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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Black on Black\u003c/em> calls for an overhaul of the American criminal justice system, an overhaul of the Black church, an overhaul of the way Black people see themselves, and an overhaul of the country itself, and it does so with authority. From invitations to kiss God in the mouth to declarations about the need to “ignite conversation” about difficult topics, \u003cem>Black on Black\u003c/em> never waivers, never backs down, never pulls its hard punches full of painful truths.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an essay that presents a celebration/critique of Black churches and they way they follow the same set of believes that enslavers followed, Black mentions outstanding contemporary African American writers Kiese Laymon, Jesmyn Ward, and Jericho Brown and then states: “The black pen never fails to produce spirit-filled work that, if black people read and heed, would set them free.” \u003cem>Black on Black\u003c/em> adds Black’s name to that list, and that makes it an important, relevant work of nonfiction that should be required reading in these troubled times.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+on+Black%27+celebrates+Black+culture+while+exploring+history+and+racial+tension&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Clunky Title Aside, ‘Cunk on Earth’ is a Mockumentary With Cult Classic Potential",
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"content": "\u003cp>Diane Morgan stars in the new five-part Netflix mockumentary series \u003cem>Cunk on Earth\u003c/em>, but viewers in the U.S. might not recognize her — unless they saw her as one of the supporting players in the \u003ca href=\"https://www.npr.org/2016/05/01/476078487/ricky-gervais-on-controversial-jokes-celebrities-and-special-correspondents\">Ricky Gervais\u003c/a> comedy series \u003cem>After Life\u003c/em>. But in Great Britain, Morgan’s been on TV for years, especially playing one recurring character.\u003c/p>\n\u003cp>Ten years ago, \u003ca href=\"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season\">\u003cem>Black Mirror\u003c/em>\u003c/a> co-creator \u003ca href=\"https://www.npr.org/2016/10/20/498683379/black-mirror-creator-dramatizes-our-worst-nightmares-about-technology\">Charlie Brooker\u003c/a> wrote and hosted a British comedy series, \u003cem>Charlie Brooker’s Weekly Wipe. \u003c/em>It was a satirical review of the week’s news — part \u003ca href=\"https://www.npr.org/2022/09/30/1126207614/trevor-noah-daily-show-late-night-tv-comedy-central\">\u003cem>The Daily Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>and part, if you want to go way, way back,\u003cem> That Was the Week That Was\u003c/em>. Morgan was one of the featured players on\u003cem> Weekly Wipe, \u003c/em>playing a TV correspondent named Philomena Cunk. Cunk isn’t very well-informed, and she’s prone to mispronunciations and malapropisms, but she says what she thinks — and what she thinks is often very, very funny.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ia0ztwqCt4c\u003c/p>\n\u003cp>In the U.K., the character was then spun off into several sequels, either limited series or one-shot specials: \u003ca href=\"https://www.youtube.com/watch?v=9YeCpHoy9EQ\">\u003cem>Cunk on Shakespeare\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=MUM89s4N2BQ\">\u003cem>Cunk on Britain\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=OYQwGWYAXwM\">\u003cem>Cunk and Other Humans\u003c/em>\u003c/a>. They all have the same winning formula: Philomena is sent to real exotic locations around the world, to offer her observations and interview actual experts — all of whom are polite and befuddled in equal measure.\u003c/p>\n\u003cp>[aside postid='arts_13924494']\u003cem>Cunk on Earth\u003c/em> is in the same sweeping, visually stunning tradition of such historical documentaries as \u003cem>Civilisation\u003c/em> or \u003cem>Connections\u003c/em> — except the correspondent and interviewer is less Kenneth Clark or James Burke, and more \u003ca href=\"https://www.npr.org/2021/02/22/970115927/sacha-baron-cohen-on-borat-ethics-and-why-his-disguise-days-are-over\">Borat \u003c/a>or Jiminy Glick. That’s the setup — and you don’t have to have any prior exposure to Philomena Cunk to get up to speed instantly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opening of \u003cem>Cunk on Earth\u003c/em> cuts between scenes of Philomena standing amid quiet nature and loud city streets, establishing the premise of her newest TV show. Over the show’s five episodes, she travels from Pompeii to Russia to the Pyramids in Egypt. Philomena shoots one segment in front of the \u003cem>Mona Lisa\u003c/em>, and, for another, descends into a cave to look at ancient cave paintings, just as \u003ca href=\"https://www.npr.org/2014/08/22/342471828/werner-herzog-talks-about-madmen-and-caves-in-interviews-from-fresh-air-archives\">Werner Herzog\u003c/a> did in one of his documentaries. But he was in awe. Philomena, shining her flashlight onto the crude drawings of animals and people, is so unimpressed, she turns her flashlight off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5zabCBnUHLA\u003c/p>\n\u003cp>Despite her lack of enthusiasm and perspective, \u003cem>Cunk on Earth\u003c/em> does contain a lot of actual information — thanks to the endlessly patient experts, who gently correct her misconceptions. Morgan’s delivery is deliciously dry, and her improv skills, reacting to what historians say in their interviews with her, are formidable. She gets a writing credit for additional material, and absolutely deserves it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em> came over from England as an oddball series and an acquired taste, and quickly grew into a cult hit. This new, wider Netflix platform for \u003cem>Cunk on Earth \u003c/em>may accomplish the same thing. It’s a terrible title — but it’s a really funny show.\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=Clunky+title+aside%2C+%27Cunk+on+Earth%27+is+a+mockumentary+with+cult+classic+potential&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Diane Morgan stars in the new five-part Netflix mockumentary series \u003cem>Cunk on Earth\u003c/em>, but viewers in the U.S. might not recognize her — unless they saw her as one of the supporting players in the \u003ca href=\"https://www.npr.org/2016/05/01/476078487/ricky-gervais-on-controversial-jokes-celebrities-and-special-correspondents\">Ricky Gervais\u003c/a> comedy series \u003cem>After Life\u003c/em>. But in Great Britain, Morgan’s been on TV for years, especially playing one recurring character.\u003c/p>\n\u003cp>Ten years ago, \u003ca href=\"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season\">\u003cem>Black Mirror\u003c/em>\u003c/a> co-creator \u003ca href=\"https://www.npr.org/2016/10/20/498683379/black-mirror-creator-dramatizes-our-worst-nightmares-about-technology\">Charlie Brooker\u003c/a> wrote and hosted a British comedy series, \u003cem>Charlie Brooker’s Weekly Wipe. \u003c/em>It was a satirical review of the week’s news — part \u003ca href=\"https://www.npr.org/2022/09/30/1126207614/trevor-noah-daily-show-late-night-tv-comedy-central\">\u003cem>The Daily Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>and part, if you want to go way, way back,\u003cem> That Was the Week That Was\u003c/em>. Morgan was one of the featured players on\u003cem> Weekly Wipe, \u003c/em>playing a TV correspondent named Philomena Cunk. Cunk isn’t very well-informed, and she’s prone to mispronunciations and malapropisms, but she says what she thinks — and what she thinks is often very, very funny.\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/ia0ztwqCt4c'\n title='//www.youtube.com/embed/ia0ztwqCt4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the U.K., the character was then spun off into several sequels, either limited series or one-shot specials: \u003ca href=\"https://www.youtube.com/watch?v=9YeCpHoy9EQ\">\u003cem>Cunk on Shakespeare\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=MUM89s4N2BQ\">\u003cem>Cunk on Britain\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=OYQwGWYAXwM\">\u003cem>Cunk and Other Humans\u003c/em>\u003c/a>. They all have the same winning formula: Philomena is sent to real exotic locations around the world, to offer her observations and interview actual experts — all of whom are polite and befuddled in equal measure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The opening of \u003cem>Cunk on Earth\u003c/em> cuts between scenes of Philomena standing amid quiet nature and loud city streets, establishing the premise of her newest TV show. Over the show’s five episodes, she travels from Pompeii to Russia to the Pyramids in Egypt. Philomena shoots one segment in front of the \u003cem>Mona Lisa\u003c/em>, and, for another, descends into a cave to look at ancient cave paintings, just as \u003ca href=\"https://www.npr.org/2014/08/22/342471828/werner-herzog-talks-about-madmen-and-caves-in-interviews-from-fresh-air-archives\">Werner Herzog\u003c/a> did in one of his documentaries. But he was in awe. Philomena, shining her flashlight onto the crude drawings of animals and people, is so unimpressed, she turns her flashlight off.\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/5zabCBnUHLA'\n title='//www.youtube.com/embed/5zabCBnUHLA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite her lack of enthusiasm and perspective, \u003cem>Cunk on Earth\u003c/em> does contain a lot of actual information — thanks to the endlessly patient experts, who gently correct her misconceptions. Morgan’s delivery is deliciously dry, and her improv skills, reacting to what historians say in their interviews with her, are formidable. She gets a writing credit for additional material, and absolutely deserves it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em> came over from England as an oddball series and an acquired taste, and quickly grew into a cult hit. This new, wider Netflix platform for \u003cem>Cunk on Earth \u003c/em>may accomplish the same thing. It’s a terrible title — but it’s a really funny show.\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=Clunky+title+aside%2C+%27Cunk+on+Earth%27+is+a+mockumentary+with+cult+classic+potential&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Do You Need to Talk to Your Kids About Traumatic Events? ‘Sesame Street’ Has Some Tips",
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"content": "\u003cp>The brutal beating of Tyre Nichols by police officers in Memphis. Shootings in Monterey Park and Half Moon Bay, two of more than 50 mass shootings in the United States in the month of January alone, according to the \u003ca href=\"https://www.gunviolencearchive.org/\">Gun Violence Archive\u003c/a>.\u003c/p>\n\u003cp>But there is help from an unexpected source: \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>In 2017, Sesame Workshop, the non-profit educational organization behind \u003cem>Sesame Street\u003c/em>, started the \u003cem>\u003ca href=\"https://sesamestreetincommunities.org/\">Sesame Street in Communities\u003c/a>\u003c/em> program. Through resources like games, stories and videos featuring children’s favorite muppets, the program aimed to help parents and caregivers tackle difficult issues.\u003c/p>\n\u003cp>In one video, Elmo asks his Black friend Wes and Wes’s dad why they all have different colored skin. In another, a traumatized Big Bird \u003ca href=\"https://youtu.be/-z8UyREHqcg\">seeks comfort with a hug\u003c/a> from his friend, Alan.\u003c/p>\n\u003cp>https://youtu.be/-z8UyREHqcg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tools aren’t just for kids. \u003ca href=\"https://sesamestreetincommunities.org/activities/exploring-kids-circle-care/\">The website also includes guides \u003c/a>for those in the “circle of care.” “So it’s not only parents and caregivers,” says Jeanette Betancourt\u003cstrong>, \u003c/strong>the senior vice president for U.S. Social Impact at Sesame Workshop.\u003c/p>\n\u003cp>[aside postid='news_11764070']“It’s early childhood educators, the pediatric community, child welfare or social workers, health care workers, all the influencers on young children’s well-being.”\u003c/p>\n\u003cp>Betancourt says the program uses what they call the “Sesame Workshop Model” to develop new teaching material. It includes \u003ca href=\"https://www.sesameworkshop.org/what-we-do/research-and-innovation\">research and development in partnership with experts\u003c/a> from national partners such as the American Academy of Pediatrics or the American Psychological Association.\u003c/p>\n\u003cp>\u003cstrong>Talking about traumatic incidents\u003c/strong>\u003c/p>\n\u003cp>Betancourt believes that when talking to children about traumatic incidents, it is crucial to make them feel comfortable and secure.\u003c/p>\n\u003cp>Here are a few ways she recommends:\u003c/p>\n\u003cul>\n\u003cli>Provide safety: Assure the child that they are safe and taken care of. Offer comfort items and physical contact such as hugs or holding hands.\u003c/li>\n\u003cli>Keep routines: It’s important that the child doesn’t feel a big disruption in their life. That can mean having a meal together, reading together or simply walking.\u003c/li>\n\u003cli>Model healthy ways of coping: Children look to their parents for guidance, so adults need to practice self care and cope in a healthy way.\u003c/li>\n\u003cli>Spend time together: Activities such as playing games or reading stories together can make a child feel secure and comfortable.\u003c/li>\n\u003cli>Watch and listen: Pay attention to all signs of anxiety or discomfort. Ultimately, you know your child best and can see the change in behavior.\u003c/li>\n\u003c/ul>\n\u003cp>Although it may be helpful to use these tools to plan important conversations, Betancourt says that these conversations don’t have to be perfectly planned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In fact, the more you make it an everyday explanation, a moment when the little one asks a question or shows a sign of distress, it’s especially important to take advantage of these resources.