to her website\u003c/a> on Tuesday.\u003c/p>\n\u003cp>“I’m typically a very compromising person,” the Oakland, Calif.-based author, who is Asian American, told NPR. “But when you omit the word racism from a story about the mass incarceration of a single group of people based on their race, there’s no compromise to be had with that if you can’t agree on basic facts.”\u003c/p>\n\u003cp>Without its proper context, she said, the story “runs the risk of just being like a lovely little love story. And that’s not what it is. To pretend otherwise would do a disservice not just to [my grandparents], but also to the 120,000 other people who were incarcerated at the time.”\u003c/p>\n\u003ch3>Scholastic issues an apology\u003c/h3>\n\u003cp>Two days after the author first spoke out about the offer, Scholastic said it had apologized to Tokuda-Hall for its editing approach, in a statement sent to NPR on Thursday night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In our initial outreach we suggested edits to Ms. Tokuda-Hall’s author’s note,” the company’s CEO Peter Warwick wrote in a statement. “This approach was wrong and not in keeping with Scholastic’s values. We don’t want to diminish or in any way minimize the racism that tragically persists against Asian-Americans.”\u003c/p>\n\u003cp>Scholastic said that during the process it had failed to consult its “mentors” for the Rising Voices collection — authors and educators from Asian American, Native Hawaiian and Pacific Islander communities — and has since reached out to them to hear their concerns. “We must never do this again,” Warwick wrote.\u003c/p>\n\u003cp>Scholastic, which had planned to feature \u003cem>Love in the Library\u003c/em> as part of its “Rising Voices Library” collection highlighting voices, said it hopes to restart the conversation with Tokuda-Hall with the aim of sharing the book with the author’s note unchanged.\u003c/p>\n\u003cp>It’s not yet clear whether Tokuda-Hall will consider their revised offer.\u003c/p>\n\u003cp>“That conversation is not concluded and so I do not have any comment yet,” she told NPR in an email.\u003c/p>\n\u003cfigure id=\"attachment_13927868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-800x1003.png\" alt=\"A young Asian-American woman wearing a spotted dress and denim jacket smiles warmly. She had long black hair.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-17-at-10.50.04-AM.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Tokuda-Hall is based in Oakland. \u003ccite>(Red Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The author says publishers are silencing marginalized voices\u003c/h3>\n\u003cp>To Tokuda-Hall, her experience with Scholastic is another instance in which publishers are yielding to conservative advocacy groups in the face of recent\u003ca href=\"https://www.npr.org/2023/03/23/1164284891/book-bans-school-libraries-florida\"> battles over book bans and author censorship\u003c/a>.\u003c/p>\n\u003cp>In one case, a Florida textbook publisher removed all explicit references to race from its lesson materials about civil rights icon Rosa Parks in order to win approval from Florida’s Department of Education, \u003ca href=\"https://www.nytimes.com/2023/03/16/us/florida-textbooks-african-american-history.html\">\u003cem>The New York Times\u003c/em> reported last month.\u003c/a>\u003c/p>\n\u003cp>Publishers, she wrote on her website before the Scholastic apology, “want to sell our suffering, smoothed down and made palatable to the white readers they prioritize. … Our voices are the first sacrifice at the altar of marketability.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s impossible to put a price on what Tokuda-Hall may sacrifice from rejecting the deal with Scholastic, a trusted, powerhouse publisher in the children’s market that affords authors exposure. She feared that speaking publicly about the offer could harm her reputation and career.\u003c/p>\n\u003cp>“Children’s book authors — we’re fighting over nickels. It’s not exactly gangbusters, this industry,” she said. “So, when you’re presented with any opportunity to get your story, and particularly a story that you deeply believe in, in front of more eyes, it’s a huge opportunity.”\u003c/p>\n\u003cp>But she thinks kids and their families have the most to lose from situations like this.\u003c/p>\n\u003cp>“I think they’re losing the opportunity to talk about the truth, to learn the truth, to discuss it,” she said. “No substantive change for the better can be made without reconciliation with the truth.”\u003c/p>\n\u003cp>Since going public with her experience, the author says, she’s heard from other marginalized writers and people in the publishing industry — largely people of color and queer people, she says — who have also had to make difficult choices about their work and how its presented.\u003c/p>\n\u003cp>“My DMs have been absolutely full,” she said. “People sharing pretty horrific stories that they’re just too afraid to share in public.”\u003c/p>\n\u003cp>Some authors and others in the publishing world responded publicly in support of Tokuda-Hall.\u003c/p>\n\u003cp>“By refusing to let this story be situated in context of government oppression and enslavement of other marginalized groups, past and present, It makes it safe for them to say ‘historically, mistakes were made, but look at how successful Japanese American communities are now,’ ” \u003ca href=\"https://twitter.com/dongwon/status/1646274879770046465?s=20\">literary agent DongWon Song\u003c/a> tweeted. “This is white supremacy. This is how it operates.”\u003c/p>\n\u003cp>Author Martha Brockenbrough has collected close to 400 signatures \u003ca href=\"https://twitter.com/mbrockenbrough/status/1646630393024770048?s=20\">on a letter to Scholastic\u003c/a> calling on the publisher to feature \u003cem>Love in the Library\u003c/em> without edits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before she received Scholastic’s apology, Tokuda-Hall said that, whether or not the publisher apologizes, her “greatest fear is that this is a momentary flurry of outrage, but nothing changes. And other creators are asked to make horrible choices like this going forward in the dark.”\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=Scholastic+wanted+to+license+her+children%27s+book+%E2%80%94+if+she+cut+a+part+about+%27racism%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Brittney Griner is Working on a Memoir About Her Captivity in Russia",
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"content": "\u003cp>Saying she is ready to share the “unfathomable” experience of being arrested and incarcerated in Russia, \u003ca href=\"https://www.npr.org/tags/149976483/brittney-griner\">basketball star Brittney Griner\u003c/a> is working on a memoir that is scheduled for spring 2024.\u003c/p>\n\u003cp>Griner was arrested last year at the airport in Moscow on drug-related charges and \u003ca href=\"https://www.npr.org/1141823389\">detained for nearly 10 months\u003c/a>, much of that time in prison. Her plight unfolded at the same time Russia invaded Ukraine and further heightened tensions between Russia and the U.S., ending only after she was freed in exchange for the notorious Russian arms dealer Viktor Bout.\u003c/p>\n\u003cp>[aside postid='arts_13917098']A WNBA All-Star with the Phoenix Mercury, Griner had flown to Moscow in February 2022 to rejoin UMMC Ekaterinburg, a Russian women’s team she has played for in the off-season since 2014.\u003c/p>\n\u003cp>“That day (in February) was the beginning of an unfathomable period in my life which only now am I ready to share,” Griner said in a statement released Tuesday by Alfred A. Knopf.\u003c/p>\n\u003cp>“The primary reason I traveled back to Russia for work that day was because I wanted to make my wife, family, and teammates proud. After an incredibly challenging 10 months in detainment, I am grateful to have been rescued and to be home. Readers will hear my story and understand why I’m so thankful for the outpouring of support from people across the world.”\u003c/p>\n\u003ch3>Griner says she hopes her book raises awareness for other detainees\u003c/h3>\n\u003cp>Griner added that she also hoped her book would raise awareness of other Americans detained overseas, including \u003ca href=\"https://www.npr.org/2023/03/30/1166984608/russia-detains-wall-street-journal-reporter-accuse-espionage\">\u003cem>Wall Street Journal\u003c/em> reporter Evan Gershkovich\u003c/a>, arrested in Russia last month and accused of espionage; businessman Kai Li, serving a 10-year sentence in China on charges of revealing state secrets to the FBI; and \u003ca href=\"https://www.npr.org/2022/12/08/1141561990/paul-whelan-detained-russia-brittney-griner-released\">Paul Whelan\u003c/a>, a corporate security executive imprisoned in Russia on spying charges. Around the time Griner was released, Whelan criticized the U.S. government for not doing enough to help him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Russia has been a popular playing destination for top WNBA athletes in the offseason, with some earning salaries over $1 million — nearly quadruple what they can make as a base WNBA salary. Despite pleading guilty to possessing canisters with cannabis oil, a result of what she said was hasty packing, Griner still faced trial under Russian law.\u003c/p>\n\u003cp>Griner’s memoir is currently untitled and will eventually be published in a young adult edition. Financial terms were not disclosed.\u003c/p>\n\u003cp>[aside postid='arts_13884595']In Tuesday’s press statement, Knopf said that the book would be “intimate and moving” and that Griner would disclose “in vivid detail her harrowing experience of her wrongful detainment (as classified by the State Department) and the difficulty of navigating the byzantine Russian legal system in a language she did not speak.”\u003c/p>\n\u003cp>“Griner also describes her stark and surreal time living in a foreign prison and the terrifying aspects of day-to-day life in a women’s penal colony,” the announcement reads. “At the heart of the book, Griner highlights the personal turmoil she experienced during the near ten-month ordeal and the resilience that carried her through to the day of her return to the United States last December.”\u003c/p>\n\u003cp>Griner, 32, is a 6-foot-9 two-time Olympic gold medalist, three-time All-American at Baylor University, a prominent advocate for pay equity for women athletes and the first openly gay athlete to reach an endorsement deal with Nike. She is the author of \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/04/08/300516000/coming-out-in-basketball-how-brittney-griner-found-a-place-of-peace\">one previous book\u003c/a>, \u003cem>In My Skin: My Life On and Off the Basketball Court\u003c/em>, published in 2014.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In February, she \u003ca href=\"https://www.npr.org/2023/02/18/1158179143/brittney-griner-phoenix-mercury\">re-signed with the Mercury\u003c/a> and will play in its upcoming season, which runs from May through September.\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=Brittney+Griner+is+working+on+a+memoir+about+her+captivity+in+Russia&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A WNBA All-Star with the Phoenix Mercury, Griner had flown to Moscow in February 2022 to rejoin UMMC Ekaterinburg, a Russian women’s team she has played for in the off-season since 2014.\u003c/p>\n\u003cp>“That day (in February) was the beginning of an unfathomable period in my life which only now am I ready to share,” Griner said in a statement released Tuesday by Alfred A. Knopf.\u003c/p>\n\u003cp>“The primary reason I traveled back to Russia for work that day was because I wanted to make my wife, family, and teammates proud. After an incredibly challenging 10 months in detainment, I am grateful to have been rescued and to be home. Readers will hear my story and understand why I’m so thankful for the outpouring of support from people across the world.”\u003c/p>\n\u003ch3>Griner says she hopes her book raises awareness for other detainees\u003c/h3>\n\u003cp>Griner added that she also hoped her book would raise awareness of other Americans detained overseas, including \u003ca href=\"https://www.npr.org/2023/03/30/1166984608/russia-detains-wall-street-journal-reporter-accuse-espionage\">\u003cem>Wall Street Journal\u003c/em> reporter Evan Gershkovich\u003c/a>, arrested in Russia last month and accused of espionage; businessman Kai Li, serving a 10-year sentence in China on charges of revealing state secrets to the FBI; and \u003ca href=\"https://www.npr.org/2022/12/08/1141561990/paul-whelan-detained-russia-brittney-griner-released\">Paul Whelan\u003c/a>, a corporate security executive imprisoned in Russia on spying charges. Around the time Griner was released, Whelan criticized the U.S. government for not doing enough to help him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Russia has been a popular playing destination for top WNBA athletes in the offseason, with some earning salaries over $1 million — nearly quadruple what they can make as a base WNBA salary. Despite pleading guilty to possessing canisters with cannabis oil, a result of what she said was hasty packing, Griner still faced trial under Russian law.\u003c/p>\n\u003cp>Griner’s memoir is currently untitled and will eventually be published in a young adult edition. Financial terms were not disclosed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In Tuesday’s press statement, Knopf said that the book would be “intimate and moving” and that Griner would disclose “in vivid detail her harrowing experience of her wrongful detainment (as classified by the State Department) and the difficulty of navigating the byzantine Russian legal system in a language she did not speak.”\u003c/p>\n\u003cp>“Griner also describes her stark and surreal time living in a foreign prison and the terrifying aspects of day-to-day life in a women’s penal colony,” the announcement reads. “At the heart of the book, Griner highlights the personal turmoil she experienced during the near ten-month ordeal and the resilience that carried her through to the day of her return to the United States last December.”\u003c/p>\n\u003cp>Griner, 32, is a 6-foot-9 two-time Olympic gold medalist, three-time All-American at Baylor University, a prominent advocate for pay equity for women athletes and the first openly gay athlete to reach an endorsement deal with Nike. She is the author of \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/04/08/300516000/coming-out-in-basketball-how-brittney-griner-found-a-place-of-peace\">one previous book\u003c/a>, \u003cem>In My Skin: My Life On and Off the Basketball Court\u003c/em>, published in 2014.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In February, she \u003ca href=\"https://www.npr.org/2023/02/18/1158179143/brittney-griner-phoenix-mercury\">re-signed with the Mercury\u003c/a> and will play in its upcoming season, which runs from May through September.\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=Brittney+Griner+is+working+on+a+memoir+about+her+captivity+in+Russia&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Love Letter to Movie Trailers and the Joy of Shared Anticipation",
"headTitle": "A Love Letter to Movie Trailers and the Joy of Shared Anticipation | KQED",
"content": "\u003cp>When I saw the \u003ca href=\"https://youtu.be/8zIf0XvoL9Y\">\u003cem>Barbie\u003c/em>\u003c/a> trailer, an homage to \u003ca href=\"https://youtu.be/I6vPuIMAOlA\">\u003cem>2001: A Space Odyssey\u003c/em>\u003c/a>, I was blown away. I was intrigued by the concept of a Greta Gerwig interpretation of the Barbie universe, and when the trailer ended I was completely sold on the project. The trailer brilliantly set a unique tonal expectation and captivated an unexpected demographic through its referential humor.\u003c/p>\n\u003cp>This trailer sparked me to analyze my love for movie trailers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8zIf0XvoL9Y&t=71s\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Many trailers use genre as a way to sell a film. For example, action trailers follow a clear format. They draw you in with spectacle and show fans of the genre that the film will have all the fight scenes and explosions they could want. Other trailers rely on the persuasive tool of star power — focusing on the biggest names involved in the project. Finally, there are those like the \u003cem>Barbie\u003c/em> trailer that sell you on a movie using eccentric style and creative editing as a marketing tool.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the most part, we’ve moved past the bellowing voice-overs declaring “IN A WORLD…” at the start of a trailer. Nevertheless, a movie trailer is in fact inviting you into their world. When done well, they are a perfectly crafted nugget of persuasion.\u003c/p>\n\u003ch3>The good, the bad and the brilliant\u003c/h3>\n\u003cp>[aside postid='arts_13927547']A common complaint about trailers is that they defeat the purpose of needing to actually see the movie. To skeptics out there, I want you to feel heard: there are some awful trailers. Every plot point spoiled, every punchline told, every twist revealed. But the bad trailers make the good ones even sweeter. A perfect example can be found in two trailers for Stephen King movie adaptations.\u003c/p>\n\u003cp>The trailer for the 1976 horror film \u003ca href=\"https://youtu.be/j9Mg-GRS46Y\">\u003cem>Carrie\u003c/em>\u003c/a> manages to reveal almost every important part of the movie. By the end, there is no feeling of excitement or curiosity about the film.\u003c/p>\n\u003cp>But then you have the trailer for \u003ca href=\"https://youtu.be/GZWnzIaMlBw\">\u003cem>The Shining\u003c/em>\u003c/a>. After some scrolling credits highlighting the big names of the movie, an eerie tune gets increasingly louder and blood begins to rush out of elevator doors. The blood takes over the entire screen and the trailer concludes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A-tgsURVNrI\u003c/p>\n\u003cp>The trailer brilliantly utilizes the power of the well-known novel the movie is based on to create a trailer so compelling it doesn’t need a single word. Even if you haven’t read the book, you know everything you need to know: this movie will be a masterfully terrifying experience.\u003c/p>\n\u003cp>Then you have trailers that expertly montage key moments without actually giving away anything. \u003ca href=\"https://youtu.be/lB95KLmpLR4\">\u003cem>The Social Network\u003c/em>\u003c/a> trailer is one of the most captivating pieces of storytelling. Whoever decided to score this trailer with a Belgian girls choir cover of Radiohead’s “Creep” deserves a raise. It begins with an eerie depiction of social media and builds to a frantic pace, matching the film’s story but leaving the audience wanting more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lB95KLmpLR4\u003c/p>\n\u003cp>From the witty rhythmic pacing of \u003ca href=\"https://youtu.be/vgqG3ITMv1Q\">\u003cem>The Big Short\u003c/em>\u003c/a> trailer, or the unparalleled editing genius of the \u003ca href=\"https://youtu.be/jPU1AYTxwg4\">\u003cem>Dr. Strangelove\u003c/em>\u003c/a> trailer, or the needle drop of “Paper Planes” by M.I.A. in the\u003ca href=\"https://youtu.be/BWZt4v6b1hI\"> \u003cem>Pineapple Express\u003c/em>\u003c/a> trailer, a good trailer plays like a music video. A perfect companion piece to another art form. They allow you to reenter the world of a movie in just a few minutes.\u003c/p>\n\u003ch3>The exhilaration of expectation\u003c/h3>\n\u003cp>I love rewatching trailers for movies I’ve seen, but I want to highlight one of the most magical components of movie trailers: the exhilaration of expectation. Trailers build conversations and community surrounding the anticipation of a movie.\u003c/p>\n\u003cp>[aside postid='arts_13926879']Something special occurs when a compelling preview plays at the theater. The murmur of noise spreads as moviegoers express approval for the upcoming project. In just a couple of minutes, a trailer has given people something to talk about and a shared thrill. Watching a good trailer that captures the essence of a movie builds a lovely bubble of excitement that you get to share, discuss, and develop as you wait for a movie’s release.\u003c/p>\n\u003cp>Whether it is to revisit a beloved movie, to build excitement for an upcoming project, or just to admire a masterclass in curating a vibe, movie trailers are truly an underappreciated art form.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into? \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\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=A+love+letter+to+movie+trailers+and+the+joy+of+shared+anticipation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I saw the \u003ca href=\"https://youtu.be/8zIf0XvoL9Y\">\u003cem>Barbie\u003c/em>\u003c/a> trailer, an homage to \u003ca href=\"https://youtu.be/I6vPuIMAOlA\">\u003cem>2001: A Space Odyssey\u003c/em>\u003c/a>, I was blown away. I was intrigued by the concept of a Greta Gerwig interpretation of the Barbie universe, and when the trailer ended I was completely sold on the project. The trailer brilliantly set a unique tonal expectation and captivated an unexpected demographic through its referential humor.\u003c/p>\n\u003cp>This trailer sparked me to analyze my love for movie trailers.\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/8zIf0XvoL9Y'\n title='//www.youtube.com/embed/8zIf0XvoL9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Many trailers use genre as a way to sell a film. For example, action trailers follow a clear format. They draw you in with spectacle and show fans of the genre that the film will have all the fight scenes and explosions they could want. Other trailers rely on the persuasive tool of star power — focusing on the biggest names involved in the project. Finally, there are those like the \u003cem>Barbie\u003c/em> trailer that sell you on a movie using eccentric style and creative editing as a marketing tool.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the most part, we’ve moved past the bellowing voice-overs declaring “IN A WORLD…” at the start of a trailer. Nevertheless, a movie trailer is in fact inviting you into their world. When done well, they are a perfectly crafted nugget of persuasion.\u003c/p>\n\u003ch3>The good, the bad and the brilliant\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A common complaint about trailers is that they defeat the purpose of needing to actually see the movie. To skeptics out there, I want you to feel heard: there are some awful trailers. Every plot point spoiled, every punchline told, every twist revealed. But the bad trailers make the good ones even sweeter. A perfect example can be found in two trailers for Stephen King movie adaptations.\u003c/p>\n\u003cp>The trailer for the 1976 horror film \u003ca href=\"https://youtu.be/j9Mg-GRS46Y\">\u003cem>Carrie\u003c/em>\u003c/a> manages to reveal almost every important part of the movie. By the end, there is no feeling of excitement or curiosity about the film.\u003c/p>\n\u003cp>But then you have the trailer for \u003ca href=\"https://youtu.be/GZWnzIaMlBw\">\u003cem>The Shining\u003c/em>\u003c/a>. After some scrolling credits highlighting the big names of the movie, an eerie tune gets increasingly louder and blood begins to rush out of elevator doors. The blood takes over the entire screen and the trailer concludes.\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/A-tgsURVNrI'\n title='//www.youtube.com/embed/A-tgsURVNrI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailer brilliantly utilizes the power of the well-known novel the movie is based on to create a trailer so compelling it doesn’t need a single word. Even if you haven’t read the book, you know everything you need to know: this movie will be a masterfully terrifying experience.\u003c/p>\n\u003cp>Then you have trailers that expertly montage key moments without actually giving away anything. \u003ca href=\"https://youtu.be/lB95KLmpLR4\">\u003cem>The Social Network\u003c/em>\u003c/a> trailer is one of the most captivating pieces of storytelling. Whoever decided to score this trailer with a Belgian girls choir cover of Radiohead’s “Creep” deserves a raise. It begins with an eerie depiction of social media and builds to a frantic pace, matching the film’s story but leaving the audience wanting more.\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/lB95KLmpLR4'\n title='//www.youtube.com/embed/lB95KLmpLR4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the witty rhythmic pacing of \u003ca href=\"https://youtu.be/vgqG3ITMv1Q\">\u003cem>The Big Short\u003c/em>\u003c/a> trailer, or the unparalleled editing genius of the \u003ca href=\"https://youtu.be/jPU1AYTxwg4\">\u003cem>Dr. Strangelove\u003c/em>\u003c/a> trailer, or the needle drop of “Paper Planes” by M.I.A. in the\u003ca href=\"https://youtu.be/BWZt4v6b1hI\"> \u003cem>Pineapple Express\u003c/em>\u003c/a> trailer, a good trailer plays like a music video. A perfect companion piece to another art form. They allow you to reenter the world of a movie in just a few minutes.\u003c/p>\n\u003ch3>The exhilaration of expectation\u003c/h3>\n\u003cp>I love rewatching trailers for movies I’ve seen, but I want to highlight one of the most magical components of movie trailers: the exhilaration of expectation. Trailers build conversations and community surrounding the anticipation of a movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Something special occurs when a compelling preview plays at the theater. The murmur of noise spreads as moviegoers express approval for the upcoming project. In just a couple of minutes, a trailer has given people something to talk about and a shared thrill. Watching a good trailer that captures the essence of a movie builds a lovely bubble of excitement that you get to share, discuss, and develop as you wait for a movie’s release.\u003c/p>\n\u003cp>Whether it is to revisit a beloved movie, to build excitement for an upcoming project, or just to admire a masterclass in curating a vibe, movie trailers are truly an underappreciated art form.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into? \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\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=A+love+letter+to+movie+trailers+and+the+joy+of+shared+anticipation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Susanna Hoffs’ ‘This Bird Has Flown’ is a Love Story — and a Valentine to Music",