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Do+you+need+to+talk+to+your+kids+about+traumatic+events%3F+Sesame+Street+has+some+tips&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The brutal beating of Tyre Nichols by police officers in Memphis. Shootings in Monterey Park and Half Moon Bay, two of more than 50 mass shootings in the United States in the month of January alone, according to the \u003ca href=\"https://www.gunviolencearchive.org/\">Gun Violence Archive\u003c/a>.\u003c/p>\n\u003cp>But there is help from an unexpected source: \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>In 2017, Sesame Workshop, the non-profit educational organization behind \u003cem>Sesame Street\u003c/em>, started the \u003cem>\u003ca href=\"https://sesamestreetincommunities.org/\">Sesame Street in Communities\u003c/a>\u003c/em> program. Through resources like games, stories and videos featuring children’s favorite muppets, the program aimed to help parents and caregivers tackle difficult issues.\u003c/p>\n\u003cp>In one video, Elmo asks his Black friend Wes and Wes’s dad why they all have different colored skin. In another, a traumatized Big Bird \u003ca href=\"https://youtu.be/-z8UyREHqcg\">seeks comfort with a hug\u003c/a> from his friend, Alan.\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/-z8UyREHqcg'\n title='//www.youtube.com/embed/-z8UyREHqcg'\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>The tools aren’t just for kids. \u003ca href=\"https://sesamestreetincommunities.org/activities/exploring-kids-circle-care/\">The website also includes guides \u003c/a>for those in the “circle of care.” “So it’s not only parents and caregivers,” says Jeanette Betancourt\u003cstrong>, \u003c/strong>the senior vice president for U.S. Social Impact at Sesame Workshop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s early childhood educators, the pediatric community, child welfare or social workers, health care workers, all the influencers on young children’s well-being.”\u003c/p>\n\u003cp>Betancourt says the program uses what they call the “Sesame Workshop Model” to develop new teaching material. It includes \u003ca href=\"https://www.sesameworkshop.org/what-we-do/research-and-innovation\">research and development in partnership with experts\u003c/a> from national partners such as the American Academy of Pediatrics or the American Psychological Association.\u003c/p>\n\u003cp>\u003cstrong>Talking about traumatic incidents\u003c/strong>\u003c/p>\n\u003cp>Betancourt believes that when talking to children about traumatic incidents, it is crucial to make them feel comfortable and secure.\u003c/p>\n\u003cp>Here are a few ways she recommends:\u003c/p>\n\u003cul>\n\u003cli>Provide safety: Assure the child that they are safe and taken care of. Offer comfort items and physical contact such as hugs or holding hands.\u003c/li>\n\u003cli>Keep routines: It’s important that the child doesn’t feel a big disruption in their life. That can mean having a meal together, reading together or simply walking.\u003c/li>\n\u003cli>Model healthy ways of coping: Children look to their parents for guidance, so adults need to practice self care and cope in a healthy way.\u003c/li>\n\u003cli>Spend time together: Activities such as playing games or reading stories together can make a child feel secure and comfortable.\u003c/li>\n\u003cli>Watch and listen: Pay attention to all signs of anxiety or discomfort. Ultimately, you know your child best and can see the change in behavior.\u003c/li>\n\u003c/ul>\n\u003cp>Although it may be helpful to use these tools to plan important conversations, Betancourt says that these conversations don’t have to be perfectly planned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In fact, the more you make it an everyday explanation, a moment when the little one asks a question or shows a sign of distress, it’s especially important to take advantage of these resources.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Do+you+need+to+talk+to+your+kids+about+traumatic+events%3F+Sesame+Street+has+some+tips&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé’s Renaissance Tour is Ticketmaster’s Next Big Test. Fans Are Already Stressed",
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"content": "\u003cp>News of Beyoncé’s first solo tour in more than six years has her many fans celebrating — and stressing out about whether they’ll actually be able to get tickets.\u003c/p>\n\u003cp>The singer \u003ca href=\"https://tour.beyonce.com/\">announced on Wednesday\u003c/a> that she will bring her \u003ca href=\"https://www.npr.org/2023/01/18/1149719027/beyonces-grammy-nominated-renaissance-is-a-thotty-and-ethereal-work-of-art\">Grammy-nominated album\u003c/a> \u003cem>Renaissance\u003c/em> to cities across Europe and North America between May and September, opening in Stockholm and ending in New Orleans.\u003c/p>\n\u003cp>Fans have been eagerly awaiting her return to venues since \u003cem>Renaissance\u003c/em> \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">dropped last summer\u003c/a>, if not earlier.\u003c/p>\n\u003cp>https://www.instagram.com/p/CoHxOQhrTHX/\u003c/p>\n\u003cp>Beyoncé’s last solo tour was \u003cem>Lemonade\u003c/em>, though she performed with her husband Jay-Z on his \u003cem>On the Run Tour II\u003c/em> in 2018. She took to the stage for the first time since at the end of January, when she headlined a private show at the opening of a \u003ca href=\"https://www.bbc.com/news/newsbeat-64371662\">luxury hotel in Dubai\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first round of ticket sales will open to members of Beyoncé’s official fan club on Monday through Ticketmaster, which is already facing heightened scrutiny for its botched Taylor Swift presale in November.\u003c/p>\n\u003cp>[aside postid='arts_13921777']\u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">Fans and lawmakers alike\u003c/a> say Ticketmaster’s problems run much deeper than the one concern, accusing it of being a monopoly (which its executives have denied) and calling for changes in the ticketing industry.\u003c/p>\n\u003cp>The company has apologized for the Swift presale chaos, which it blamed on outsize demand and bot attacks. Live Nation President and Chief Financial Officer Joe Berchtold told lawmakers at last month’s hearing that “we need to do better and we will do better.”\u003c/p>\n\u003cp>Many are wondering (and in some cases, doubting) whether sales will go more smoothly this time around. \u003ca href=\"https://www.npr.org/sections/therecord/2014/03/17/258155902/how-sweet-it-is-to-be-loved-by-you-the-beyhive\">The BeyHive\u003c/a>, as Beyoncé’s fandom is known, is bracing for what could be another frenzy.\u003c/p>\n\u003cp>Fans are flooding social media with their simultaneous excitement and concern about the prospect of snagging tickets to the highly anticipated tour. Some are \u003ca href=\"https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\">jokingly dissing Beyoncé\u003c/a> to discourage potential buyers, others are \u003ca href=\"https://twitter.com/rgay/status/1620849849750155264?s=20&t=XZrmHKAEqUHpWGRwUOw_QQ\">poking fun at the pressure\u003c/a> Ticketmaster is facing from devotees like themselves.\u003c/p>\n\u003cp>https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\u003c/p>\n\u003cp>The stakes are high: Senators slammed Ticketmaster’s market power at the hearing and have expressed interest in pursuing antitrust legislation, while the U.S. Justice Department \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">is reported to be\u003c/a> investigating its parent company, Live Nation — which \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">Swift fans are suing\u003c/a> over allegations of fraud and antitrust violations.\u003c/p>\n\u003cp>“Has Ticketmaster learned who run the world? Girls. Beyoncé. Taylor Swift. Fans. All of us are watching,” tweeted \u003ca href=\"https://twitter.com/SenBlumenthal/status/1620992854142365697?s=20&t=2rHle2XpB4DIrNL_dLcq8g\">Sen. Richard Blumenthal\u003c/a> (D-Conn.), a vocal advocate for antitrust reform and critic of the company’s behavior (and no stranger to \u003ca href=\"https://twitter.com/NBCNews/status/1617974292351778825?s=20&t=FJAOndLIl1mKja4b24XfBw\">referencing song lyrics\u003c/a>).\u003c/p>\n\u003ch3>Ticketmaster doesn’t expect to meet demand\u003c/h3>\n\u003cp>Ticketmaster and Beyoncé also appear to be bracing for overwhelming demand, trying to prioritize her biggest fans and warning that some will inevitably be disappointed.\u003c/p>\n\u003cp>[aside postid='arts_13923059']The North American leg of the Renaissance tour is using Ticketmaster’s \u003ca href=\"https://blog.ticketmaster.com/verifiedfan-faq/\">Verified Fan\u003c/a> system and starts with an exclusive sale to BeyHive members.\u003c/p>\n\u003cp>That’s presumably anyone who signs up for Beyoncé’s mailing list through her official website (though \u003ca href=\"https://www.hitc.com/en-gb/2023/02/02/beyhive-member-sign-up-page-disappears-as-beyonce-fans-seek-out-presale-tickets/\">some tweeted\u003c/a> that the signup page had disappeared from the site after the tour announcement).\u003c/p>\n\u003cp>The Verified Fan system aims to get tickets to real people and away from bots and professional resellers, by having fans register in advance for their preferred shows and vetting them individually.\u003c/p>\n\u003cp>But just because you’re verified doesn’t mean you’ll get a ticket. When demand is high, the company uses a lottery system to determine who gets an access code for the sale and who gets put on a waitlist.\u003c/p>\n\u003cp>“We expect there will be more demand than there are tickets available and a lottery-style process will determine which registered Verified Fans receive a unique access code and which are put on the waitlist,” \u003ca href=\"https://beyonce.livenation.com/\">Ticketmaster says\u003c/a> of Beyoncé’s tour.\u003c/p>\n\u003ch3>Taylor Swift’s Eras Tour wasn’t Ticketmaster’s first controversy\u003c/h3>\n\u003cp>Ticketmaster’s Renaissance tour warning has echoes in the \u003ca href=\"https://business.ticketmaster.com/business-solutions/taylor-swift-the-eras-tour-onsale-explained/\">public apology\u003c/a> its executives issued after Swift’s Eras Tour presale.\u003c/p>\n\u003cp>At the time, it said more than 3.5 million people registered as verified fans, with 1.5 million chosen to buy tickets and the other 2 million placed on the waiting list. It sold a record 2 million tickets on the first day of presale, but ended up experiencing more technical issues on the second day before canceling the general sale altogether.\u003c/p>\n\u003cp>[aside postid='arts_13861791']Swift said in a statement of her own that she had been assured multiple times the company was prepared for the demand.\u003c/p>\n\u003cp>“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift, who has been otherwise quiet about the issue (while her fans have been extremely vocal).\u003c/p>\n\u003cp>While company executives blamed bots, Ticketmaster’s critics say their issues with the company go far beyond what happened in November. Artists like Bad Bunny, BTS, Bruce Springsteen and Harry Styles have had issues with ticketing too, Sen. Amy Klobuchar, D-Minn., \u003ca href=\"https://www.npr.org/2023/01/24/1150942797/senate-panel-hearing-will-look-into-ticketmasters-dominance-in-live-entertainmen\">told \u003cem>Morning Edition\u003c/em>\u003c/a> before the hearing last month.\u003c/p>\n\u003cp>At the hearing, lawmakers from both parties, smaller entertainment company executives and a musician spoke about how the lack of competition in the ticketing industry hurts artists as well as fans. They fear that will be the case as long as Live Nation remains both the dominant concert promoter and ticket platform in the U.S.\u003c/p>\n\u003cp>Beyoncé fans “have reason to be concerned,” says Daniel Avital, chief strategy officer for CHEQ — a cybersecurity company focused on protecting businesses from bots.\u003c/p>\n\u003cp>“If a scalping attack of these proportions occurred once on Ticketmaster, it is likely to occur again,” unless more robust security measures are put in place, he told NPR via email.\u003c/p>\n\u003ch3>What to know if you’re looking for tickets\u003c/h3>\n\u003cp>Ticketmaster seems to be running things a little bit differently this time.\u003c/p>\n\u003cp>It’s divided registration into three groups of cities (though it says people can register for multiple groups). Each has its own deadline to register for presale tickets, starting Thursday night and ending Feb. 16.\u003c/p>\n\u003cp>[aside postid='arts_13841293']There are other steps fans can take to try to up their odds. Citi cardmembers can access presale tickets by registering with their credit or debit card number, and members of the Verizon Up rewards program can participate \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">through its website\u003c/a>.\u003c/p>\n\u003cp>The Points Guy \u003ca href=\"https://thepointsguy.com/news/presale-tickets-beyonce-tour/\">offers tips\u003c/a> for anyone trying to snag presale tickets, including: add your eligible card to your Ticketmaster account ahead of time, sign in early and from a strong Wi-Fi network if possible and only refresh the page in very limited circumstances.\u003c/p>\n\u003cp>If you feel exhausted at the thought of strategizing, you’re not alone. Music writer Corbin Reiff put it this way \u003ca href=\"https://twitter.com/CorbinReiff/status/1620834530889449472?s=20&t=8Ag60jwMthCER99nQeGDnw\">in a tweet\u003c/a>:\u003c/p>\n\u003cp>“Hey, remember when concert tour announcements were exciting news drops instead of harbingers of an impossibly complicated and bewilderingly expensive buying process that ruins the entire experience before it ever kicks off?” he wrote, thanking Ticketmaster sarcastically.\u003c/p>\n\u003cp>https://twitter.com/CorbinReiff/status/1620834530889449472\u003c/p>\n\u003ch3>Dates and prices may change\u003c/h3>\n\u003cp>It’s not yet clear how much North American tour tickets will cost, and it’s worth remembering that Ticketmaster’s controversial “\u003ca href=\"https://www.gobankingrates.com/saving-money/entertainment/what-ticketmasters-dynamic-pricing-means-for-your-wallet/\">dynamic pricing” model\u003c/a> adjusts the price of tickets based on consumer demand.