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"content": "\u003cfigure id=\"attachment_13927395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927395\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/bird1_custom-2e5973a79650e4beb40d736197b63dae9dcb1917-800x1243.jpg\" alt=\"An illustration of a young woman in side profile. She is wearing pink headphones, gold hoop earrings and a leopard print jacket.\" width=\"800\" height=\"1243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/bird1_custom-2e5973a79650e4beb40d736197b63dae9dcb1917-800x1243.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/bird1_custom-2e5973a79650e4beb40d736197b63dae9dcb1917-1020x1584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/bird1_custom-2e5973a79650e4beb40d736197b63dae9dcb1917-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/bird1_custom-2e5973a79650e4beb40d736197b63dae9dcb1917-768x1193.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/bird1_custom-2e5973a79650e4beb40d736197b63dae9dcb1917-989x1536.jpg 989w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/bird1_custom-2e5973a79650e4beb40d736197b63dae9dcb1917-1318x2048.jpg 1318w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/bird1_custom-2e5973a79650e4beb40d736197b63dae9dcb1917.jpg 1648w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The book cover of ‘This Bird Has Flown’ by Susanna Hoffs. \u003ccite>(Little, Brown & Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jane Start’s life is all over the place.\u003c/p>\n\u003cp>The musician was once a star, albeit a brief one — she scored a hit single with “Can’t You See I Want You,” a cover of a song by a pop star named Jonesy. But in the 10 years that have passed since then, our hero has taken a fall: “I was living with my parents again, which at thirty-three was a demoralizing last resort,” she says, bemoaning her new life with all of her possessions in four garbage bags, sitting near her “sagging twin bed.”\u003c/p>\n\u003cp>Jane is the charming, funny, but unlucky protagonist of \u003cem>This Bird Has Flown\u003c/em>, the debut novel from Susanna Hoffs, the singer and guitarist who rose to fame with the Bangles in the 1980s. It’s a smart romantic comedy that proves that Hoffs’ immense writing talent isn’t just confined to songs.\u003c/p>\n\u003cp>[aside postid='arts_13926136']As the novel opens, Jane is preparing for a gig in Las Vegas. She’s not exactly thrilled to be playing a private party, but she chooses to look at the bright side: “The pay tonight would mean a deposit on an apartment, and a few months’ rent, a chance to make another artsy record, even if no one bothered to listen to it. It would matter to me. If I could ever write another song again, that is.”\u003c/p>\n\u003cp>She shows up for the performance “wearing a tiny scrap of fabric posing as a dress, half-hidden beneath my ex-boyfriend’s vintage cardigan, the one possession I’d pinched, for sentimental reasons, when he’d left me for a twenty-three-year-old lingerie model. Two months ago.” Her longtime friend and manager, Pippa, has some bad news for her: She’s only going to play one song (her sole hit) to the audience full of “rowdy frat-bro types,” and it will be accompanied by a karaoke track. And she’s expected to sing in a hot pink wig.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the show, Pippa insists that Jane fly to London with her, a chance to regroup and write some new songs. Pippa ends up unable to make the flight, which turns out to be a bit of kismet — Jane finds herself seated next to an Oxford literature professor named Tom Hardy. The two chat about books and music over the course of the long flight and Jane, unable to resist the handsome academic, impulsively kisses him.\u003c/p>\n\u003cp>[aside postid='arts_13925644']Jane spends several days in London, pining for the one she thinks might have gotten away, until she finally gets a text message from him, asking her to visit him in Oxford. She does, and the two hit it off — so much so that she essentially moves in with him, accompanying him to events at his university, and befriending some of his colleagues.\u003c/p>\n\u003cp>She also gets some exciting career news: Jonesy, the author of her one hit, wants her to play with him at a special show at Royal Albert Hall. Jane isn’t sure she wants to go through with it; she’s been afflicted with stage fright for most of her career. And she’s growing used to the idea of living with her new eternal flame, far from the spotlight: “Could it be the life I wanted was the one in England, with Tom? To write, record, perform in small venues — a folk singer’s life?” But things get complicated with Tom — Jane learns that he’s got a secret, one that causes her to see him in a different light.\u003c/p>\n\u003cp>Novels like \u003cem>This Bird Has Flown \u003c/em>succeed or fail on the strength of their protagonists, and Jane is an unforgettable one. She’s refreshingly three-dimensional, aware of her own faults, frustrated over the difficult time she has getting over her ex-boyfriend. She’s self-deprecating, but knows she’s talented; Hoffs never makes her the butt of jokes. The reader sees her as a friend, not an object of pity, which is crucial to the novel’s success.\u003c/p>\n\u003cp>Tom, too, is a fully fleshed character, not the kind of stock love interest that Hugh Grant might have played in a 1990s movie. The relationship between the two is unforced and natural, and their dialogue together never descends into the too-cute-by-half banter that sometimes marks contemporary love stories.\u003c/p>\n\u003cp>[aside postid='arts_13926190']This novel is a comedy, and Hoffs is a tremendously funny author; she writes with an amused gentleness that syncs perfectly with Jane’s frenetic, somewhat anxious personality. And she nails the setting — London and Oxford turn into characters in the story, and Hoffs writes about them with real affection.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This Bird Has Flown\u003c/em> is a love story, a sweet and tender romance, but not just one between Jane and Tom — it’s Hoffs’ valentine to music. (It’s no surprise that she titled the book after a song by her beloved Beatles.) “I’d never yearned for the spotlight, only the music, only to strive to give others what music has unwaveringly given to me,” Jane thinks at one point. “An outpouring of love, of expression, of connection.” That’s just what this novel is, and it’s an absolutely beautiful outpouring.\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=Susanna+Hoffs%27+%27This+Bird+Has+Flown%27+is+a+love+story+%E2%80%94+and+a+valentine+to+music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the novel opens, Jane is preparing for a gig in Las Vegas. She’s not exactly thrilled to be playing a private party, but she chooses to look at the bright side: “The pay tonight would mean a deposit on an apartment, and a few months’ rent, a chance to make another artsy record, even if no one bothered to listen to it. It would matter to me. If I could ever write another song again, that is.”\u003c/p>\n\u003cp>She shows up for the performance “wearing a tiny scrap of fabric posing as a dress, half-hidden beneath my ex-boyfriend’s vintage cardigan, the one possession I’d pinched, for sentimental reasons, when he’d left me for a twenty-three-year-old lingerie model. Two months ago.” Her longtime friend and manager, Pippa, has some bad news for her: She’s only going to play one song (her sole hit) to the audience full of “rowdy frat-bro types,” and it will be accompanied by a karaoke track. And she’s expected to sing in a hot pink wig.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the show, Pippa insists that Jane fly to London with her, a chance to regroup and write some new songs. Pippa ends up unable to make the flight, which turns out to be a bit of kismet — Jane finds herself seated next to an Oxford literature professor named Tom Hardy. The two chat about books and music over the course of the long flight and Jane, unable to resist the handsome academic, impulsively kisses him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jane spends several days in London, pining for the one she thinks might have gotten away, until she finally gets a text message from him, asking her to visit him in Oxford. She does, and the two hit it off — so much so that she essentially moves in with him, accompanying him to events at his university, and befriending some of his colleagues.\u003c/p>\n\u003cp>She also gets some exciting career news: Jonesy, the author of her one hit, wants her to play with him at a special show at Royal Albert Hall. Jane isn’t sure she wants to go through with it; she’s been afflicted with stage fright for most of her career. And she’s growing used to the idea of living with her new eternal flame, far from the spotlight: “Could it be the life I wanted was the one in England, with Tom? To write, record, perform in small venues — a folk singer’s life?” But things get complicated with Tom — Jane learns that he’s got a secret, one that causes her to see him in a different light.\u003c/p>\n\u003cp>Novels like \u003cem>This Bird Has Flown \u003c/em>succeed or fail on the strength of their protagonists, and Jane is an unforgettable one. She’s refreshingly three-dimensional, aware of her own faults, frustrated over the difficult time she has getting over her ex-boyfriend. She’s self-deprecating, but knows she’s talented; Hoffs never makes her the butt of jokes. The reader sees her as a friend, not an object of pity, which is crucial to the novel’s success.\u003c/p>\n\u003cp>Tom, too, is a fully fleshed character, not the kind of stock love interest that Hugh Grant might have played in a 1990s movie. The relationship between the two is unforced and natural, and their dialogue together never descends into the too-cute-by-half banter that sometimes marks contemporary love stories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This novel is a comedy, and Hoffs is a tremendously funny author; she writes with an amused gentleness that syncs perfectly with Jane’s frenetic, somewhat anxious personality. And she nails the setting — London and Oxford turn into characters in the story, and Hoffs writes about them with real affection.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This Bird Has Flown\u003c/em> is a love story, a sweet and tender romance, but not just one between Jane and Tom — it’s Hoffs’ valentine to music. (It’s no surprise that she titled the book after a song by her beloved Beatles.) “I’d never yearned for the spotlight, only the music, only to strive to give others what music has unwaveringly given to me,” Jane thinks at one point. “An outpouring of love, of expression, of connection.” That’s just what this novel is, and it’s an absolutely beautiful outpouring.\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=Susanna+Hoffs%27+%27This+Bird+Has+Flown%27+is+a+love+story+%E2%80%94+and+a+valentine+to+music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "there-are-plenty-of-doomsday-climate-stories-extrapolations-is-about-the-everyday",
"title": "There are Plenty of Doomsday Climate Stories — ‘Extrapolations’ is About the Everyday",
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"content": "\u003cp>In some ways, \u003ca href=\"https://tv.apple.com/us/show/extrapolations/umc.cmc.4uoqxmxlnipm9zsc88bkjyjx4\">\u003cem>Extrapolations\u003c/em>\u003c/a> is typical eco-thriller fare. The Apple TV+ series depicts a planet on the brink of environmental crisis, where ordinary human beings battle increasingly hostile elements, and a villainous tech tycoon seeks to take over the world.\u003c/p>\n\u003cp>Yet in contrast to apocalyptic climate change dramas, like\u003ca href=\"https://www.npr.org/2004/05/28/1915138/questionable-science-behind-the-day-after-tomorrow\"> \u003cem>The Day After Tomorrow\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2014/06/29/326154752/in-snowpiercer-a-never-ending-train-ride-and-a-society-badly-off-track\">\u003cem>Snowpiercer\u003c/em>, \u003c/a>\u003cem>Extrapolations\u003c/em> doesn’t dwell on the End of Days.\u003c/p>\n\u003cp>“We wanted to focus on what we call the ‘messy middle,’” series creator Scott Burns told NPR in an interview. “Because before we get to the end, there’s a lot of life that we’re all gonna have to go through.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TN6oWKPxwx0\u003c/p>\n\u003cp>Despite the barrage of daily news headlines devoted to climate change, there still aren’t many fictional TV shows and movies that deal with the topic. And those that do tend towards disaster, picturing the end of life on Earth as we know it. But \u003cem>Extrapolations\u003c/em> attempts to walk the line between fiction and scientific fact to tell the story of what’s at stake for our planet over the next few decades.\u003c/p>\n\u003ch3>Dramatizing the ‘messy middle’\u003c/h3>\n\u003cp>The messy middle dramatized in \u003cem>Extrapolations\u003c/em> unfolds over roughly three decades starting about 15 years from now. Burns said he wanted to make climate change feel immediate, especially to young people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you are 15 or 16 right now and you watch our show, you’re gonna be alive in 2070 when our show ends,” Burns said.\u003c/p>\n\u003cp>[aside postid='arts_13879441']Burns said much of the show’s sense of immediacy about the near future stems from digging into — and making predictions based on — science. His team drew on the \u003ca href=\"https://www.un.org/en/climatechange/reports?gclid=Cj0KCQjwt_qgBhDFARIsABcDjOcKowrqXgMothLpqDQdMQBek9Xfo8J0tKQi6Hzu2KrFAZU1oDNC6cQaAmLQEALw_wcB\">U.N.’s Intergovernmental Panel on Climate Change reports\u003c/a> and consulted with climate scientists to come up with storylines.\u003c/p>\n\u003cp>In the episode set in the year 2046, for instance, global temperatures have risen to an alarming 1.8 degrees Celsius above pre-industrial levels. Sienna Miller plays a conservationist struggling to save species from going extinct.\u003c/p>\n\u003cp>“Ocean temp is over 90 most days. Krill is gone. Almost. Food column is collapsing,” Miller’s character, Rebecca Shearer, laments.\u003c/p>\n\u003ch3>Putting data on screen\u003c/h3>\n\u003cp>Burns is no stranger to putting climate data on screen. \u003ca href=\"https://www.npr.org/sections/13.7/2016/05/04/476717308/after-10-years-an-inconvenient-truth-is-still-inconvenient\">\u003cem>An Inconvenient Truth\u003c/em>, \u003c/a>the Oscar-winning 2006 documentary he co-produced, is essentially a giant PowerPoint presentation packed with a bunch of statistics about global warming.\u003c/p>\n\u003cp>\u003ca href=\"https://theconversation.com/ten-years-on-how-al-gores-an-inconvenient-truth-made-its-mark-59387\">Studies\u003c/a> demonstrate how \u003cem>An Inconvenient Truth\u003c/em> helped bring climate change into the cultural conversation. But after it came out, Burns found himself asking if there were ways he could harness fiction rooted in science to highlight the problem’s urgency in a more visceral way.\u003c/p>\n\u003cp>[aside postid='arts_13924912']“I think that climate change is different when it’s portrayed on a graph than when it is portrayed in a story with characters who look and feel like the audience,” the producer said.\u003c/p>\n\u003cp>When deciding what story to tell about the climate change future we could face, Burns said he wasn’t interested in depicting worst-case scenarios.\u003c/p>\n\u003cp>“We felt that if we did that the show would be very vulnerable to criticism, that we were just sensationalizing,” he said.\u003c/p>\n\u003ch3>A series grounded in scientific facts\u003c/h3>\n\u003cp>To experts like University of Colorado Boulder environmental studies professor \u003ca href=\"https://www.colorado.edu/envs/maxwell-boykoff\">Max Boykoff\u003c/a>, the predictions in \u003cem>Extrapolations\u003c/em> seem, for the most part, well-grounded in science.\u003c/p>\n\u003cp>“The way in which they talked about forest fires and water scarcity and poor air quality and public health challenges are all the kinds of things that we are writing about,” Boykoff told NPR in an interview.\u003c/p>\n\u003cp>There are some aspects of \u003cem>Extrapolations\u003c/em> that do seem a little far-fetched to the scholar, such as the notion that by 2046, humans would be able to talk to animals in English — among them, a humpback whale voiced by Meryl Streep.\u003c/p>\n\u003cp>[aside postid='arts_13925067']Nevertheless, Boykoff said he’s excited to see a mainstream TV show tackle climate change so credibly.\u003c/p>\n\u003cp>“Few people pick up and read peer-reviewed literature on a daily basis,” Boykoff said. “And so when it comes to climate change, the way in which entertainment media is engaging with it is critically important to helping a global population understand what we’re facing.”\u003c/p>\n\u003cp>That’s why, Boykoff said, in our era of misinformation, it’s crucial for creators to get the science right.\u003c/p>\n\u003ch3>Any climate story is better than no climate story\u003c/h3>\n\u003cp>But other experts say having a firm foundation in science isn’t the most important thing when it comes to telling compelling climate change stories.\u003c/p>\n\u003cp>“I’m less concerned with writers getting it wrong and that being damaging, than I am with us continuing to ignore [climate change] in the worlds of our stories,” said Anna Jane Joyner, the founder and CEO of \u003ca href=\"https://www.goodenergystories.com/\">Good Energy\u003c/a>, a nonprofit that supports movie and TV production in the climate change space with research and connections to experts. The company did consulting work on \u003cem>Extrapolations\u003c/em>. “Even just talking about climate change in your story is more beneficial than not,” Joyner said.\u003c/p>\n\u003cp>A recent \u003ca href=\"https://www.goodenergystories.com/offerings/research\">Good Energy study\u003c/a> revealed that between 2016 and 2020, fewer than three percent of scripted television shows and films even mentioned climate change, let alone had storylines related to the topic.\u003c/p>\n\u003cp>Joyner said she wants this to shift, because she understands how persuasive the types of entertainments can be.\u003c/p>\n\u003cp>[aside postid='arts_13907576']Even over-the-top offerings like \u003cem>The Day After Tomorrow\u003c/em> show how impactful pop culture can be on raising public awareness around climate change, as a \u003ca href=\"https://climatecommunication.yale.edu/wp-content/uploads/2016/02/2004_11_Before-and-after-The-Day-After-Tomorrow.pdf\">2004 study in \u003cem>Environment\u003c/em> journal\u003c/a> focusing on audience responses to that movie showed. The study concluded that, “some commentators had predicted that the film would bring more public attention to the issue of global warming than the publication of most scientific articles, reports, or congressional testimonies, and this prediction appears to have been correct.”\u003c/p>\n\u003cp>Joyner said Good Energy is helping to conduct a similar study around audiences responses to \u003cem>Extrapolations\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/people/493126084/ravenna-koenig\">\u003cem>Ravenna Koenig\u003c/em>\u003c/a>\u003cem>. Web copy edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/348743704/beth-novey\">\u003cem>Beth Novey\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=There+are+plenty+of+doomsday+climate+stories+%E2%80%94+%27Extrapolations%27+is+about+the+everyday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In some ways, \u003ca href=\"https://tv.apple.com/us/show/extrapolations/umc.cmc.4uoqxmxlnipm9zsc88bkjyjx4\">\u003cem>Extrapolations\u003c/em>\u003c/a> is typical eco-thriller fare. The Apple TV+ series depicts a planet on the brink of environmental crisis, where ordinary human beings battle increasingly hostile elements, and a villainous tech tycoon seeks to take over the world.\u003c/p>\n\u003cp>Yet in contrast to apocalyptic climate change dramas, like\u003ca href=\"https://www.npr.org/2004/05/28/1915138/questionable-science-behind-the-day-after-tomorrow\"> \u003cem>The Day After Tomorrow\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2014/06/29/326154752/in-snowpiercer-a-never-ending-train-ride-and-a-society-badly-off-track\">\u003cem>Snowpiercer\u003c/em>, \u003c/a>\u003cem>Extrapolations\u003c/em> doesn’t dwell on the End of Days.\u003c/p>\n\u003cp>“We wanted to focus on what we call the ‘messy middle,’” series creator Scott Burns told NPR in an interview. “Because before we get to the end, there’s a lot of life that we’re all gonna have to go through.”\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/TN6oWKPxwx0'\n title='//www.youtube.com/embed/TN6oWKPxwx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the barrage of daily news headlines devoted to climate change, there still aren’t many fictional TV shows and movies that deal with the topic. And those that do tend towards disaster, picturing the end of life on Earth as we know it. But \u003cem>Extrapolations\u003c/em> attempts to walk the line between fiction and scientific fact to tell the story of what’s at stake for our planet over the next few decades.\u003c/p>\n\u003ch3>Dramatizing the ‘messy middle’\u003c/h3>\n\u003cp>The messy middle dramatized in \u003cem>Extrapolations\u003c/em> unfolds over roughly three decades starting about 15 years from now. Burns said he wanted to make climate change feel immediate, especially to young people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Burns said much of the show’s sense of immediacy about the near future stems from digging into — and making predictions based on — science. His team drew on the \u003ca href=\"https://www.un.org/en/climatechange/reports?gclid=Cj0KCQjwt_qgBhDFARIsABcDjOcKowrqXgMothLpqDQdMQBek9Xfo8J0tKQi6Hzu2KrFAZU1oDNC6cQaAmLQEALw_wcB\">U.N.’s Intergovernmental Panel on Climate Change reports\u003c/a> and consulted with climate scientists to come up with storylines.\u003c/p>\n\u003cp>In the episode set in the year 2046, for instance, global temperatures have risen to an alarming 1.8 degrees Celsius above pre-industrial levels. Sienna Miller plays a conservationist struggling to save species from going extinct.\u003c/p>\n\u003cp>“Ocean temp is over 90 most days. Krill is gone. Almost. Food column is collapsing,” Miller’s character, Rebecca Shearer, laments.\u003c/p>\n\u003ch3>Putting data on screen\u003c/h3>\n\u003cp>Burns is no stranger to putting climate data on screen. \u003ca href=\"https://www.npr.org/sections/13.7/2016/05/04/476717308/after-10-years-an-inconvenient-truth-is-still-inconvenient\">\u003cem>An Inconvenient Truth\u003c/em>, \u003c/a>the Oscar-winning 2006 documentary he co-produced, is essentially a giant PowerPoint presentation packed with a bunch of statistics about global warming.\u003c/p>\n\u003cp>\u003ca href=\"https://theconversation.com/ten-years-on-how-al-gores-an-inconvenient-truth-made-its-mark-59387\">Studies\u003c/a> demonstrate how \u003cem>An Inconvenient Truth\u003c/em> helped bring climate change into the cultural conversation. But after it came out, Burns found himself asking if there were ways he could harness fiction rooted in science to highlight the problem’s urgency in a more visceral way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think that climate change is different when it’s portrayed on a graph than when it is portrayed in a story with characters who look and feel like the audience,” the producer said.\u003c/p>\n\u003cp>When deciding what story to tell about the climate change future we could face, Burns said he wasn’t interested in depicting worst-case scenarios.\u003c/p>\n\u003cp>“We felt that if we did that the show would be very vulnerable to criticism, that we were just sensationalizing,” he said.