\u003c/p>\n\u003cp>The first tickets for Beyoncé’s five United Kingdom dates went on sale Thursday, and the \u003ca href=\"https://www.bbc.com/news/entertainment-arts-64496382\">BBC reports\u003c/a> that standard prices were roughly the same as the 2018 tour.\u003c/p>\n\u003cp>It said customers of the telecommunications provider O2 were the first to get access, and some reported problems with its app and website. People who did buy tickets reported paying between the equivalent of $68 to $245 for standard tickets and up to nearly $2,940 for VIP “on stage” seats.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The U.S. and Canada are next. Be sure to double check the dates and locations of tour stops, as \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/02/01/beyonce-renaissance-tour-tickets-verified-fan-presale/11162728002/\">\u003cem>USA Today\u003c/em> reports\u003c/a> some have changed (and fans are speculating — and hoping — on Twitter that more may be added).\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+Renaissance+tour+is+Ticketmaster%27s+next+big+test.+Fans+are+already+stressed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s last solo tour was \u003cem>Lemonade\u003c/em>, though she performed with her husband Jay-Z on his \u003cem>On the Run Tour II\u003c/em> in 2018. She took to the stage for the first time since at the end of January, when she headlined a private show at the opening of a \u003ca href=\"https://www.bbc.com/news/newsbeat-64371662\">luxury hotel in Dubai\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first round of ticket sales will open to members of Beyoncé’s official fan club on Monday through Ticketmaster, which is already facing heightened scrutiny for its botched Taylor Swift presale in November.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">Fans and lawmakers alike\u003c/a> say Ticketmaster’s problems run much deeper than the one concern, accusing it of being a monopoly (which its executives have denied) and calling for changes in the ticketing industry.\u003c/p>\n\u003cp>The company has apologized for the Swift presale chaos, which it blamed on outsize demand and bot attacks. Live Nation President and Chief Financial Officer Joe Berchtold told lawmakers at last month’s hearing that “we need to do better and we will do better.”\u003c/p>\n\u003cp>Many are wondering (and in some cases, doubting) whether sales will go more smoothly this time around. \u003ca href=\"https://www.npr.org/sections/therecord/2014/03/17/258155902/how-sweet-it-is-to-be-loved-by-you-the-beyhive\">The BeyHive\u003c/a>, as Beyoncé’s fandom is known, is bracing for what could be another frenzy.\u003c/p>\n\u003cp>Fans are flooding social media with their simultaneous excitement and concern about the prospect of snagging tickets to the highly anticipated tour. Some are \u003ca href=\"https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\">jokingly dissing Beyoncé\u003c/a> to discourage potential buyers, others are \u003ca href=\"https://twitter.com/rgay/status/1620849849750155264?s=20&t=XZrmHKAEqUHpWGRwUOw_QQ\">poking fun at the pressure\u003c/a> Ticketmaster is facing from devotees like themselves.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The stakes are high: Senators slammed Ticketmaster’s market power at the hearing and have expressed interest in pursuing antitrust legislation, while the U.S. Justice Department \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">is reported to be\u003c/a> investigating its parent company, Live Nation — which \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">Swift fans are suing\u003c/a> over allegations of fraud and antitrust violations.\u003c/p>\n\u003cp>“Has Ticketmaster learned who run the world? Girls. Beyoncé. Taylor Swift. Fans. All of us are watching,” tweeted \u003ca href=\"https://twitter.com/SenBlumenthal/status/1620992854142365697?s=20&t=2rHle2XpB4DIrNL_dLcq8g\">Sen. Richard Blumenthal\u003c/a> (D-Conn.), a vocal advocate for antitrust reform and critic of the company’s behavior (and no stranger to \u003ca href=\"https://twitter.com/NBCNews/status/1617974292351778825?s=20&t=FJAOndLIl1mKja4b24XfBw\">referencing song lyrics\u003c/a>).\u003c/p>\n\u003ch3>Ticketmaster doesn’t expect to meet demand\u003c/h3>\n\u003cp>Ticketmaster and Beyoncé also appear to be bracing for overwhelming demand, trying to prioritize her biggest fans and warning that some will inevitably be disappointed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The North American leg of the Renaissance tour is using Ticketmaster’s \u003ca href=\"https://blog.ticketmaster.com/verifiedfan-faq/\">Verified Fan\u003c/a> system and starts with an exclusive sale to BeyHive members.\u003c/p>\n\u003cp>That’s presumably anyone who signs up for Beyoncé’s mailing list through her official website (though \u003ca href=\"https://www.hitc.com/en-gb/2023/02/02/beyhive-member-sign-up-page-disappears-as-beyonce-fans-seek-out-presale-tickets/\">some tweeted\u003c/a> that the signup page had disappeared from the site after the tour announcement).\u003c/p>\n\u003cp>The Verified Fan system aims to get tickets to real people and away from bots and professional resellers, by having fans register in advance for their preferred shows and vetting them individually.\u003c/p>\n\u003cp>But just because you’re verified doesn’t mean you’ll get a ticket. When demand is high, the company uses a lottery system to determine who gets an access code for the sale and who gets put on a waitlist.\u003c/p>\n\u003cp>“We expect there will be more demand than there are tickets available and a lottery-style process will determine which registered Verified Fans receive a unique access code and which are put on the waitlist,” \u003ca href=\"https://beyonce.livenation.com/\">Ticketmaster says\u003c/a> of Beyoncé’s tour.\u003c/p>\n\u003ch3>Taylor Swift’s Eras Tour wasn’t Ticketmaster’s first controversy\u003c/h3>\n\u003cp>Ticketmaster’s Renaissance tour warning has echoes in the \u003ca href=\"https://business.ticketmaster.com/business-solutions/taylor-swift-the-eras-tour-onsale-explained/\">public apology\u003c/a> its executives issued after Swift’s Eras Tour presale.\u003c/p>\n\u003cp>At the time, it said more than 3.5 million people registered as verified fans, with 1.5 million chosen to buy tickets and the other 2 million placed on the waiting list. It sold a record 2 million tickets on the first day of presale, but ended up experiencing more technical issues on the second day before canceling the general sale altogether.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Swift said in a statement of her own that she had been assured multiple times the company was prepared for the demand.\u003c/p>\n\u003cp>“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift, who has been otherwise quiet about the issue (while her fans have been extremely vocal).\u003c/p>\n\u003cp>While company executives blamed bots, Ticketmaster’s critics say their issues with the company go far beyond what happened in November. Artists like Bad Bunny, BTS, Bruce Springsteen and Harry Styles have had issues with ticketing too, Sen. Amy Klobuchar, D-Minn., \u003ca href=\"https://www.npr.org/2023/01/24/1150942797/senate-panel-hearing-will-look-into-ticketmasters-dominance-in-live-entertainmen\">told \u003cem>Morning Edition\u003c/em>\u003c/a> before the hearing last month.\u003c/p>\n\u003cp>At the hearing, lawmakers from both parties, smaller entertainment company executives and a musician spoke about how the lack of competition in the ticketing industry hurts artists as well as fans. They fear that will be the case as long as Live Nation remains both the dominant concert promoter and ticket platform in the U.S.\u003c/p>\n\u003cp>Beyoncé fans “have reason to be concerned,” says Daniel Avital, chief strategy officer for CHEQ — a cybersecurity company focused on protecting businesses from bots.\u003c/p>\n\u003cp>“If a scalping attack of these proportions occurred once on Ticketmaster, it is likely to occur again,” unless more robust security measures are put in place, he told NPR via email.\u003c/p>\n\u003ch3>What to know if you’re looking for tickets\u003c/h3>\n\u003cp>Ticketmaster seems to be running things a little bit differently this time.\u003c/p>\n\u003cp>It’s divided registration into three groups of cities (though it says people can register for multiple groups). Each has its own deadline to register for presale tickets, starting Thursday night and ending Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are other steps fans can take to try to up their odds. Citi cardmembers can access presale tickets by registering with their credit or debit card number, and members of the Verizon Up rewards program can participate \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">through its website\u003c/a>.\u003c/p>\n\u003cp>The Points Guy \u003ca href=\"https://thepointsguy.com/news/presale-tickets-beyonce-tour/\">offers tips\u003c/a> for anyone trying to snag presale tickets, including: add your eligible card to your Ticketmaster account ahead of time, sign in early and from a strong Wi-Fi network if possible and only refresh the page in very limited circumstances.\u003c/p>\n\u003cp>If you feel exhausted at the thought of strategizing, you’re not alone. Music writer Corbin Reiff put it this way \u003ca href=\"https://twitter.com/CorbinReiff/status/1620834530889449472?s=20&t=8Ag60jwMthCER99nQeGDnw\">in a tweet\u003c/a>:\u003c/p>\n\u003cp>“Hey, remember when concert tour announcements were exciting news drops instead of harbingers of an impossibly complicated and bewilderingly expensive buying process that ruins the entire experience before it ever kicks off?” he wrote, thanking Ticketmaster sarcastically.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Dates and prices may change\u003c/h3>\n\u003cp>It’s not yet clear how much North American tour tickets will cost, and it’s worth remembering that Ticketmaster’s controversial “\u003ca href=\"https://www.gobankingrates.com/saving-money/entertainment/what-ticketmasters-dynamic-pricing-means-for-your-wallet/\">dynamic pricing” model\u003c/a> adjusts the price of tickets based on consumer demand.\u003c/p>\n\u003cp>The first tickets for Beyoncé’s five United Kingdom dates went on sale Thursday, and the \u003ca href=\"https://www.bbc.com/news/entertainment-arts-64496382\">BBC reports\u003c/a> that standard prices were roughly the same as the 2018 tour.\u003c/p>\n\u003cp>It said customers of the telecommunications provider O2 were the first to get access, and some reported problems with its app and website. People who did buy tickets reported paying between the equivalent of $68 to $245 for standard tickets and up to nearly $2,940 for VIP “on stage” seats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The U.S. and Canada are next. Be sure to double check the dates and locations of tour stops, as \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/02/01/beyonce-renaissance-tour-tickets-verified-fan-presale/11162728002/\">\u003cem>USA Today\u003c/em> reports\u003c/a> some have changed (and fans are speculating — and hoping — on Twitter that more may be added).\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%27s+Renaissance+tour+is+Ticketmaster%27s+next+big+test.+Fans+are+already+stressed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "It’s Black History Month. Here Are 3 Things to Know About the Annual Celebration",
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"headTitle": "It’s Black History Month. Here Are 3 Things to Know About the Annual Celebration | KQED",
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"content": "\u003cp>February marks Black History Month, a tradition that got its start in the Jim Crow era and was officially recognized in 1976 as part of the nation’s bicentennial celebrations. It aims to honor the contributions that African Americans have made and to recognize their sacrifices.\u003c/p>\n\u003cp>Here are three things to know about Black History Month:\u003c/p>\n\u003ch3>It was Negro History Week before it was Black History Month\u003c/h3>\n\u003cp>In 1926, \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/carter-g-woodson\">Carter G. Woodson\u003c/a>, the scholar often referred to as the “father of Black history,” established Negro History Week to focus attention on Black contributions to civilization. According to the NAACP, Woodson — at the time only the second Black American after W.E.B. Du Bois to earn a doctorate from Harvard University — “fervently believed that Black people should be proud of their heritage and [that] all Americans should understand the largely overlooked achievements of Black Americans.”\u003c/p>\n\u003cp>Woodson, the son of former enslaved people, famously \u003ca href=\"https://www.williamjames.edu/news/Why-We-Celebrate-Black-History-Month.html\">said\u003c/a>: “If a race has no history, if it has no worthwhile tradition, it becomes a negligible factor in the thought of the world, and it stands in danger of being exterminated.”\u003c/p>\n\u003cp>Woodson chose a week in February because of Abraham Lincoln, whose birthday was Feb. 12, and Frederick Douglass, who was born enslaved and did not know his actual birth date, but chose to celebrate it on Feb. 14.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Those two people were central to helping to afford Black people the experience of freedom that they have now,” says W. Marvin Dulaney, president of the Association for the Study of African American Life and History (\u003ca href=\"https://asalh.org/\">ASALH\u003c/a>), which Woodson founded in 1915 and today is the official promoter of Black History Month.\u003c/p>\n\u003cp>In the decades after the Civil War and through \u003ca href=\"https://www.npr.org/sections/codeswitch/2019/07/27/744130358/red-summer-in-chicago-100-years-after-the-race-riots\">the racial violence that erupted across the country in the years following World War I\u003c/a>, there was a concerted effort to repress the teaching of Black history.\u003c/p>\n\u003cp>[aside postid='arts_13908784']“In the South, they tried to suppress Black history or African American history in the public schools,” Dulaney says, “particularly about things like Reconstruction and slavery, literally distorting the curriculum.”\u003c/p>\n\u003cp>At the university level, Black studies programs were almost nonexistent, he says. “California was the first state to actually mandate Black history in 1951 for the public schools.”\u003c/p>\n\u003cp>Largely as a result of the civil rights and Black consciousness movements of the 1960s, “you saw an uptick in Black history courses,” says LaGarrett King, an associate professor of social studies education at the University at Buffalo.\u003c/p>\n\u003cp>Across the country, public schools “created all these courses and mandates for Black history,” unofficially creating a Black History Month, King says.\u003c/p>\n\u003cfigure id=\"attachment_13924582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-800x527.jpg\" alt=\"\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-1536x1012.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Civil rights leader Martin Luther King (C) waves to supporters on the Mall in Washington DC (Washington Monument in background) during 1963’s ‘March on Washington.’ \u003ccite>(AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Black press also helped push the idea, says Marcus Hunter, a sociology professor at the University of California, Los Angeles.\u003c/p>\n\u003cp>“\u003cem>The Chicago Defender\u003c/em>, the \u003cem>Philadelphia Tribune\u003c/em>, the \u003cem>Baltimore Afro-American\u003c/em> … they all started to say that this is something we’re celebrating,” Hunter says.\u003c/p>\n\u003cp>[aside postid='arts_13909125']By 1976, it became official, with President Gerald R. Ford \u003ca href=\"https://www.fordlibrarymuseum.gov/library/speeches/760074.htm\">declaring\u003c/a> February as Black History Month and calling on the public to “seize the opportunity to honor the too-often neglected accomplishments of Black Americans in every area of endeavor throughout our history.”\u003c/p>\n\u003cp>Today, Black History Month is also celebrated in \u003ca href=\"https://www.canada.ca/en/canadian-heritage/campaigns/black-history-month/about.html\">Canada\u003c/a> every February and the \u003ca href=\"https://www.creativesupport.co.uk/the-history-of-black-history-month/\">United Kingdom\u003c/a> in October.\u003c/p>\n\u003ch3>There’s a new theme every year\u003c/h3>\n\u003cp>Each year, the ASALH chooses a different theme for Black History Month. This year, the theme is “Black Resistance.”\u003c/p>\n\u003cp>“African Americans have resisted historic and ongoing oppression, in all forms, especially the racial terrorism of lynching, racial pogroms, and police killings since our arrival upon these shores,” the ASALH says of \u003ca href=\"https://asalh.org/black-history-themes/\">this year’s theme\u003c/a>. “These efforts have been to advocate for a dignified self-determined life in a just democratic society in the United States and beyond the United States political jurisdiction.”\u003c/p>\n\u003cp>Dulaney says this year’s theme was chosen, in part, because of the current politically charged environment around race.\u003c/p>\n\u003cp>[aside postid='arts_13892105']He calls efforts in states like \u003ca href=\"https://www.npr.org/2023/01/22/1150259944/florida-rejects-ap-class-african-american-studies\">Florida\u003c/a>, which recently rejected a new Advanced Placement course covering African American studies, and\u003ca href=\"https://apnews.com/article/education-alabama-race-and-ethnicity-5ed4c96f5ed24ece30eac7fc5360ecbd#:~:text=(AP)%20%E2%80%94%20The%20Alabama%20State,about%20race%20in%20the%20classroom.\"> Alabama\u003c/a>, where the State Board of Education has voted to limit how educators can talk about race in the classroom, “a strong retrenchment” against coming to terms with Black history. In light of that, the theme seemed appropriate this year, Dulaney says.\u003c/p>\n\u003cp>King acknowledges that some people might interpret this year’s theme as politically provocative, but it shouldn’t be seen that way. Rather, it’s an effort to reframe the conversation about Black history around a theme of empowerment, he says.\u003c/p>\n\u003cp>“With resistance there is an implied understanding of oppression, and it seems to be a segment of the population who do not want to admit those historical facts,” he says. “Yet, resistance helps us understand the power that Black people have in terms of their historical realities, which counters the concept of victimhood that many say drives Black History education.”\u003c/p>\n\u003ch3>Recent controversies over how race is taught echo a time when Black history was often ignored\u003c/h3>\n\u003cp>For Dulaney, the culture wars playing out across the country over how students learn about race feel like a case of history repeating itself.\u003c/p>\n\u003cp>For many, recent events — the police killings of \u003ca href=\"https://www.npr.org/2021/03/13/973983947/a-year-after-breonna-taylors-killing-family-says-theres-no-accountability\">Breonna Taylor\u003c/a> and George Floyd, for example, and the ongoing controversy surrounding critical race theory, an academic framework stating that people who are white have benefited from ingrained racism in American institutions — look like a recurring pattern, he says.\u003c/p>\n\u003cp>“I grew up in Ohio and we didn’t learn about a single African or African American man or woman who had ever done anything in history,” the 72-year-old Dulaney says.\u003c/p>\n\u003cp>[aside postid='arts_13892820']“Starting in the ‘60s, through the ‘70s, we were very successful in integrating African American history of culture into the curriculum,” he says.\u003c/p>\n\u003cp>However, “now here we are back, having to push that agenda again … [against those] trying to suppress the teaching of African American history and culture.”\u003c/p>\n\u003cp>King thinks the current controversy surrounding critical race theory will die down. “My personal feelings are that they’ll find another politically manufactured outrage and move on to the next thing,” he says.\u003c/p>\n\u003cp>UCLA’s Hunter thinks that debate is indicative of where the country is right now. What it really says is “there’s a lot of work to still be done.”\u003c/p>\n\u003cp>However, Black History Month has been and can continue to be a force for better understanding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It offers a certain amount of optimism about what is possible if people actually focus on the educational importance of it,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+Black+History+Month.+Here+are+3+things+to+know+about+the+annual+celebration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>February marks Black History Month, a tradition that got its start in the Jim Crow era and was officially recognized in 1976 as part of the nation’s bicentennial celebrations. It aims to honor the contributions that African Americans have made and to recognize their sacrifices.\u003c/p>\n\u003cp>Here are three things to know about Black History Month:\u003c/p>\n\u003ch3>It was Negro History Week before it was Black History Month\u003c/h3>\n\u003cp>In 1926, \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/carter-g-woodson\">Carter G. Woodson\u003c/a>, the scholar often referred to as the “father of Black history,” established Negro History Week to focus attention on Black contributions to civilization. According to the NAACP, Woodson — at the time only the second Black American after W.E.B. Du Bois to earn a doctorate from Harvard University — “fervently believed that Black people should be proud of their heritage and [that] all Americans should understand the largely overlooked achievements of Black Americans.”\u003c/p>\n\u003cp>Woodson, the son of former enslaved people, famously \u003ca href=\"https://www.williamjames.edu/news/Why-We-Celebrate-Black-History-Month.html\">said\u003c/a>: “If a race has no history, if it has no worthwhile tradition, it becomes a negligible factor in the thought of the world, and it stands in danger of being exterminated.”\u003c/p>\n\u003cp>Woodson chose a week in February because of Abraham Lincoln, whose birthday was Feb. 12, and Frederick Douglass, who was born enslaved and did not know his actual birth date, but chose to celebrate it on Feb. 14.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Those two people were central to helping to afford Black people the experience of freedom that they have now,” says W. Marvin Dulaney, president of the Association for the Study of African American Life and History (\u003ca href=\"https://asalh.org/\">ASALH\u003c/a>), which Woodson founded in 1915 and today is the official promoter of Black History Month.\u003c/p>\n\u003cp>In the decades after the Civil War and through \u003ca href=\"https://www.npr.org/sections/codeswitch/2019/07/27/744130358/red-summer-in-chicago-100-years-after-the-race-riots\">the racial violence that erupted across the country in the years following World War I\u003c/a>, there was a concerted effort to repress the teaching of Black history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In the South, they tried to suppress Black history or African American history in the public schools,” Dulaney says, “particularly about things like Reconstruction and slavery, literally distorting the curriculum.”\u003c/p>\n\u003cp>At the university level, Black studies programs were almost nonexistent, he says. “California was the first state to actually mandate Black history in 1951 for the public schools.”\u003c/p>\n\u003cp>Largely as a result of the civil rights and Black consciousness movements of the 1960s, “you saw an uptick in Black history courses,” says LaGarrett King, an associate professor of social studies education at the University at Buffalo.\u003c/p>\n\u003cp>Across the country, public schools “created all these courses and mandates for Black history,” unofficially creating a Black History Month, King says.\u003c/p>\n\u003cfigure id=\"attachment_13924582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-800x527.jpg\" alt=\"\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-1536x1012.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Civil rights leader Martin Luther King (C) waves to supporters on the Mall in Washington DC (Washington Monument in background) during 1963’s ‘March on Washington.’ \u003ccite>(AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Black press also helped push the idea, says Marcus Hunter, a sociology professor at the University of California, Los Angeles.\u003c/p>\n\u003cp>“\u003cem>The Chicago Defender\u003c/em>, the \u003cem>Philadelphia Tribune\u003c/em>, the \u003cem>Baltimore Afro-American\u003c/em> … they all started to say that this is something we’re celebrating,” Hunter says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By 1976, it became official, with President Gerald R. Ford \u003ca href=\"https://www.fordlibrarymuseum.gov/library/speeches/760074.htm\">declaring\u003c/a> February as Black History Month and calling on the public to “seize the opportunity to honor the too-often neglected accomplishments of Black Americans in every area of endeavor throughout our history.”\u003c/p>\n\u003cp>Today, Black History Month is also celebrated in \u003ca href=\"https://www.canada.ca/en/canadian-heritage/campaigns/black-history-month/about.html\">Canada\u003c/a> every February and the \u003ca href=\"https://www.creativesupport.co.uk/the-history-of-black-history-month/\">United Kingdom\u003c/a> in October.\u003c/p>\n\u003ch3>There’s a new theme every year\u003c/h3>\n\u003cp>Each year, the ASALH chooses a different theme for Black History Month. This year, the theme is “Black Resistance.”\u003c/p>\n\u003cp>“African Americans have resisted historic and ongoing oppression, in all forms, especially the racial terrorism of lynching, racial pogroms, and police killings since our arrival upon these shores,” the ASALH says of \u003ca href=\"https://asalh.org/black-history-themes/\">this year’s theme\u003c/a>. “These efforts have been to advocate for a dignified self-determined life in a just democratic society in the United States and beyond the United States political jurisdiction.”\u003c/p>\n\u003cp>Dulaney says this year’s theme was chosen, in part, because of the current politically charged environment around race.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He calls efforts in states like \u003ca href=\"https://www.npr.org/2023/01/22/1150259944/florida-rejects-ap-class-african-american-studies\">Florida\u003c/a>, which recently rejected a new Advanced Placement course covering African American studies, and\u003ca href=\"https://apnews.com/article/education-alabama-race-and-ethnicity-5ed4c96f5ed24ece30eac7fc5360ecbd#:~:text=(AP)%20%E2%80%94%20The%20Alabama%20State,about%20race%20in%20the%20classroom.\"> Alabama\u003c/a>, where the State Board of Education has voted to limit how educators can talk about race in the classroom, “a strong retrenchment” against coming to terms with Black history. In light of that, the theme seemed appropriate this year, Dulaney says.\u003c/p>\n\u003cp>King acknowledges that some people might interpret this year’s theme as politically provocative, but it shouldn’t be seen that way. Rather, it’s an effort to reframe the conversation about Black history around a theme of empowerment, he says.\u003c/p>\n\u003cp>“With resistance there is an implied understanding of oppression, and it seems to be a segment of the population who do not want to admit those historical facts,” he says. “Yet, resistance helps us understand the power that Black people have in terms of their historical realities, which counters the concept of victimhood that many say drives Black History education.”\u003c/p>\n\u003ch3>Recent controversies over how race is taught echo a time when Black history was often ignored\u003c/h3>\n\u003cp>For Dulaney, the culture wars playing out across the country over how students learn about race feel like a case of history repeating itself.\u003c/p>\n\u003cp>For many, recent events — the police killings of \u003ca href=\"https://www.npr.org/2021/03/13/973983947/a-year-after-breonna-taylors-killing-family-says-theres-no-accountability\">Breonna Taylor\u003c/a> and George Floyd, for example, and the ongoing controversy surrounding critical race theory, an academic framework stating that people who are white have benefited from ingrained racism in American institutions — look like a recurring pattern, he says.\u003c/p>\n\u003cp>“I grew up in Ohio and we didn’t learn about a single African or African American man or woman who had ever done anything in history,” the 72-year-old Dulaney says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Starting in the ‘60s, through the ‘70s, we were very successful in integrating African American history of culture into the curriculum,” he says.\u003c/p>\n\u003cp>However, “now here we are back, having to push that agenda again … [against those] trying to suppress the teaching of African American history and culture.”\u003c/p>\n\u003cp>King thinks the current controversy surrounding critical race theory will die down. “My personal feelings are that they’ll find another politically manufactured outrage and move on to the next thing,” he says.\u003c/p>\n\u003cp>UCLA’s Hunter thinks that debate is indicative of where the country is right now. What it really says is “there’s a lot of work to still be done.”\u003c/p>\n\u003cp>However, Black History Month has been and can continue to be a force for better understanding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It offers a certain amount of optimism about what is possible if people actually focus on the educational importance of it,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+Black+History+Month.+Here+are+3+things+to+know+about+the+annual+celebration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Fleishman Is in Trouble’ Is a Trojan Horse for Women’s Stories, Says Lizzy Caplan",