\u003c/p>\n\u003ch3>A series grounded in scientific facts\u003c/h3>\n\u003cp>To experts like University of Colorado Boulder environmental studies professor \u003ca href=\"https://www.colorado.edu/envs/maxwell-boykoff\">Max Boykoff\u003c/a>, the predictions in \u003cem>Extrapolations\u003c/em> seem, for the most part, well-grounded in science.\u003c/p>\n\u003cp>“The way in which they talked about forest fires and water scarcity and poor air quality and public health challenges are all the kinds of things that we are writing about,” Boykoff told NPR in an interview.\u003c/p>\n\u003cp>There are some aspects of \u003cem>Extrapolations\u003c/em> that do seem a little far-fetched to the scholar, such as the notion that by 2046, humans would be able to talk to animals in English — among them, a humpback whale voiced by Meryl Streep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nevertheless, Boykoff said he’s excited to see a mainstream TV show tackle climate change so credibly.\u003c/p>\n\u003cp>“Few people pick up and read peer-reviewed literature on a daily basis,” Boykoff said. “And so when it comes to climate change, the way in which entertainment media is engaging with it is critically important to helping a global population understand what we’re facing.”\u003c/p>\n\u003cp>That’s why, Boykoff said, in our era of misinformation, it’s crucial for creators to get the science right.\u003c/p>\n\u003ch3>Any climate story is better than no climate story\u003c/h3>\n\u003cp>But other experts say having a firm foundation in science isn’t the most important thing when it comes to telling compelling climate change stories.\u003c/p>\n\u003cp>“I’m less concerned with writers getting it wrong and that being damaging, than I am with us continuing to ignore [climate change] in the worlds of our stories,” said Anna Jane Joyner, the founder and CEO of \u003ca href=\"https://www.goodenergystories.com/\">Good Energy\u003c/a>, a nonprofit that supports movie and TV production in the climate change space with research and connections to experts. The company did consulting work on \u003cem>Extrapolations\u003c/em>. “Even just talking about climate change in your story is more beneficial than not,” Joyner said.\u003c/p>\n\u003cp>A recent \u003ca href=\"https://www.goodenergystories.com/offerings/research\">Good Energy study\u003c/a> revealed that between 2016 and 2020, fewer than three percent of scripted television shows and films even mentioned climate change, let alone had storylines related to the topic.\u003c/p>\n\u003cp>Joyner said she wants this to shift, because she understands how persuasive the types of entertainments can be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even over-the-top offerings like \u003cem>The Day After Tomorrow\u003c/em> show how impactful pop culture can be on raising public awareness around climate change, as a \u003ca href=\"https://climatecommunication.yale.edu/wp-content/uploads/2016/02/2004_11_Before-and-after-The-Day-After-Tomorrow.pdf\">2004 study in \u003cem>Environment\u003c/em> journal\u003c/a> focusing on audience responses to that movie showed. The study concluded that, “some commentators had predicted that the film would bring more public attention to the issue of global warming than the publication of most scientific articles, reports, or congressional testimonies, and this prediction appears to have been correct.”\u003c/p>\n\u003cp>Joyner said Good Energy is helping to conduct a similar study around audiences responses to \u003cem>Extrapolations\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/881642560/ciera-crawford\">\u003cem>Ciera Crawford\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/people/493126084/ravenna-koenig\">\u003cem>Ravenna Koenig\u003c/em>\u003c/a>\u003cem>. Web copy edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/348743704/beth-novey\">\u003cem>Beth Novey\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=There+are+plenty+of+doomsday+climate+stories+%E2%80%94+%27Extrapolations%27+is+about+the+everyday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How a Hand Gesture Dominated a NCAA Title Game and Revealed a Double Standard",
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"content": "\u003cp>Louisiana State University beat the University of Iowa in the women’s NCAA tournament final on Sunday in a matchup full of \u003ca href=\"https://www.npr.org/2023/04/02/1167668881/lsu-iowa-ncaa-basketball\">historic firsts\u003c/a> and dramatic moments.\u003c/p>\n\u003cp>One of the most-talked about moves happened late in the game and involved two star players, John Cena’s wrestling catchphrase and a social media frenzy.\u003c/p>\n\u003cp>Here’s what happened: LSU forward Angel Reese celebrated the Tigers’ fourth-quarter lead (and imminent victory) by waving one hand in front of her face — a gesture popularized by the wrestler as “You Can’t See Me” — and tapping her ring finger while looking pointedly at Iowa Hawkeyes guard Caitlin Clark.\u003c/p>\n\u003cp>https://twitter.com/espn/status/1642650038886170624\u003c/p>\n\u003cp>The moment quickly went viral, with commentators and observers criticizing Reese for what they perceived as unsportsmanlike taunting of Clark. The word “classless” even \u003ca href=\"https://twitter.com/search?q=classless&src=typed_query\">trended on Twitter\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reese is Black and Clark is white.\u003c/p>\n\u003cp>Both players have been standouts at this year’s March Madness: Reese, 20, was named \u003ca href=\"https://www.espn.com/womens-college-basketball/story/_/id/36048786/content-not-fit-narrative-lsu-reese-last-laugh\">Most Outstanding Player\u003c/a> on Sunday, while 21-year-old Clark — who had already been named 2023 Player of the Year by \u003ca href=\"https://www.kcrg.com/2023/03/31/caitlin-clark-wins-another-national-player-year-award/\">several associations\u003c/a> — \u003ca href=\"https://www.ncaa.com/news/basketball-women/article/2023-04-01/caitlin-clarks-record-breaking-ncaa-tournament-run-numbers\">broke multiple records\u003c/a> at the tournament. She finished with 191 points, the most ever scored by any man or woman in a single NCAA tournament.\u003c/p>\n\u003cp>And both players have used the same gesture at this year’s March Madness: Clark waved a hand in front of her face two games earlier when Iowa beat Louisville to enter the Final Four.\u003c/p>\n\u003cp>But she didn’t get criticism for it. In fact, she earned praise, including \u003ca href=\"https://twitter.com/JohnCena/status/1640774822626992139?s=20\">from Cena himself\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/JohnCena/status/1640774822626992139\u003c/p>\n\u003cp>After Reese faced backlash for returning the gesture, many people, including professional athletes, took to Twitter to point out the racist double standard.\u003c/p>\n\u003cp>[aside postid='arts_13919506']And this is far from the only time that’s happened, \u003cem>Washington Post\u003c/em> sports columnist and ESPN panelist Kevin Blackistone \u003ca href=\"https://www.npr.org/2023/04/03/1167683199/lsu-is-the-womens-ncaa-basketball-champion-mens-winner-decided-tonight\">told \u003cem>Morning Edition\u003c/em> on Monday\u003c/a>.\u003c/p>\n\u003cp>For example: Jack Johnson, who became the \u003ca href=\"https://www.britannica.com/biography/Jack-Johnson\">first Black heavyweight boxing champion\u003c/a> early in the 20th century, was called cowardly for the same defensive style of boxing that earned white fighters praise for using their guile. Blackistone later \u003ca href=\"https://twitter.com/ProfBlackistone/status/1642847805080322049/photo/1\">tweeted that\u003c/a> NFL halfback Joe Lilliard was “a standout in the league in the early 1930s and just as cantankerous as many white players back then, but was castigated for being so.”\u003c/p>\n\u003cp>“We’ve been conditioned into judging similar, if not the same, behavior by white athletes and Black athletes differently,” Blackistone told \u003cem>Morning Edition\u003c/em>. “And this was another anecdote to go along with that qualitative evidence.”\u003c/p>\n\u003cp>https://twitter.com/RGIII/status/1642652287154761728\u003c/p>\n\u003ch3>Where does the gesture come from?\u003c/h3>\n\u003cp>Cena has been doing the “You Can’t See Me” move since he brought it to the WWE in \u003ca href=\"https://youtu.be/lHm6mgOMyEE\">the early 2000s\u003c/a>, waving an open hand across his face to suggest he’s too fast for his opponents to see him coming.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lHm6mgOMyEE\u003c/p>\n\u003cp>It was also the title of Cena’s 2005 \u003ca href=\"https://www.sbnation.com/wrestling/2014/8/8/5792278/listening-to-john-cenas-rap-album-in-the-year-2014\">debut rap album\u003c/a>, which included “The Time is Now,” his now-iconic \u003ca href=\"https://www.youtube.com/watch?v=svjMiqVeiG8\">entrance song\u003c/a>.\u003c/p>\n\u003cp>Cena may have popularized the gesture, but he didn’t create it from scratch. He publicly credits rapper and G-Unit member Tony Yayo with doing it first, in his 2005 \u003ca href=\"https://www.youtube.com/watch?v=wqEncKFd7M8\">“So Seductive” music video\u003c/a> with 50 Cent.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wqEncKFd7M8&t=91s\u003c/p>\n\u003cp>How did it get into Cena’s hands? He’s brought that story to several talk show stages in recent years.\u003c/p>\n\u003cp>He \u003ca href=\"https://youtu.be/__gMSsaGNA0?t=70\">told Jimmy Fallon\u003c/a> last year that when he was working on his 2005 album, his younger brother Sean was “always our litmus test” and never satisfied with any of the songs. But when Sean heard “The Time is Now,” he says, he offered a seal of approval in the form of Tony Yayo’s move — bobbing his head in front of his open hand.\u003c/p>\n\u003cp>Cena remembers saying he’d do it on TV — and his brother daring him.\u003c/p>\n\u003cp>“So basically, on a dare, by absolute chance, I went out there and I figured this wasn’t visible enough,” he says, demonstrating the head nod versus the hand wave. “So I wanted to do \u003cem>this\u003c/em>, and the term ‘you can’t see me’ is like, ‘Well, you’re not even on my level.’”\u003c/p>\n\u003cp>The catchphrase has morphed into an \u003ca href=\"https://knowyourmeme.com/memes/you-cant-see-me\">even bigger meme\u003c/a> in the years since, with people joking now that they literally cannot see Cena. (He correctly predicted on \u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> that those quips would flood the YouTube video’s comment section.)\u003c/p>\n\u003ch3>What have the players said?\u003c/h3>\n\u003cp>Both players have already commented publicly on Sunday night’s controversy.\u003c/p>\n\u003cp>[aside postid='arts_13916840']Immediately after the game, Reese \u003ca href=\"https://twitter.com/SportsCenter/status/1642672182873473027?s=20\">told ESPN\u003c/a> that she had been eager to whip out the move, saying “Caitlin Clark is a hell of a player for sure, but I don’t take disrespect lightly.”\u003c/p>\n\u003cp>Reese accused Clark of disrespecting members of her team as well as South Carolina players at \u003ca href=\"https://twitter.com/DimeUPROXX/status/1641984841460637697\">a previous game\u003c/a>. Her LSU teammate Alexis Morris had \u003ca href=\"https://www.espn.com/womens-college-basketball/story/_/id/36031086/lsu-punish-iowa-disrespectful-defense\">already criticized the Hawkeyes’ defense\u003c/a>, saying she found the way they guarded South Carolina “disrespectful” and vowing to “take it personally” going into the final.\u003c/p>\n\u003cp>“I wanted to pick her pocket,” Reese added. “But I had a moment at the end of the game … I was just in my bag, in my moment.”\u003c/p>\n\u003cp>Reese later doubled down in \u003ca href=\"https://twitter.com/Reese10Angel/status/1642686677738205184?s=20\">unapologetic tweets\u003c/a> and comments at a postgame press conference, where she said she had faced personal attacks all year for not fitting the narrative.\u003c/p>\n\u003cp>“I don’t fit in the box that you all want me to be in. I’m too hood, I’m too ghetto. You told me that all year. But when other people do it, y’all don’t say nothing,” Reese said. “So this is for the girls that look like me, that want to speak up on what they believe in. It’s unapologetically you. It was bigger than me tonight.”\u003c/p>\n\u003cp>She noted that Twitter will always “go in a rage,” but she feels happy for all that she’s done to help grow women’s basketball this year.