"headTitle": "‘Fleishman Is in Trouble’ Is a Trojan Horse for Women’s Stories, Says Lizzy Caplan | KQED",
"content": "\u003cp>At first glance, the series \u003cem>Fleishman is in Trouble \u003c/em>seems to be a story about a divorced dad (Jesse Eisenberg) navigating single parenthood and the mid-life dating scene. But right away there’s a clue that things are not as straightforward as they seem: The series is narrated not by Toby Fleishman, but his old college friend, Libby, played by Lizzy Caplan.\u003c/p>\n\u003cp>Caplan likens the series, which is based on \u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\">the novel \u003c/a>by showrunner\u003ca href=\"https://www.npr.org/2023/01/11/1147818087/fleishman-is-in-trouble-taffy-brodesser-akner\"> Taffy Brodesser-Akner\u003c/a>, to a Trojan horse: “You think that you’re watching this story about a man getting divorced, figuring out dating apps, and you’re really not watching that story at all.”\u003c/p>\n\u003cp>[aside postid='pop_997']Over the course of the series’ eight episodes, the story shifts its focus, so that by the end, in addition to seeing things from Toby’s point of view, we also hear from Libby and from Toby’s ex-wife Rachel, played by Claire Danes. Caplan says the structuring was deliberate.\u003c/p>\n\u003cp>“It’s a sad truth … which is: I don’t know if this show would have been watched by as many people if it was about a woman [Rachel] going through horrific postpartum depression and anxiety, and another woman [Libby] having sort of a slower burn mid-life crisis,” Caplan says. “I think that immediately turns off a lot of male viewers and honestly, a lot of female viewers as well.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2jyBu4xGeH4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Caplan’s first acting job ever was in the 1999 high school drama, \u003cem>Freaks and Geeks\u003c/em>. More recently she was nominated for an Emmy for her role as a sex researcher in the Showtime series, \u003cem>Masters of Sex.\u003c/em> Libby, her character on \u003cem>Fleishman is in Trouble, \u003c/em>is a former magazine writer who’s become a suburban stay-at-home mom. Libby’s struggling with marriage, motherhood and identity — and mourning the loss of her own youth and potential. Caplan began shooting \u003cem>Fleishman \u003c/em>shortly after becoming a mother herself, which made Libby’s struggles even more resonant.\u003c/p>\n\u003cp>“It was just a lucky break to get to do this show at the dawn of my own motherhood,” she says. “The curtain was being ripped away on a daily basis for me, especially in those first three months, as I think it is for many new mothers.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On being stuck auditioning for the same female archetypes earlier in her career \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13920514']I feel like the roles for women, especially in television, they just get more interesting … as I’ve gotten older. But I know that is certainly not something that everybody feels. I know that I’m lucky to feel that way. But I definitely remember when I was younger and auditioning for a lot of this high school stuff or some early-twenties stuff and the male roles were always better. They always got to do the more fun stuff. And you were sort of relegated to a few different archetypes as a girl, especially back then. It has changed a lot, I see. A lot of the teen shows now, there is a shift, but there was the hot popular girl, there was the nerd. There was, like, the alternative best friend, which was very much my lane for a while. And I was very fortunate to be in some projects that kind of skewered the archetypal nature of those things. But for the most part, the things I auditioned for, certainly I remember asking many times when I was younger, like, “Can I audition for the guy part? Is there any way? There’s no reason why this character has to be a guy. It can be a girl.” And I certainly had nowhere near enough clout in the business for anybody to do anything other than laugh at that request.\u003c/p>\n\u003cp>\u003cstrong>On losing her mother when she was 13 and turning to acting in her grief \u003c/strong>\u003c/p>\n\u003cp>I had no idea how to process my mother’s death. It took me many, many years, but I knew that it gave me a darkness that in my mind was a requirement for being an actor, or the kind of actor I wanted to be. I needed to have this inner pain in order to do it. I remember going to an acting class and auditing it when I was 16 years old, and it was in Hollywood. It was a pretty prestigious acting class and it was full of 100 people in it and it went really late, till 1:00 a.m. And I stayed there and I watched it the whole time. And then I met with the teacher afterwards to see if I could join the class. And she looked at me and asked me how old I was, and I said I was 16. And she said, “You haven’t had any life experience. You can’t be in this class,” and booted me out. And that moment, it’s so crystallized in my brain because I remember feeling like, ‘Oh, no, this is the community that’s supposed to see these things in me — that I do have the depth that is required to be in this class — but you just see some dumb little teenager who hasn’t been through anything.’ When the reality was I had been through what is still the most monumental tragedy of my life.\u003c/p>\n\u003cp>\u003cstrong>On her first role in the series \u003c/strong>\u003cstrong>\u003cem>Freaks and Geeks\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Little did I know that “critically acclaimed and short-lived” would describe the vast majority of my future projects. The experience itself was very overwhelming … just stepping into this completely different universe that I had no idea about. I grew up in L.A., but I had never been on a movie set before. I didn’t know how any of it worked. I didn’t know about marks on the ground and coverage and close ups and how long everything was going to take and hair and makeup and how many outfits I’d have to try on for this one line that I was going to say.\u003c/p>\n\u003cp>I remember … just looking in the mirror for hours, just reciting this one line over and over and over and over again and being terrified and just in love with the idea of this moving village with these hundreds of people all working towards this goal together, but also feeling, again, completely overwhelmed, very shy, not bonding in any way with any of my castmates or anybody. I look back at that experience and it was just honestly pure luck to end up on a show that ended up being so loved and so respected for so many years, because I really did audition for all kinds of nonsense, and just that was the first place that picked me. But it wasn’t a fun experience for me. It was mostly just scary.\u003c/p>\n\u003cp>\u003cstrong>On her break-out role in 2004’s \u003c/strong>\u003cstrong>\u003cem>Mean Girls \u003c/em>\u003c/strong>\u003cstrong>as “alternative” girl Janis Ian\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921477']All I knew was that it was the funniest script I had ever read and I would do anything to be in it. And then the making of that was so fun. We were in Toronto and young and living in this hotel together, and it was just a wonderful experience. And then it did well when it first opened. And so I thought that meant that I was off to the races. And that is certainly not what happened. I didn’t work after that for a year. I didn’t really understand how I could be in something that seemed to be successful and none of that success seemed to be rubbing off on me. So I did what most actresses in the early aughts did and got a spray tan and dyed my hair blond and just joined a show [\u003cem>Related\u003c/em>] on the WB network. That felt like the antidote.\u003c/p>\n\u003cfigure id=\"attachment_13924497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg\" alt=\"A young woman with pale skin, wearing black eye make-up, a studded bracelet and a sleeveless denim jacket sits at a kitchen table, pen in hand.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The making of that was so fun,” Caplan says of the 2004 film ‘Mean Girls.’ \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On relating to the characters in\u003c/strong> \u003cstrong>the 2009 Starz sitcom\u003c/strong>\u003cstrong>\u003cem> Party Down\u003c/em>\u003c/strong>\u003cstrong>, which was about struggling actors working as catering servers\u003c/strong>\u003c/p>\n\u003cp>I remember very vividly catering the \u003cem>Being John Malkovich\u003c/em> premiere party and walking around with a tray of passed apps and none of these people looking me in the eye at all. I was just, like, a tray that moved, and feeling those feelings that all the characters in \u003cem>Party Down\u003c/em> were feeling, which was basically like, “Oh, you don’t know who I am now, but you just wait!” I actually think there’s like two schools of thought for actors: One, when you’re starting to come up, one group takes rejection and internalizes it and believes it to be true. All the things that they say about them, that they’re not funny enough, pretty enough, whatever. And then the other school, the other group feels like, this is just ammo for me and this is just fueling my inner fire and I’m going to prove all of you guys wrong and you just wait and see! And like I, for whatever reason, fell into the second group and every rejection, I like to imagine it making me stronger and angrier and more determined.\u003c/p>\n\u003cp>\u003cstrong>On how filming sex scenes has changed so much now with intimacy coordinators \u003c/strong>\u003c/p>\n\u003cp>So much [has changed]. Which is wonderful, especially for the young people starting out, for the young actresses that don’t yet feel powerful enough to speak up on set, because it’s a very intimidating place to be when you’re young and new. So [with my first time doing a sex scene in] \u003cem>True Blood\u003c/em>, it would never happen like that again now, where I was just, like, drinking vodka at 7:00 in the morning to try to build up the courage to do this. And they were wonderful on that set. I’m very, very fortunate. I never found myself in a situation doing any of these jobs where I felt unsafe or pressured into anything. And so I’m not really even the person the intimacy coordinator is there for. They’re there for the people that are having a very different experience. \u003cem>Masters of Sex\u003c/em>, definitely no intimacy coordinator. And it’s like a completely different time because since then I have worked on shows where there have been intimacy coordinators and there’s this whole other step that just didn’t exist at all back then.\u003c/p>\n\u003cp>\u003cstrong>On starring in a reimagining of the 1987 film \u003c/strong>\u003cstrong>\u003cem>Fatal Attraction \u003c/em>\u003c/strong>\u003cstrong>(coming April 2023 on Paramount+)\u003c/strong>\u003c/p>\n\u003cp>It’s important to note that I love the movie \u003cem>Fatal Attraction\u003c/em>. I think it’s wonderful. I think it holds up in so many ways. It’s still scary. It’s still exciting. It’s still very sexy. The performances are incredible. It looks beautiful. I love the film. But when you watch even the film now, I find, as an audience member, it’s really difficult to see it in the same way that audiences saw it in 1987.\u003c/p>\n\u003cp>[aside postid='pop_105090']In 1987, you go to a movie about a married man, who’s married with a child who has this torrid weekend-long affair, [and] everything obviously goes haywire. [The other woman] becomes obsessed with him and we walk away feeling like that woman was evil, horrible, despicable, deserved to die. This poor man who made this one little mistake deserves nothing more than to ride off into the sunset with his wife and child. Thank God he prevailed against this horrible woman!\u003c/p>\n\u003cp>When you watch it now, it’s very difficult to not have some follow up questions about that. That version of the film can’t exist in 2023 because of these questions, because we’re now primed as audiences to want to know more about the woman, where she was coming from, and also to place some very well-deserved blame on the man. There’s no blame placed on him in the film. So I think while I completely understand wanting to preserve things that meant a lot to us as audience members, like the holiness of a movie you loved growing up, there are other ones like \u003cem>Fatal Attraction \u003c/em>where I think, Why not? Let’s do a deeper dive into this, because there are now more questions when you rewatch it. And if nothing else, I really think that it holds a magnifying glass up to audiences and how much we’ve changed, that a movie like that was so hugely commercially successful as well as critically acclaimed and awards … audiences today can’t see it through that same prism anymore. We just have changed so much as a culture.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Seth Kelley and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\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=%27Fleishman+Is+in+Trouble%27+is+a+Trojan+horse+for+women%27s+stories%2C+says+Lizzy+Caplan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Caplan has seen a lot of changes in how the entertainment industry treats women, since she started out on ‘Freaks and Geeks.’ ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, the series \u003cem>Fleishman is in Trouble \u003c/em>seems to be a story about a divorced dad (Jesse Eisenberg) navigating single parenthood and the mid-life dating scene. But right away there’s a clue that things are not as straightforward as they seem: The series is narrated not by Toby Fleishman, but his old college friend, Libby, played by Lizzy Caplan.\u003c/p>\n\u003cp>Caplan likens the series, which is based on \u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\">the novel \u003c/a>by showrunner\u003ca href=\"https://www.npr.org/2023/01/11/1147818087/fleishman-is-in-trouble-taffy-brodesser-akner\"> Taffy Brodesser-Akner\u003c/a>, to a Trojan horse: “You think that you’re watching this story about a man getting divorced, figuring out dating apps, and you’re really not watching that story at all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over the course of the series’ eight episodes, the story shifts its focus, so that by the end, in addition to seeing things from Toby’s point of view, we also hear from Libby and from Toby’s ex-wife Rachel, played by Claire Danes. Caplan says the structuring was deliberate.\u003c/p>\n\u003cp>“It’s a sad truth … which is: I don’t know if this show would have been watched by as many people if it was about a woman [Rachel] going through horrific postpartum depression and anxiety, and another woman [Libby] having sort of a slower burn mid-life crisis,” Caplan says. “I think that immediately turns off a lot of male viewers and honestly, a lot of female viewers as well.”\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/2jyBu4xGeH4'\n title='//www.youtube.com/embed/2jyBu4xGeH4'\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>Caplan’s first acting job ever was in the 1999 high school drama, \u003cem>Freaks and Geeks\u003c/em>. More recently she was nominated for an Emmy for her role as a sex researcher in the Showtime series, \u003cem>Masters of Sex.\u003c/em> Libby, her character on \u003cem>Fleishman is in Trouble, \u003c/em>is a former magazine writer who’s become a suburban stay-at-home mom. Libby’s struggling with marriage, motherhood and identity — and mourning the loss of her own youth and potential. Caplan began shooting \u003cem>Fleishman \u003c/em>shortly after becoming a mother herself, which made Libby’s struggles even more resonant.\u003c/p>\n\u003cp>“It was just a lucky break to get to do this show at the dawn of my own motherhood,” she says. “The curtain was being ripped away on a daily basis for me, especially in those first three months, as I think it is for many new mothers.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On being stuck auditioning for the same female archetypes earlier in her career \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I feel like the roles for women, especially in television, they just get more interesting … as I’ve gotten older. But I know that is certainly not something that everybody feels. I know that I’m lucky to feel that way. But I definitely remember when I was younger and auditioning for a lot of this high school stuff or some early-twenties stuff and the male roles were always better. They always got to do the more fun stuff. And you were sort of relegated to a few different archetypes as a girl, especially back then. It has changed a lot, I see. A lot of the teen shows now, there is a shift, but there was the hot popular girl, there was the nerd. There was, like, the alternative best friend, which was very much my lane for a while. And I was very fortunate to be in some projects that kind of skewered the archetypal nature of those things. But for the most part, the things I auditioned for, certainly I remember asking many times when I was younger, like, “Can I audition for the guy part? Is there any way? There’s no reason why this character has to be a guy. It can be a girl.” And I certainly had nowhere near enough clout in the business for anybody to do anything other than laugh at that request.\u003c/p>\n\u003cp>\u003cstrong>On losing her mother when she was 13 and turning to acting in her grief \u003c/strong>\u003c/p>\n\u003cp>I had no idea how to process my mother’s death. It took me many, many years, but I knew that it gave me a darkness that in my mind was a requirement for being an actor, or the kind of actor I wanted to be. I needed to have this inner pain in order to do it. I remember going to an acting class and auditing it when I was 16 years old, and it was in Hollywood. It was a pretty prestigious acting class and it was full of 100 people in it and it went really late, till 1:00 a.m. And I stayed there and I watched it the whole time. And then I met with the teacher afterwards to see if I could join the class. And she looked at me and asked me how old I was, and I said I was 16. And she said, “You haven’t had any life experience. You can’t be in this class,” and booted me out. And that moment, it’s so crystallized in my brain because I remember feeling like, ‘Oh, no, this is the community that’s supposed to see these things in me — that I do have the depth that is required to be in this class — but you just see some dumb little teenager who hasn’t been through anything.’ When the reality was I had been through what is still the most monumental tragedy of my life.\u003c/p>\n\u003cp>\u003cstrong>On her first role in the series \u003c/strong>\u003cstrong>\u003cem>Freaks and Geeks\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Little did I know that “critically acclaimed and short-lived” would describe the vast majority of my future projects. The experience itself was very overwhelming … just stepping into this completely different universe that I had no idea about. I grew up in L.A., but I had never been on a movie set before. I didn’t know how any of it worked. I didn’t know about marks on the ground and coverage and close ups and how long everything was going to take and hair and makeup and how many outfits I’d have to try on for this one line that I was going to say.\u003c/p>\n\u003cp>I remember … just looking in the mirror for hours, just reciting this one line over and over and over and over again and being terrified and just in love with the idea of this moving village with these hundreds of people all working towards this goal together, but also feeling, again, completely overwhelmed, very shy, not bonding in any way with any of my castmates or anybody. I look back at that experience and it was just honestly pure luck to end up on a show that ended up being so loved and so respected for so many years, because I really did audition for all kinds of nonsense, and just that was the first place that picked me. But it wasn’t a fun experience for me. It was mostly just scary.\u003c/p>\n\u003cp>\u003cstrong>On her break-out role in 2004’s \u003c/strong>\u003cstrong>\u003cem>Mean Girls \u003c/em>\u003c/strong>\u003cstrong>as “alternative” girl Janis Ian\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All I knew was that it was the funniest script I had ever read and I would do anything to be in it. And then the making of that was so fun. We were in Toronto and young and living in this hotel together, and it was just a wonderful experience. And then it did well when it first opened. And so I thought that meant that I was off to the races. And that is certainly not what happened. I didn’t work after that for a year. I didn’t really understand how I could be in something that seemed to be successful and none of that success seemed to be rubbing off on me. So I did what most actresses in the early aughts did and got a spray tan and dyed my hair blond and just joined a show [\u003cem>Related\u003c/em>] on the WB network. That felt like the antidote.\u003c/p>\n\u003cfigure id=\"attachment_13924497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg\" alt=\"A young woman with pale skin, wearing black eye make-up, a studded bracelet and a sleeveless denim jacket sits at a kitchen table, pen in hand.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/sub-buzz-620-1571759685-2-2f9a24d5993f1dc57fdbed6d37009acedafcf46e-1-e1675192207952.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The making of that was so fun,” Caplan says of the 2004 film ‘Mean Girls.’ \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On relating to the characters in\u003c/strong> \u003cstrong>the 2009 Starz sitcom\u003c/strong>\u003cstrong>\u003cem> Party Down\u003c/em>\u003c/strong>\u003cstrong>, which was about struggling actors working as catering servers\u003c/strong>\u003c/p>\n\u003cp>I remember very vividly catering the \u003cem>Being John Malkovich\u003c/em> premiere party and walking around with a tray of passed apps and none of these people looking me in the eye at all. I was just, like, a tray that moved, and feeling those feelings that all the characters in \u003cem>Party Down\u003c/em> were feeling, which was basically like, “Oh, you don’t know who I am now, but you just wait!” I actually think there’s like two schools of thought for actors: One, when you’re starting to come up, one group takes rejection and internalizes it and believes it to be true. All the things that they say about them, that they’re not funny enough, pretty enough, whatever. And then the other school, the other group feels like, this is just ammo for me and this is just fueling my inner fire and I’m going to prove all of you guys wrong and you just wait and see! And like I, for whatever reason, fell into the second group and every rejection, I like to imagine it making me stronger and angrier and more determined.\u003c/p>\n\u003cp>\u003cstrong>On how filming sex scenes has changed so much now with intimacy coordinators \u003c/strong>\u003c/p>\n\u003cp>So much [has changed]. Which is wonderful, especially for the young people starting out, for the young actresses that don’t yet feel powerful enough to speak up on set, because it’s a very intimidating place to be when you’re young and new. So [with my first time doing a sex scene in] \u003cem>True Blood\u003c/em>, it would never happen like that again now, where I was just, like, drinking vodka at 7:00 in the morning to try to build up the courage to do this. And they were wonderful on that set. I’m very, very fortunate. I never found myself in a situation doing any of these jobs where I felt unsafe or pressured into anything. And so I’m not really even the person the intimacy coordinator is there for. They’re there for the people that are having a very different experience. \u003cem>Masters of Sex\u003c/em>, definitely no intimacy coordinator. And it’s like a completely different time because since then I have worked on shows where there have been intimacy coordinators and there’s this whole other step that just didn’t exist at all back then.\u003c/p>\n\u003cp>\u003cstrong>On starring in a reimagining of the 1987 film \u003c/strong>\u003cstrong>\u003cem>Fatal Attraction \u003c/em>\u003c/strong>\u003cstrong>(coming April 2023 on Paramount+)\u003c/strong>\u003c/p>\n\u003cp>It’s important to note that I love the movie \u003cem>Fatal Attraction\u003c/em>. I think it’s wonderful. I think it holds up in so many ways. It’s still scary. It’s still exciting. It’s still very sexy. The performances are incredible. It looks beautiful. I love the film. But when you watch even the film now, I find, as an audience member, it’s really difficult to see it in the same way that audiences saw it in 1987.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1987, you go to a movie about a married man, who’s married with a child who has this torrid weekend-long affair, [and] everything obviously goes haywire. [The other woman] becomes obsessed with him and we walk away feeling like that woman was evil, horrible, despicable, deserved to die. This poor man who made this one little mistake deserves nothing more than to ride off into the sunset with his wife and child. Thank God he prevailed against this horrible woman!\u003c/p>\n\u003cp>When you watch it now, it’s very difficult to not have some follow up questions about that. That version of the film can’t exist in 2023 because of these questions, because we’re now primed as audiences to want to know more about the woman, where she was coming from, and also to place some very well-deserved blame on the man. There’s no blame placed on him in the film. So I think while I completely understand wanting to preserve things that meant a lot to us as audience members, like the holiness of a movie you loved growing up, there are other ones like \u003cem>Fatal Attraction \u003c/em>where I think, Why not? Let’s do a deeper dive into this, because there are now more questions when you rewatch it. And if nothing else, I really think that it holds a magnifying glass up to audiences and how much we’ve changed, that a movie like that was so hugely commercially successful as well as critically acclaimed and awards … audiences today can’t see it through that same prism anymore. We just have changed so much as a culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Seth Kelley and Susan Nyakundi produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\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=%27Fleishman+Is+in+Trouble%27+is+a+Trojan+horse+for+women%27s+stories%2C+says+Lizzy+Caplan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Get These Sundance 2023 Movies on Your Radar Now",
"headTitle": "Get These Sundance 2023 Movies on Your Radar Now | KQED",