\u003c/p>\n\u003cp>https://twitter.com/sportingnews/status/1642671282767507456\u003c/p>\n\u003cp>Clark \u003ca href=\"https://twitter.com/nick_rothschild/status/1642664982172295170?s=20\">said at a postgame briefing\u003c/a> that she had “no idea” that Reese was taunting her, adding that she was “just trying to get to the handshake line and shake hands and be grateful that my team was in that position.”\u003c/p>\n\u003cp>“I was just trying to spend the last few moments on the court with especially the five people that I’ve started 93 games with, and relishing every second of that,” Clark added.\u003c/p>\n\u003cp>Iowa head coach Lisa Bluder said at that same conference that “we’re all different people and we all have different ways to show our emotions,” adding she could only focus on what she can control.\u003c/p>\n\u003ch3>What are others saying?\u003c/h3>\n\u003cp>Many \u003ca href=\"https://twitter.com/EmmanuelAcho/status/1642651280211603456?s=20\">athletes\u003c/a>, \u003ca href=\"https://twitter.com/PeterBurnsESPN/status/1642650651439034373?s=20\">commentators\u003c/a> and fans are calling out the people who have criticized Reese, questioning why they didn’t take issue with the gesture when Clark did it.\u003c/p>\n\u003cp>[aside postid='arts_13910698']“If you didn’t say it was classless when Caitlin Clark did it to her opponents then don’t say it about Angel Reese either,” \u003ca href=\"https://twitter.com/RGIII/status/1642655304180531201?s=20\">tweeted former Baylor quarterback\u003c/a> and Heisman winner Robert Lee Griffin III.\u003c/p>\n\u003cp>Retired NBA player \u003ca href=\"https://twitter.com/etanthomas36/status/1642656571061678080?s=20\">Etan Thomas\u003c/a> called people out for finding it “cute” when Clark did it. “So don’t be all outraged and talking about class and sportsmanship when Angel Reese does the same thing.”\u003c/p>\n\u003cp>Others encouraged people who had that reaction to interrogate the bias behind it.\u003c/p>\n\u003cp>“If you celebrated Clark for doing this but not Angel Reese you gotta take a long, long look in the mirror,” tweeted \u003cem>The Athletic \u003c/em>writer \u003ca href=\"https://twitter.com/itsmeglinehan/status/1642663520830464008?s=20\">Meg Linehan\u003c/a>.\u003c/p>\n\u003cp>And others still urged people to move away from the conversation and, as one women’s basketball \u003ca href=\"https://twitter.com/WBBWorldWide/status/1642655683010076672?s=20\">fan account\u003c/a> put it, “let these women trash talk!”\u003c/p>\n\u003cp>Sports journalist Holly Rowe \u003ca href=\"https://twitter.com/sportsiren/status/1642662230708609024?s=20\">called on people\u003c/a> to stop bashing the players, no matter whose side they took.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Unapologetically confident young women should be celebrated NOT hated,” she added. “Get used to it.”\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=How+a+hand+gesture+dominated+a+NCAA+title+game+and+revealed+a+double+standard+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Louisiana State University beat the University of Iowa in the women’s NCAA tournament final on Sunday in a matchup full of \u003ca href=\"https://www.npr.org/2023/04/02/1167668881/lsu-iowa-ncaa-basketball\">historic firsts\u003c/a> and dramatic moments.\u003c/p>\n\u003cp>One of the most-talked about moves happened late in the game and involved two star players, John Cena’s wrestling catchphrase and a social media frenzy.\u003c/p>\n\u003cp>Here’s what happened: LSU forward Angel Reese celebrated the Tigers’ fourth-quarter lead (and imminent victory) by waving one hand in front of her face — a gesture popularized by the wrestler as “You Can’t See Me” — and tapping her ring finger while looking pointedly at Iowa Hawkeyes guard Caitlin Clark.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The moment quickly went viral, with commentators and observers criticizing Reese for what they perceived as unsportsmanlike taunting of Clark. The word “classless” even \u003ca href=\"https://twitter.com/search?q=classless&src=typed_query\">trended on Twitter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reese is Black and Clark is white.\u003c/p>\n\u003cp>Both players have been standouts at this year’s March Madness: Reese, 20, was named \u003ca href=\"https://www.espn.com/womens-college-basketball/story/_/id/36048786/content-not-fit-narrative-lsu-reese-last-laugh\">Most Outstanding Player\u003c/a> on Sunday, while 21-year-old Clark — who had already been named 2023 Player of the Year by \u003ca href=\"https://www.kcrg.com/2023/03/31/caitlin-clark-wins-another-national-player-year-award/\">several associations\u003c/a> — \u003ca href=\"https://www.ncaa.com/news/basketball-women/article/2023-04-01/caitlin-clarks-record-breaking-ncaa-tournament-run-numbers\">broke multiple records\u003c/a> at the tournament. She finished with 191 points, the most ever scored by any man or woman in a single NCAA tournament.\u003c/p>\n\u003cp>And both players have used the same gesture at this year’s March Madness: Clark waved a hand in front of her face two games earlier when Iowa beat Louisville to enter the Final Four.\u003c/p>\n\u003cp>But she didn’t get criticism for it. In fact, she earned praise, including \u003ca href=\"https://twitter.com/JohnCena/status/1640774822626992139?s=20\">from Cena himself\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After Reese faced backlash for returning the gesture, many people, including professional athletes, took to Twitter to point out the racist double standard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And this is far from the only time that’s happened, \u003cem>Washington Post\u003c/em> sports columnist and ESPN panelist Kevin Blackistone \u003ca href=\"https://www.npr.org/2023/04/03/1167683199/lsu-is-the-womens-ncaa-basketball-champion-mens-winner-decided-tonight\">told \u003cem>Morning Edition\u003c/em> on Monday\u003c/a>.\u003c/p>\n\u003cp>For example: Jack Johnson, who became the \u003ca href=\"https://www.britannica.com/biography/Jack-Johnson\">first Black heavyweight boxing champion\u003c/a> early in the 20th century, was called cowardly for the same defensive style of boxing that earned white fighters praise for using their guile. Blackistone later \u003ca href=\"https://twitter.com/ProfBlackistone/status/1642847805080322049/photo/1\">tweeted that\u003c/a> NFL halfback Joe Lilliard was “a standout in the league in the early 1930s and just as cantankerous as many white players back then, but was castigated for being so.”\u003c/p>\n\u003cp>“We’ve been conditioned into judging similar, if not the same, behavior by white athletes and Black athletes differently,” Blackistone told \u003cem>Morning Edition\u003c/em>. “And this was another anecdote to go along with that qualitative evidence.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Where does the gesture come from?\u003c/h3>\n\u003cp>Cena has been doing the “You Can’t See Me” move since he brought it to the WWE in \u003ca href=\"https://youtu.be/lHm6mgOMyEE\">the early 2000s\u003c/a>, waving an open hand across his face to suggest he’s too fast for his opponents to see him coming.\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/lHm6mgOMyEE'\n title='//www.youtube.com/embed/lHm6mgOMyEE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was also the title of Cena’s 2005 \u003ca href=\"https://www.sbnation.com/wrestling/2014/8/8/5792278/listening-to-john-cenas-rap-album-in-the-year-2014\">debut rap album\u003c/a>, which included “The Time is Now,” his now-iconic \u003ca href=\"https://www.youtube.com/watch?v=svjMiqVeiG8\">entrance song\u003c/a>.\u003c/p>\n\u003cp>Cena may have popularized the gesture, but he didn’t create it from scratch. He publicly credits rapper and G-Unit member Tony Yayo with doing it first, in his 2005 \u003ca href=\"https://www.youtube.com/watch?v=wqEncKFd7M8\">“So Seductive” music video\u003c/a> with 50 Cent.\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/wqEncKFd7M8'\n title='//www.youtube.com/embed/wqEncKFd7M8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How did it get into Cena’s hands? He’s brought that story to several talk show stages in recent years.\u003c/p>\n\u003cp>He \u003ca href=\"https://youtu.be/__gMSsaGNA0?t=70\">told Jimmy Fallon\u003c/a> last year that when he was working on his 2005 album, his younger brother Sean was “always our litmus test” and never satisfied with any of the songs. But when Sean heard “The Time is Now,” he says, he offered a seal of approval in the form of Tony Yayo’s move — bobbing his head in front of his open hand.\u003c/p>\n\u003cp>Cena remembers saying he’d do it on TV — and his brother daring him.\u003c/p>\n\u003cp>“So basically, on a dare, by absolute chance, I went out there and I figured this wasn’t visible enough,” he says, demonstrating the head nod versus the hand wave. “So I wanted to do \u003cem>this\u003c/em>, and the term ‘you can’t see me’ is like, ‘Well, you’re not even on my level.’”\u003c/p>\n\u003cp>The catchphrase has morphed into an \u003ca href=\"https://knowyourmeme.com/memes/you-cant-see-me\">even bigger meme\u003c/a> in the years since, with people joking now that they literally cannot see Cena. (He correctly predicted on \u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> that those quips would flood the YouTube video’s comment section.)\u003c/p>\n\u003ch3>What have the players said?\u003c/h3>\n\u003cp>Both players have already commented publicly on Sunday night’s controversy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Immediately after the game, Reese \u003ca href=\"https://twitter.com/SportsCenter/status/1642672182873473027?s=20\">told ESPN\u003c/a> that she had been eager to whip out the move, saying “Caitlin Clark is a hell of a player for sure, but I don’t take disrespect lightly.”\u003c/p>\n\u003cp>Reese accused Clark of disrespecting members of her team as well as South Carolina players at \u003ca href=\"https://twitter.com/DimeUPROXX/status/1641984841460637697\">a previous game\u003c/a>. Her LSU teammate Alexis Morris had \u003ca href=\"https://www.espn.com/womens-college-basketball/story/_/id/36031086/lsu-punish-iowa-disrespectful-defense\">already criticized the Hawkeyes’ defense\u003c/a>, saying she found the way they guarded South Carolina “disrespectful” and vowing to “take it personally” going into the final.\u003c/p>\n\u003cp>“I wanted to pick her pocket,” Reese added. “But I had a moment at the end of the game … I was just in my bag, in my moment.”\u003c/p>\n\u003cp>Reese later doubled down in \u003ca href=\"https://twitter.com/Reese10Angel/status/1642686677738205184?s=20\">unapologetic tweets\u003c/a> and comments at a postgame press conference, where she said she had faced personal attacks all year for not fitting the narrative.\u003c/p>\n\u003cp>“I don’t fit in the box that you all want me to be in. I’m too hood, I’m too ghetto. You told me that all year. But when other people do it, y’all don’t say nothing,” Reese said. “So this is for the girls that look like me, that want to speak up on what they believe in. It’s unapologetically you. It was bigger than me tonight.”\u003c/p>\n\u003cp>She noted that Twitter will always “go in a rage,” but she feels happy for all that she’s done to help grow women’s basketball this year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Clark \u003ca href=\"https://twitter.com/nick_rothschild/status/1642664982172295170?s=20\">said at a postgame briefing\u003c/a> that she had “no idea” that Reese was taunting her, adding that she was “just trying to get to the handshake line and shake hands and be grateful that my team was in that position.”\u003c/p>\n\u003cp>“I was just trying to spend the last few moments on the court with especially the five people that I’ve started 93 games with, and relishing every second of that,” Clark added.\u003c/p>\n\u003cp>Iowa head coach Lisa Bluder said at that same conference that “we’re all different people and we all have different ways to show our emotions,” adding she could only focus on what she can control.\u003c/p>\n\u003ch3>What are others saying?\u003c/h3>\n\u003cp>Many \u003ca href=\"https://twitter.com/EmmanuelAcho/status/1642651280211603456?s=20\">athletes\u003c/a>, \u003ca href=\"https://twitter.com/PeterBurnsESPN/status/1642650651439034373?s=20\">commentators\u003c/a> and fans are calling out the people who have criticized Reese, questioning why they didn’t take issue with the gesture when Clark did it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“If you didn’t say it was classless when Caitlin Clark did it to her opponents then don’t say it about Angel Reese either,” \u003ca href=\"https://twitter.com/RGIII/status/1642655304180531201?s=20\">tweeted former Baylor quarterback\u003c/a> and Heisman winner Robert Lee Griffin III.\u003c/p>\n\u003cp>Retired NBA player \u003ca href=\"https://twitter.com/etanthomas36/status/1642656571061678080?s=20\">Etan Thomas\u003c/a> called people out for finding it “cute” when Clark did it. “So don’t be all outraged and talking about class and sportsmanship when Angel Reese does the same thing.”\u003c/p>\n\u003cp>Others encouraged people who had that reaction to interrogate the bias behind it.\u003c/p>\n\u003cp>“If you celebrated Clark for doing this but not Angel Reese you gotta take a long, long look in the mirror,” tweeted \u003cem>The Athletic \u003c/em>writer \u003ca href=\"https://twitter.com/itsmeglinehan/status/1642663520830464008?s=20\">Meg Linehan\u003c/a>.\u003c/p>\n\u003cp>And others still urged people to move away from the conversation and, as one women’s basketball \u003ca href=\"https://twitter.com/WBBWorldWide/status/1642655683010076672?s=20\">fan account\u003c/a> put it, “let these women trash talk!”\u003c/p>\n\u003cp>Sports journalist Holly Rowe \u003ca href=\"https://twitter.com/sportsiren/status/1642662230708609024?s=20\">called on people\u003c/a> to stop bashing the players, no matter whose side they took.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Unapologetically confident young women should be celebrated NOT hated,” she added. “Get used to it.”\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=How+a+hand+gesture+dominated+a+NCAA+title+game+and+revealed+a+double+standard+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Big Door Prize’ Asks: How Would You Live if You Knew Your Life’s Potential?",