"content": "\u003cp>The thing about the Sundance Film Festival — or any film festival, for that matter — is that it can be a fool’s errand to try and predict the trajectory of a movie beyond the initial wave of critics’ reactions and reports of multimillion distribution deals. Sure, \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">\u003cem>CODA\u003c/em>\u003c/a> was a hit upon its premiere at the fest in 2021, but was anyone at that time thinking it would go on to become the first Sundance movie \u003cem>and \u003c/em>a movie from a streaming service to win the Best Picture Oscar? On the other hand, an untold number of films have made a splash only to be buried and forgotten upon release months later.\u003c/p>\n\u003cp>[aside postid='arts_13924083']But one thing I love about Sundance is that if you see enough movies, there are always going to be some gems and genuine surprises to stumble upon, particularly when it comes to emerging filmmakers and performers. And then you hope that at the very least they find an enthusiastic audience beyond us fest-goers.\u003c/p>\n\u003cp>Sundance 2023 \u003ca href=\"https://www.npr.org/2023/01/19/1149924353/park-city-utah-welcomes-back-sundance-film-festival-attendees\">took place in-person\u003c/a> in Park City, Utah for the first time since 2020. I wasn’t able to head out to the mountains this year, but much of the program was also made available to press and audiences online, and I wound up screening nearly 20 movies over the past week. We’re still a couple days away from the conclusion of the festival, and the awards are set to be announced Friday evening, but below are a few of my favorites from this year.\u003c/p>\n\u003ch3>The crowd pleasers\u003c/h3>\n\u003cp>If there’s one specific formula Sundance programmers and audiences can’t resist, it’s the quirky coming-of-age drama/comedy/dramedy. (See \u003ca href=\"https://www.npr.org/2015/06/12/413947330/laughs-leaven-tears-in-me-and-earl-and-the-dying-girl\">\u003cem>Me and Earl and the Dying Girl\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2021/08/08/1025124051/troy-kotsur-coda-deaf-actor-mandalorian-criminal-minds\">\u003cem>CODA\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/06/17/1105212490/sundance-movie-reviews-good-luck-to-you-leo-grande-cha-cha-real-smooth\">\u003cem>Cha Cha Real Smooth\u003c/em>\u003c/a>, each of which won an Audience Award in their respective years.) Sometimes these movies can border on cloying and twee, but two such stories I saw this year managed to mercifully resist such categorization.\u003c/p>\n\u003cp>The first is \u003ca href=\"https://festival.sundance.org/program/film/638a1782d406b210f8f2cafb\">\u003cem>Polite Society,\u003c/em>\u003c/a> the genre-hopping feature directorial debut of Nida Manzoor, who is probably best known as the creator of the acclaimed series \u003ca href=\"https://www.wbur.org/npr/1007574314/we-are-lady-parts-rocks-with-bracing-honesty-and-nuance\">\u003cem>We Are Lady Parts\u003c/em>.\u003c/a> It stars Priya Kansara as Ria Khan, a plucky teen and aspiring stunt woman who takes it extremely personally when her older sister Lena (Ritu Arya) becomes engaged to a wealthy doctor. Ria, a die-hard feminist, is worried Lena has given up on her dreams of becoming an artist to go full-on Stepford Wife, so she’ll do everything in her power to keep the wedding from happening, with the assist of her best friends.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Lady Part’\u003c/em>s themes around sisterhood and feminine autonomy are all over this — as is the DNA of action-comedies like \u003ca href=\"https://www.npr.org/2010/04/15/114616124/shiv-and-let-shiv-making-peace-with-kick-ass-and-other-meditations\">\u003cem>Kick-Ass\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/04/10/1091504221/michelle-yeoh-everything-everywhere-all-at-once\"> \u003cem>Everything Everywhere All at Once\u003c/em>,\u003c/a> and the twisty humor of Jordan Peele. The ensemble is a delight, especially Kansara and Nimra Bucha, who relishes her role as Lena’s soon-to-be mother-in-law, and the script is sharp-witted and breezy. Luckily, you won’t have to wait too long to check this out — it’s currently scheduled for theatrical release on April 28.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TRFM7HQmkH0\u003c/p>\n\u003cp>The other is Molly Gordon and Nick Lieberman’s\u003ca href=\"https://festival.sundance.org/program/film/638a6f5ea54797525eba76df\"> \u003cem>Theater Camp\u003c/em>\u003c/a>, a mockumentary about a kids camp that faces two big setbacks: The loss of its beloved founder Joan (Amy Sedaris), who slips into a coma following a seizure during a production of \u003cem>Bye Bye Birdie\u003c/em>, and impending financial doom. Her kind of dense, bro-y son Troy earnestly takes over, while the counselors, including alumni and best friends Amos and Rebecca-Diane (Ben Platt and Gordon) try to keep the show going.\u003c/p>\n\u003cp>I’ll admit that I’m especially biased on this one, having myself once been a theater kid — so I was able to overlook the bold and disappointing choice to cast the great Amy Sedaris only to relegate her to just a handful of minutes on screen. Also yes, the mockumentary format is mostly tired,\u003ca href=\"https://www.npr.org/2022/02/23/1082506558/abbott-elementary-quinta-brunson\"> \u003cem>Abbott Elementary\u003c/em>\u003c/a> aside. But many of the jokes about overenthusiastic theater geeks young and old landed for me. And the movie’s final act, involving the kids’ performance of a musical tribute to Joan, is both astonishingly silly and quite sweet. It \u003ca href=\"https://variety.com/2023/film/news/theater-camp-searchlight-sundance-film-festival-sale-ben-platt-1235499383/\">sold to Searchlight Pictures\u003c/a> at the festival, so expect to see it released in the coming months.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6D4rZzR15Wk\u003c/p>\n\u003ch3>Men are not OK\u003c/h3>\n\u003cp>There was no shortage of iterations on the current state of misogyny and patriarchy among this year’s Sundance offerings. One of the more interesting entries is Elijah Bynum’s \u003ca href=\"https://festival.sundance.org/program/film/638a1602d406b2db8ff2c6a1\">\u003cem>Magazine Dreams\u003c/em>\u003cem>.\u003c/em>\u003c/a> It was the talk of the festival, at first for not-great reasons (the jury, which included actor Marlee Matlin, \u003ca href=\"https://variety.com/2023/film/news/sundance-jury-walks-out-magazine-dreams-premiere-festival-marlee-matlin-captioning-1235497789/\">walked out \u003c/a>on the premiere because the theater’s open captions technology was not working), and then because of star Jonathan Majors’ towering performance as Killian, a socially awkward loner and aspiring body builder. The movie draws heavily from the likes of \u003cem>Taxi Driver’\u003c/em>s Travis Bickle and Eminem’s “Stan,” and heads in directions both obvious and confounding; the ending didn’t work for me, but Majors is a sight to behold, creating a challenging character who both embodies and resists the old racist trope of the “Black brute.”\u003c/p>\n\u003cfigure id=\"attachment_13924368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png\" alt=\"A muscular Black man’s bare skin shines under stage lights, as he stands, head bowed.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Majors as Killian in ‘Magazine Dreams.’ \u003ccite>(Glen Wilson/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I also really dug Chloe Domont’s \u003ca href=\"https://festival.sundance.org/program/film/638a208c77dd3dc87f80726b\">\u003cem>Fair Play\u003c/em>,\u003c/a> a thriller about a newly engaged heterosexual couple whose relationship is tested when one of them gets a promotion over the other at the cutthroat financial firm where they both work. Can you guess which one of them doesn’t get the coveted position? Why yes, it’s the man, Luke (Alden Ehrenreich), who tries really hard — at first — to be supportive of Emily (Phoebe Dynevor), his fiancée and, now, his superior. The guy who’s threatened by his girlfriend’s/wife’s career is a tale as old as time, but Domont puts a spin on it that feels very in tune with the now and all the discourse being had about the fraught nature of girl bosses and workplace relationships. (Netflix reportedly \u003ca href=\"https://variety.com/2023/film/festivals/fair-play-sundance-film-festival-sale-netflix-1235498052/\">acquired it in a $20 million deal\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13924104']On a lighter note, the spiky rom-com \u003ca href=\"https://festival.sundance.org/program/film/638a16dfd406b2f146f2c7c9\">\u003cem>Shortcomings\u003c/em>\u003c/a> deals with fragile masculinity from an Asian American perspective. It stars Justin H. Min as Ben, a wannabe filmmaker living in Berkeley, who’s stuck in both a professional and romantic rut. When Ben’s girlfriend Miko (Ally Maki) leaves for New York to pursue an internship, he’s forced to finally confront his many insecurities and internalized racism — Miko and his best friend, Alice, played by Sherry Cola, frequently call out his fetish for blonde white women, as well as his hypocritical disdain for Asian women who date white men. Screenwriter Adrian Tomine adapted his graphic novel of the same name, and it marks the directorial debut of Randall Park; while it hits some familiar beats, the banter is often funny and the script heads to places few rom-coms dare go.\u003c/p>\n\u003ch3>Finding family, finding yourself\u003c/h3>\n\u003cp>Among my absolute favorite finds this year were several movies dealing with themes of memory, generational bonds, and self-discovery.\u003c/p>\n\u003cfigure id=\"attachment_13924364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924364\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg\" alt=\"A slender Black woman wearing a simple long white smock, cradles her baby closely in her arms. She is standing outside with lush green trees and a hedge behind her.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Atim in ‘All Dirt Roads Taste of Salt.’ \u003ccite>(Jaclyn Martinez/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raven Jackson’s debut \u003ca href=\"https://festival.sundance.org/program/film/638a20ae77dd3d361c8072eb\">\u003cem>All Dirt Roads Taste of Salt\u003c/em>\u003c/a> is a poetic, non-linear narrative that traverses several decades in the life of a Mississippi woman, from childhood through adulthood. This isn’t about plot, but about the moments of mundanity made profound through the inquisitive eyes of Mack (played as a kid by Kaylee Nicole Johnson and older by Charleen McClure) and the camera’s lingering gaze: fishing with dad, parents slow-dancing in the living room, listening to grandma’s stories. One scene in particular stuck with me and is already in the running for best scenes of the year — a quiet, trembling embrace that carries with it the weight of years, loss and connection without a single word. (There is in fact, very little dialogue throughout the film.) In stunning imagery and tone, it feels like a direct descendant of Julie Dash’s \u003ca href=\"https://www.npr.org/2016/11/20/502797705/daughters-of-the-dust-re-released-following-attention-from-beyonc\">\u003cem>Daughters of the Dust\u003c/em>\u003c/a>, yet stands powerfully on its own as a rumination on Black womanhood and its existence within nature. And as if you need any more reason to be on the lookout for this movie, Barry Jenkins is a producer.\u003c/p>\n\u003cp>[aside postid='arts_13923793']Milisuthando Bongela’s documentary \u003ca href=\"https://festival.sundance.org/program/film/638a180f77dd3d4e0880568b\">\u003cem>Milisuthando\u003c/em>\u003c/a> is similarly evocative, though Bongela embraces dialogue and a more literal approach, creating a compelling personal essay brought to life on screen. Through home movies, interviews, and tons of striking archival footage, she excavates the lingering effects of South African apartheid on herself and her friends and family. She challenges the myths that were perpetuated by those who supported the Transkei, an unrecognized state that was created in 1976 under the pretense that it would liberate the Xosha people and shield them from the harms of apartheid. And she questions what it means to have white friends in South Africa, which includes an illuminating, unflinching conversation between the filmmaker and her friend (and the movie’s producer) Marion Isaacs. The country’s history with race is emotionally rendered and made deeply personal in a way I haven’t quite seen before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924358 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe\" alt=\"An older woman with pale skin and chin-length grey hair examines her reflection in a small, round bathroom mirror.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1536x863.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And then there’s Patricia Ortega’s \u003ca href=\"https://festival.sundance.org/program/film/638a179977dd3d550a8054c9\">\u003cem>MAMACRUZ\u003c/em>,\u003c/a> a charming Spanish-language film about Cruz (Kiti Mánver), an older woman who has a late-in-life sexual awakening after discovering porn on the internet. The premise definitely leaves room for cheekiness (a scene where Cruz watches a couple have sex with chocolate is immediately followed up with the image of a churro being dipped in chocolate sauce), but the protagonist’s journey is treated seriously and with warmth. Cruz makes friends with other women in a sex therapy group, and tries to spice up the intimacy with her distant, barely affectionate husband. She struggles to reconcile her desires with her devoutly religious beliefs. And she attempts to reconnect with her daughter, who is herself trying to realize a dream later in life, of becoming a professional dancer. If you enjoyed last year’s Sundance hit \u003ca href=\"https://www.npr.org/2022/06/07/1103500146/emma-thompson-finds-herself-and-pleasure-in-good-luck-to-you-leo-grande\">\u003cem>Good Luck to You, Leo Grande \u003c/em>\u003c/a>(like I did), you’ll definitely find pleasure in \u003cem>MAMACRUZ. \u003c/em>(International rights to the movie \u003ca href=\"https://variety.com/2023/film/global/filmax-sundance-patricia-ortega-mamacruz-1235493897/\">were snagged by Spanish distributor Filmax\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Get+these+Sundance+2023+movies+on+your+radar+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "NPR’s Aisha Harris screened nearly 20 films at Sundance — these are her favorites.