"headTitle": "‘The Big Door Prize’ Asks: How Would You Live if You Knew Your Life’s Potential? | KQED",
"content": "\u003cp>The premise, at least, comes straight out of \u003cem>The Twilight Zone\u003c/em>.\u003c/p>\n\u003cp>In the small town of Deerfield, a mysterious machine appears one day in the general store. Sit inside its booth, which surrounds you with an eerie blue glow, and the apparatus dispenses a card that reveals your life’s potential.\u003c/p>\n\u003cp>[aside postid='pop_109055']And if AppleTV+’s \u003cem>The Big Door Prize \u003c/em>was in fact a \u003cem>Twilight Zone\u003c/em> episode, or for that matter a Stephen King novel, you’d know what to expect next: A moralistic tale that posits a vision of humanity as venal, petty and grasping. The machine’s presence would tear the town’s families apart, sunder friendships and stoke seething resentments that would soon bubble over into inevitable violence, because these pathetic townsfolk refused to content themselves with their sad little lots in life. The sinister (possibly infernal?) machine exposed their empty, meaningless lives, and mocked them for daring to imagine an existence other than the one they were stuck with. Stupid hicks. With their \u003cem>dreams\u003c/em>.\u003c/p>\n\u003cp>Thankfully \u003cem>The Big Door Prize\u003c/em> isn’t interested in that particular tidy, condescending formula.\u003c/p>\n\u003cp>Writer/creator David West Read’s previous gig was \u003ca href=\"https://www.npr.org/2020/04/07/828866063/the-schitt-s-creek-finale-gave-david-a-happy-ending\">\u003cem>Schitt’s Creek\u003c/em>,\u003c/a> which gives you a clearer sense of what to expect. On that series, the main characters’ big-city hauteur eventually melted away to an abiding (if often grudging) appreciation for life in a small town. In \u003cem>The Big Door Prize\u003c/em>, Read has taken \u003ca href=\"https://www.penguinrandomhouse.com/books/563865/the-big-door-prize-by-mo-walsh/\">M.O. Walsh’s 2020 novel \u003c/a>of the same name and washed it in the gentle waters of the \u003cem>Creek\u003c/em>, dialing back the book’s darker themes for a more nuanced and generous take on the people who make Deerfield their home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Said townsfolk are, it will not shock you to learn, quirky.\u003c/p>\n\u003cp>Because this is TV, and that’s the law.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mu-KfLd-d9U\u003c/p>\n\u003ch3>Make it quirk\u003c/h3>\n\u003cp>But it’s not quite so simple: A series like\u003ca href=\"https://www.npr.org/2016/11/25/503157421/gilmore-girls-returns-on-netflix-just-in-time-for-a-holiday-binge\"> \u003cem>Gilmore Girls\u003c/em>\u003c/a> called upon the wacky residents of its impossibly bucolic setting only infrequently, and only then to dutifully manifest their characteristic oddness in a quick scene or two per episode, before sinking back into the whimsical, undifferentiated background. But \u003cem>The Big Door Prize\u003c/em> features a true ensemble cast of characters, many of whom become the focus of individual episodes.\u003c/p>\n\u003cp>This ensemble is led by a magnificent Chris O’Dowd, who stars as Dusty, a preternaturally affable teacher at the local high school. O’Dowd is leaning hard into the character’s hapless-goofy-Dad charm, here, and it proves impossible to resist. He gives Dusty, who at first seems perfectly content with his life, a winsome, searching quality that intensifies over the course of the season; he knows himself, but wonders, wryly, if there’s more to know. As his wife Cass, Gabrielle Dennis strikes similar but complementary notes; she’s also grounded and happy, yet the card she receives from the machine leaves her pondering her future — idly at first, then much, much less so.\u003c/p>\n\u003cp>[aside postid='arts_13926947']The couple’s teenage daughter Trina (Djouliet Amara) is still reeling from a recent tragedy, but finds a fraught kind of comfort with Jacob (Sammy Fourlas); both actors invest their characters with intelligence and wit that keep them from coming across as the kind of sulky, underdrawn teens that populate the CW.\u003c/p>\n\u003cp>Again and again, characters that could have been thinly drawn yet still funny — Izzy, the town’s narcissistic mayor (Crystal Fox), Beau, Jacob’s macho father (Aaron Roman Weiner) and bluff restaurant owner Giorgio (Josh Segarra, great as always) — are given the time and attention to surprise us with layers of emotion and absurdity that make them rounded and real.\u003c/p>\n\u003cp>At some point early in the season — it was somewhere around the wedding episode, which features a character performing a wildly ill-considered dance number, and the townsfolk reacting to it — I realized I’d gone from laughing at these characters to laughing with them.\u003c/p>\n\u003ch3>Beyond the \u003cem>Zone\u003c/em>\u003c/h3>\n\u003cp>Given the cynicism of its premise — small towners get shown their true potential — it’s only natural to expect that \u003cem>The Big Door Prize\u003c/em> would seek to speak to, and reassure, our most cynical selves. And I suppose it could be read as a cautionary tale about what happens when we place too much faith in technology, even if said technology is mysterious and possibly supernatural.\u003c/p>\n\u003cp>[aside postid='arts_13926773']But in showing characters attempting to shake themselves out of their unexamined lives, \u003cem>The Big Door Prize\u003c/em> never contents itself with ridiculing their previous complacency. Instead, it spends its time (and thus, our time) delighting in their newfound curiosity and drive, their willingness, their openness, their sense of purpose.\u003c/p>\n\u003cp>What makes us most human, it seems to say, isn’t our pettiness, our greed, our self-satisfaction, or any other moral failing that Rod Serling would step out from behind some shrubbery to lecture us about at the end of a \u003cem>Twilight Zone\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Big Door Prize \u003c/em>instead suggests that it’s the act of striving for something — not necessarily for something better, or something more. Just … for \u003cem>something\u003c/em>. It makes a strong case that we are at our best, our most human selves, when we allow ourselves, finally, simply, to try.\u003c/p>\n\u003cp>\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=%27The+Big+Door+Prize%27+asks%3A+How+would+you+live+if+you+knew+your+life%27s+potential%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\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>‘The Big Door Prize’ premieres on Apple TV+ on March 29, 2023. \u003ca href=\"https://tv.apple.com/us/show/the-big-door-prize/umc.cmc.2rjxcljdjz4h47vjdxnytcn23?mttn3pid=Google%20AdWords&mttnagencyid=a5e&mttncc=US&mttnsiteid=143238&mttnsubad=OUS20191000_1-652823703969-c&mttnsubkw=147103945855__vcrindm5_\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And if AppleTV+’s \u003cem>The Big Door Prize \u003c/em>was in fact a \u003cem>Twilight Zone\u003c/em> episode, or for that matter a Stephen King novel, you’d know what to expect next: A moralistic tale that posits a vision of humanity as venal, petty and grasping. The machine’s presence would tear the town’s families apart, sunder friendships and stoke seething resentments that would soon bubble over into inevitable violence, because these pathetic townsfolk refused to content themselves with their sad little lots in life. The sinister (possibly infernal?) machine exposed their empty, meaningless lives, and mocked them for daring to imagine an existence other than the one they were stuck with. Stupid hicks. With their \u003cem>dreams\u003c/em>.\u003c/p>\n\u003cp>Thankfully \u003cem>The Big Door Prize\u003c/em> isn’t interested in that particular tidy, condescending formula.\u003c/p>\n\u003cp>Writer/creator David West Read’s previous gig was \u003ca href=\"https://www.npr.org/2020/04/07/828866063/the-schitt-s-creek-finale-gave-david-a-happy-ending\">\u003cem>Schitt’s Creek\u003c/em>,\u003c/a> which gives you a clearer sense of what to expect. On that series, the main characters’ big-city hauteur eventually melted away to an abiding (if often grudging) appreciation for life in a small town. In \u003cem>The Big Door Prize\u003c/em>, Read has taken \u003ca href=\"https://www.penguinrandomhouse.com/books/563865/the-big-door-prize-by-mo-walsh/\">M.O. Walsh’s 2020 novel \u003c/a>of the same name and washed it in the gentle waters of the \u003cem>Creek\u003c/em>, dialing back the book’s darker themes for a more nuanced and generous take on the people who make Deerfield their home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Said townsfolk are, it will not shock you to learn, quirky.\u003c/p>\n\u003cp>Because this is TV, and that’s the law.\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/Mu-KfLd-d9U'\n title='//www.youtube.com/embed/Mu-KfLd-d9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Make it quirk\u003c/h3>\n\u003cp>But it’s not quite so simple: A series like\u003ca href=\"https://www.npr.org/2016/11/25/503157421/gilmore-girls-returns-on-netflix-just-in-time-for-a-holiday-binge\"> \u003cem>Gilmore Girls\u003c/em>\u003c/a> called upon the wacky residents of its impossibly bucolic setting only infrequently, and only then to dutifully manifest their characteristic oddness in a quick scene or two per episode, before sinking back into the whimsical, undifferentiated background. But \u003cem>The Big Door Prize\u003c/em> features a true ensemble cast of characters, many of whom become the focus of individual episodes.\u003c/p>\n\u003cp>This ensemble is led by a magnificent Chris O’Dowd, who stars as Dusty, a preternaturally affable teacher at the local high school. O’Dowd is leaning hard into the character’s hapless-goofy-Dad charm, here, and it proves impossible to resist. He gives Dusty, who at first seems perfectly content with his life, a winsome, searching quality that intensifies over the course of the season; he knows himself, but wonders, wryly, if there’s more to know. As his wife Cass, Gabrielle Dennis strikes similar but complementary notes; she’s also grounded and happy, yet the card she receives from the machine leaves her pondering her future — idly at first, then much, much less so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The couple’s teenage daughter Trina (Djouliet Amara) is still reeling from a recent tragedy, but finds a fraught kind of comfort with Jacob (Sammy Fourlas); both actors invest their characters with intelligence and wit that keep them from coming across as the kind of sulky, underdrawn teens that populate the CW.\u003c/p>\n\u003cp>Again and again, characters that could have been thinly drawn yet still funny — Izzy, the town’s narcissistic mayor (Crystal Fox), Beau, Jacob’s macho father (Aaron Roman Weiner) and bluff restaurant owner Giorgio (Josh Segarra, great as always) — are given the time and attention to surprise us with layers of emotion and absurdity that make them rounded and real.\u003c/p>\n\u003cp>At some point early in the season — it was somewhere around the wedding episode, which features a character performing a wildly ill-considered dance number, and the townsfolk reacting to it — I realized I’d gone from laughing at these characters to laughing with them.\u003c/p>\n\u003ch3>Beyond the \u003cem>Zone\u003c/em>\u003c/h3>\n\u003cp>Given the cynicism of its premise — small towners get shown their true potential — it’s only natural to expect that \u003cem>The Big Door Prize\u003c/em> would seek to speak to, and reassure, our most cynical selves. And I suppose it could be read as a cautionary tale about what happens when we place too much faith in technology, even if said technology is mysterious and possibly supernatural.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But in showing characters attempting to shake themselves out of their unexamined lives, \u003cem>The Big Door Prize\u003c/em> never contents itself with ridiculing their previous complacency. Instead, it spends its time (and thus, our time) delighting in their newfound curiosity and drive, their willingness, their openness, their sense of purpose.\u003c/p>\n\u003cp>What makes us most human, it seems to say, isn’t our pettiness, our greed, our self-satisfaction, or any other moral failing that Rod Serling would step out from behind some shrubbery to lecture us about at the end of a \u003cem>Twilight Zone\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Big Door Prize \u003c/em>instead suggests that it’s the act of striving for something — not necessarily for something better, or something more. Just … for \u003cem>something\u003c/em>. It makes a strong case that we are at our best, our most human selves, when we allow ourselves, finally, simply, to try.\u003c/p>\n\u003cp>\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=%27The+Big+Door+Prize%27+asks%3A+How+would+you+live+if+you+knew+your+life%27s+potential%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\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>‘The Big Door Prize’ premieres on Apple TV+ on March 29, 2023. \u003ca href=\"https://tv.apple.com/us/show/the-big-door-prize/umc.cmc.2rjxcljdjz4h47vjdxnytcn23?mttn3pid=Google%20AdWords&mttnagencyid=a5e&mttncc=US&mttnsiteid=143238&mttnsubad=OUS20191000_1-652823703969-c&mttnsubkw=147103945855__vcrindm5_\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Mother Faces ‘A Thousand and One’ Obstacles in This Unconventional NYC Film",
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"content": "\u003cp>\u003cem>A Thousand and One\u003c/em> begins in 1994, shortly before a 22-year-old woman named Inez is released from Rikers Island. We don’t know much about her, but \u003ca href=\"#t\">Teyana Taylor\u003c/a>, the electrifying actor who plays her, tells us plenty just from the brashly confident way Inez strides through her old Brooklyn stomping grounds after a year away.\u003c/p>\n\u003cp>As she greets old friends and looks for work as a hairdresser, Inez is determined to put the past behind her — though that becomes impossible when she runs into her 6-year-old son, Terry, on the street. Terry was sent to foster care when Inez went to prison, and while he resents her for leaving him, he’d clearly rather be with her again than in his current situation.\u003c/p>\n\u003cp>[aside postid='arts_13926757']And so when Terry has an accident at home, Inez impulsively springs him from the hospital and takes him to the Harlem neighborhood where she grew up. They lie low for a while, though it soon becomes sadly clear that nobody’s really looking for Terry, who’s just one of many kids who’ve slipped through the cracks of the foster-care system. Inez grew up in that system herself, and she wants to give Terry the loving home she never had.\u003c/p>\n\u003cp>Soon she finds them a rundown Harlem apartment — the number on the door, 10-01, is one explanation for the movie’s title. Over the next several years, this apartment will be their home, but it’s a precarious one, where every happy moment feels both fleeting and hard-won.\u003c/p>\n\u003cp>Inez works long hours to provide for herself and Terry, a gifted student whose teachers think he could be Ivy League material. Eventually, Inez marries Lucky, an old boyfriend played by a charismatic William Catlett. While not the most faithful husband, Lucky becomes a genuinely loving father figure to Terry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wBM0_6JJw1s&t=4s\u003c/p>\n\u003cp>Terry is played at ages 6, 13 and 17 by the actors Aaron Kingsley Adetola, Aven Courtney and Josiah Cross. The use of three actors to play a young Black man at different ages has already earned the movie comparisons to \u003ca href=\"https://www.npr.org/2016/10/19/498395257/for-films-creators-moonlight-provided-space-to-explore-a-painful-past\">Barry Jenkins\u003c/a>’ sublime 2016 drama, \u003ca href=\"https://www.npr.org/2016/10/20/498261200/a-melancholy-youth-finds-himself-under-the-heavenly-glow-of-moonlight\">\u003cem>Moonlight\u003c/em>\u003c/a>. But those similarities aside, \u003cem>A Thousand and One\u003c/em> focuses more specifically on the young man’s mother. Taylor, an R&B performer in her first leading film role, conveys the full weight of Inez’s sacrifices. By the end, the sensual, free-spirited woman we met in the opening scenes has become visibly sadder and wearier, though still possessed of the same devil-may-care defiance.\u003c/p>\n\u003cp>If \u003cem>A Thousand and One \u003c/em>were just a story about a mother and son overcoming the odds, it would be moving enough. But the writer-director A.V. Rockwell, making a strong feature debut after years directing shorts and music videos, gives this intimate drama a sharp sociopolitical context. Even as Inez and Terry grow older, the city around them is changing, too. At the beginning, the Harlem we see pulses with grit and energy, shot in a vibrantly kinetic style and set to a ’90s hip-hop beat. By the end, the neighborhood has been gentrified beyond recognition, as reflected in the movie’s cooler, gloomier palette and its many shots of anonymous-looking office and residential buildings.\u003c/p>\n\u003cp>[aside postid='arts_13926404']Rockwell doesn’t shy away from detailing how these shifts have impacted communities of color in general, and Inez and Terry in particular. They’re gradually forced out of their apartment by a new landlord who wants to tear the building down. Terry and his friends face routine police harassment — a development that Rockwell intersperses with real news clips covering Mayor Giuliani’s embrace of \u003ca href=\"https://www.npr.org/2020/02/25/809368292/the-legacy-of-stop-and-frisk-policing-in-michael-bloombergs-new-york\">“stop and frisk” policies\u003c/a>.\u003c/p>\n\u003cp>None of this comes off as didactic; Rockwell deftly weaves her commentary into a story that turns out to be less conventional and more surprising than it looks. She also reminds us that there’s more to both Inez and Terry than their tough circumstances. We see this in the playful scenes of 17-year-old Terry flirting with a girl behind a restaurant counter, or the poignant moment when Inez — rather than picking a fight with one of Lucky’s girlfriends, as she might have once done — instead treats her with decency and grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rockwell has such a sure grasp of her characters and their complexities that she’s able to end the story on a boldly unresolved note. I left the movie thinking about what might lie ahead for Inez and Terry, and feeling grateful for the time I’d spent in their company.\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=A+mother+faces+%27A+Thousand+and+One%27+obstacles+in+this+unconventional+NYC+film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so when Terry has an accident at home, Inez impulsively springs him from the hospital and takes him to the Harlem neighborhood where she grew up. They lie low for a while, though it soon becomes sadly clear that nobody’s really looking for Terry, who’s just one of many kids who’ve slipped through the cracks of the foster-care system. Inez grew up in that system herself, and she wants to give Terry the loving home she never had.\u003c/p>\n\u003cp>Soon she finds them a rundown Harlem apartment — the number on the door, 10-01, is one explanation for the movie’s title. Over the next several years, this apartment will be their home, but it’s a precarious one, where every happy moment feels both fleeting and hard-won.\u003c/p>\n\u003cp>Inez works long hours to provide for herself and Terry, a gifted student whose teachers think he could be Ivy League material. Eventually, Inez marries Lucky, an old boyfriend played by a charismatic William Catlett. While not the most faithful husband, Lucky becomes a genuinely loving father figure to Terry.\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/wBM0_6JJw1s'\n title='//www.youtube.com/embed/wBM0_6JJw1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Terry is played at ages 6, 13 and 17 by the actors Aaron Kingsley Adetola, Aven Courtney and Josiah Cross. The use of three actors to play a young Black man at different ages has already earned the movie comparisons to \u003ca href=\"https://www.npr.org/2016/10/19/498395257/for-films-creators-moonlight-provided-space-to-explore-a-painful-past\">Barry Jenkins\u003c/a>’ sublime 2016 drama, \u003ca href=\"https://www.npr.org/2016/10/20/498261200/a-melancholy-youth-finds-himself-under-the-heavenly-glow-of-moonlight\">\u003cem>Moonlight\u003c/em>\u003c/a>. But those similarities aside, \u003cem>A Thousand and One\u003c/em> focuses more specifically on the young man’s mother. Taylor, an R&B performer in her first leading film role, conveys the full weight of Inez’s sacrifices. By the end, the sensual, free-spirited woman we met in the opening scenes has become visibly sadder and wearier, though still possessed of the same devil-may-care defiance.\u003c/p>\n\u003cp>If \u003cem>A Thousand and One \u003c/em>were just a story about a mother and son overcoming the odds, it would be moving enough. But the writer-director A.V. Rockwell, making a strong feature debut after years directing shorts and music videos, gives this intimate drama a sharp sociopolitical context. Even as Inez and Terry grow older, the city around them is changing, too. At the beginning, the Harlem we see pulses with grit and energy, shot in a vibrantly kinetic style and set to a ’90s hip-hop beat. By the end, the neighborhood has been gentrified beyond recognition, as reflected in the movie’s cooler, gloomier palette and its many shots of anonymous-looking office and residential buildings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rockwell doesn’t shy away from detailing how these shifts have impacted communities of color in general, and Inez and Terry in particular. They’re gradually forced out of their apartment by a new landlord who wants to tear the building down. Terry and his friends face routine police harassment — a development that Rockwell intersperses with real news clips covering Mayor Giuliani’s embrace of \u003ca href=\"https://www.npr.org/2020/02/25/809368292/the-legacy-of-stop-and-frisk-policing-in-michael-bloombergs-new-york\">“stop and frisk” policies\u003c/a>.\u003c/p>\n\u003cp>None of this comes off as didactic; Rockwell deftly weaves her commentary into a story that turns out to be less conventional and more surprising than it looks. She also reminds us that there’s more to both Inez and Terry than their tough circumstances. We see this in the playful scenes of 17-year-old Terry flirting with a girl behind a restaurant counter, or the poignant moment when Inez — rather than picking a fight with one of Lucky’s girlfriends, as she might have once done — instead treats her with decency and grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rockwell has such a sure grasp of her characters and their complexities that she’s able to end the story on a boldly unresolved note. I left the movie thinking about what might lie ahead for Inez and Terry, and feeling grateful for the time I’d spent in their company.\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=A+mother+faces+%27A+Thousand+and+One%27+obstacles+in+this+unconventional+NYC+film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"soldout": {
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"tagline": "A new future for housing",
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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