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing about the Sundance Film Festival — or any film festival, for that matter — is that it can be a fool’s errand to try and predict the trajectory of a movie beyond the initial wave of critics’ reactions and reports of multimillion distribution deals. Sure, \u003ca href=\"https://www.npr.org/2021/08/13/1027033602/coda-will-yank-shamelessly-on-your-heartstrings-but-its-very-good-at-it\">\u003cem>CODA\u003c/em>\u003c/a> was a hit upon its premiere at the fest in 2021, but was anyone at that time thinking it would go on to become the first Sundance movie \u003cem>and \u003c/em>a movie from a streaming service to win the Best Picture Oscar? On the other hand, an untold number of films have made a splash only to be buried and forgotten upon release months later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But one thing I love about Sundance is that if you see enough movies, there are always going to be some gems and genuine surprises to stumble upon, particularly when it comes to emerging filmmakers and performers. And then you hope that at the very least they find an enthusiastic audience beyond us fest-goers.\u003c/p>\n\u003cp>Sundance 2023 \u003ca href=\"https://www.npr.org/2023/01/19/1149924353/park-city-utah-welcomes-back-sundance-film-festival-attendees\">took place in-person\u003c/a> in Park City, Utah for the first time since 2020. I wasn’t able to head out to the mountains this year, but much of the program was also made available to press and audiences online, and I wound up screening nearly 20 movies over the past week. We’re still a couple days away from the conclusion of the festival, and the awards are set to be announced Friday evening, but below are a few of my favorites from this year.\u003c/p>\n\u003ch3>The crowd pleasers\u003c/h3>\n\u003cp>If there’s one specific formula Sundance programmers and audiences can’t resist, it’s the quirky coming-of-age drama/comedy/dramedy. (See \u003ca href=\"https://www.npr.org/2015/06/12/413947330/laughs-leaven-tears-in-me-and-earl-and-the-dying-girl\">\u003cem>Me and Earl and the Dying Girl\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2021/08/08/1025124051/troy-kotsur-coda-deaf-actor-mandalorian-criminal-minds\">\u003cem>CODA\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/06/17/1105212490/sundance-movie-reviews-good-luck-to-you-leo-grande-cha-cha-real-smooth\">\u003cem>Cha Cha Real Smooth\u003c/em>\u003c/a>, each of which won an Audience Award in their respective years.) Sometimes these movies can border on cloying and twee, but two such stories I saw this year managed to mercifully resist such categorization.\u003c/p>\n\u003cp>The first is \u003ca href=\"https://festival.sundance.org/program/film/638a1782d406b210f8f2cafb\">\u003cem>Polite Society,\u003c/em>\u003c/a> the genre-hopping feature directorial debut of Nida Manzoor, who is probably best known as the creator of the acclaimed series \u003ca href=\"https://www.wbur.org/npr/1007574314/we-are-lady-parts-rocks-with-bracing-honesty-and-nuance\">\u003cem>We Are Lady Parts\u003c/em>.\u003c/a> It stars Priya Kansara as Ria Khan, a plucky teen and aspiring stunt woman who takes it extremely personally when her older sister Lena (Ritu Arya) becomes engaged to a wealthy doctor. Ria, a die-hard feminist, is worried Lena has given up on her dreams of becoming an artist to go full-on Stepford Wife, so she’ll do everything in her power to keep the wedding from happening, with the assist of her best friends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lady Part’\u003c/em>s themes around sisterhood and feminine autonomy are all over this — as is the DNA of action-comedies like \u003ca href=\"https://www.npr.org/2010/04/15/114616124/shiv-and-let-shiv-making-peace-with-kick-ass-and-other-meditations\">\u003cem>Kick-Ass\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/04/10/1091504221/michelle-yeoh-everything-everywhere-all-at-once\"> \u003cem>Everything Everywhere All at Once\u003c/em>,\u003c/a> and the twisty humor of Jordan Peele. The ensemble is a delight, especially Kansara and Nimra Bucha, who relishes her role as Lena’s soon-to-be mother-in-law, and the script is sharp-witted and breezy. Luckily, you won’t have to wait too long to check this out — it’s currently scheduled for theatrical release on April 28.\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/TRFM7HQmkH0'\n title='//www.youtube.com/embed/TRFM7HQmkH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other is Molly Gordon and Nick Lieberman’s\u003ca href=\"https://festival.sundance.org/program/film/638a6f5ea54797525eba76df\"> \u003cem>Theater Camp\u003c/em>\u003c/a>, a mockumentary about a kids camp that faces two big setbacks: The loss of its beloved founder Joan (Amy Sedaris), who slips into a coma following a seizure during a production of \u003cem>Bye Bye Birdie\u003c/em>, and impending financial doom. Her kind of dense, bro-y son Troy earnestly takes over, while the counselors, including alumni and best friends Amos and Rebecca-Diane (Ben Platt and Gordon) try to keep the show going.\u003c/p>\n\u003cp>I’ll admit that I’m especially biased on this one, having myself once been a theater kid — so I was able to overlook the bold and disappointing choice to cast the great Amy Sedaris only to relegate her to just a handful of minutes on screen. Also yes, the mockumentary format is mostly tired,\u003ca href=\"https://www.npr.org/2022/02/23/1082506558/abbott-elementary-quinta-brunson\"> \u003cem>Abbott Elementary\u003c/em>\u003c/a> aside. But many of the jokes about overenthusiastic theater geeks young and old landed for me. And the movie’s final act, involving the kids’ performance of a musical tribute to Joan, is both astonishingly silly and quite sweet. It \u003ca href=\"https://variety.com/2023/film/news/theater-camp-searchlight-sundance-film-festival-sale-ben-platt-1235499383/\">sold to Searchlight Pictures\u003c/a> at the festival, so expect to see it released in the coming months.\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/6D4rZzR15Wk'\n title='//www.youtube.com/embed/6D4rZzR15Wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Men are not OK\u003c/h3>\n\u003cp>There was no shortage of iterations on the current state of misogyny and patriarchy among this year’s Sundance offerings. One of the more interesting entries is Elijah Bynum’s \u003ca href=\"https://festival.sundance.org/program/film/638a1602d406b2db8ff2c6a1\">\u003cem>Magazine Dreams\u003c/em>\u003cem>.\u003c/em>\u003c/a> It was the talk of the festival, at first for not-great reasons (the jury, which included actor Marlee Matlin, \u003ca href=\"https://variety.com/2023/film/news/sundance-jury-walks-out-magazine-dreams-premiere-festival-marlee-matlin-captioning-1235497789/\">walked out \u003c/a>on the premiere because the theater’s open captions technology was not working), and then because of star Jonathan Majors’ towering performance as Killian, a socially awkward loner and aspiring body builder. The movie draws heavily from the likes of \u003cem>Taxi Driver’\u003c/em>s Travis Bickle and Eminem’s “Stan,” and heads in directions both obvious and confounding; the ending didn’t work for me, but Majors is a sight to behold, creating a challenging character who both embodies and resists the old racist trope of the “Black brute.”\u003c/p>\n\u003cfigure id=\"attachment_13924368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png\" alt=\"A muscular Black man’s bare skin shines under stage lights, as he stands, head bowed.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-27-at-11.59.30-AM.png 1304w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Majors as Killian in ‘Magazine Dreams.’ \u003ccite>(Glen Wilson/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I also really dug Chloe Domont’s \u003ca href=\"https://festival.sundance.org/program/film/638a208c77dd3dc87f80726b\">\u003cem>Fair Play\u003c/em>,\u003c/a> a thriller about a newly engaged heterosexual couple whose relationship is tested when one of them gets a promotion over the other at the cutthroat financial firm where they both work. Can you guess which one of them doesn’t get the coveted position? Why yes, it’s the man, Luke (Alden Ehrenreich), who tries really hard — at first — to be supportive of Emily (Phoebe Dynevor), his fiancée and, now, his superior. The guy who’s threatened by his girlfriend’s/wife’s career is a tale as old as time, but Domont puts a spin on it that feels very in tune with the now and all the discourse being had about the fraught nature of girl bosses and workplace relationships. (Netflix reportedly \u003ca href=\"https://variety.com/2023/film/festivals/fair-play-sundance-film-festival-sale-netflix-1235498052/\">acquired it in a $20 million deal\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On a lighter note, the spiky rom-com \u003ca href=\"https://festival.sundance.org/program/film/638a16dfd406b2f146f2c7c9\">\u003cem>Shortcomings\u003c/em>\u003c/a> deals with fragile masculinity from an Asian American perspective. It stars Justin H. Min as Ben, a wannabe filmmaker living in Berkeley, who’s stuck in both a professional and romantic rut. When Ben’s girlfriend Miko (Ally Maki) leaves for New York to pursue an internship, he’s forced to finally confront his many insecurities and internalized racism — Miko and his best friend, Alice, played by Sherry Cola, frequently call out his fetish for blonde white women, as well as his hypocritical disdain for Asian women who date white men. Screenwriter Adrian Tomine adapted his graphic novel of the same name, and it marks the directorial debut of Randall Park; while it hits some familiar beats, the banter is often funny and the script heads to places few rom-coms dare go.\u003c/p>\n\u003ch3>Finding family, finding yourself\u003c/h3>\n\u003cp>Among my absolute favorite finds this year were several movies dealing with themes of memory, generational bonds, and self-discovery.\u003c/p>\n\u003cfigure id=\"attachment_13924364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924364\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg\" alt=\"A slender Black woman wearing a simple long white smock, cradles her baby closely in her arms. She is standing outside with lush green trees and a hedge behind her.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725-1536x863.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/all-dirt-roads-taste-of-salt-still-1_custom-69078a11b9b469144d524a11abce521308eafd6c-e1674849953725.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheila Atim in ‘All Dirt Roads Taste of Salt.’ \u003ccite>(Jaclyn Martinez/Sundance Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raven Jackson’s debut \u003ca href=\"https://festival.sundance.org/program/film/638a20ae77dd3d361c8072eb\">\u003cem>All Dirt Roads Taste of Salt\u003c/em>\u003c/a> is a poetic, non-linear narrative that traverses several decades in the life of a Mississippi woman, from childhood through adulthood. This isn’t about plot, but about the moments of mundanity made profound through the inquisitive eyes of Mack (played as a kid by Kaylee Nicole Johnson and older by Charleen McClure) and the camera’s lingering gaze: fishing with dad, parents slow-dancing in the living room, listening to grandma’s stories. One scene in particular stuck with me and is already in the running for best scenes of the year — a quiet, trembling embrace that carries with it the weight of years, loss and connection without a single word. (There is in fact, very little dialogue throughout the film.) In stunning imagery and tone, it feels like a direct descendant of Julie Dash’s \u003ca href=\"https://www.npr.org/2016/11/20/502797705/daughters-of-the-dust-re-released-following-attention-from-beyonc\">\u003cem>Daughters of the Dust\u003c/em>\u003c/a>, yet stands powerfully on its own as a rumination on Black womanhood and its existence within nature. And as if you need any more reason to be on the lookout for this movie, Barry Jenkins is a producer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Milisuthando Bongela’s documentary \u003ca href=\"https://festival.sundance.org/program/film/638a180f77dd3d4e0880568b\">\u003cem>Milisuthando\u003c/em>\u003c/a> is similarly evocative, though Bongela embraces dialogue and a more literal approach, creating a compelling personal essay brought to life on screen. Through home movies, interviews, and tons of striking archival footage, she excavates the lingering effects of South African apartheid on herself and her friends and family. She challenges the myths that were perpetuated by those who supported the Transkei, an unrecognized state that was created in 1976 under the pretense that it would liberate the Xosha people and shield them from the harms of apartheid. And she questions what it means to have white friends in South Africa, which includes an illuminating, unflinching conversation between the filmmaker and her friend (and the movie’s producer) Marion Isaacs. The country’s history with race is emotionally rendered and made deeply personal in a way I haven’t quite seen before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924358 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe\" alt=\"An older woman with pale skin and chin-length grey hair examines her reflection in a small, round bathroom mirror.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136-1536x863.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/mamacruz-still-1-kiti-m-nver_custom-b287ac1fec3a654217a08dd84977138c0e3b85fa-e1674850112136.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s Patricia Ortega’s \u003ca href=\"https://festival.sundance.org/program/film/638a179977dd3d550a8054c9\">\u003cem>MAMACRUZ\u003c/em>,\u003c/a> a charming Spanish-language film about Cruz (Kiti Mánver), an older woman who has a late-in-life sexual awakening after discovering porn on the internet. The premise definitely leaves room for cheekiness (a scene where Cruz watches a couple have sex with chocolate is immediately followed up with the image of a churro being dipped in chocolate sauce), but the protagonist’s journey is treated seriously and with warmth. Cruz makes friends with other women in a sex therapy group, and tries to spice up the intimacy with her distant, barely affectionate husband. She struggles to reconcile her desires with her devoutly religious beliefs. And she attempts to reconnect with her daughter, who is herself trying to realize a dream later in life, of becoming a professional dancer. If you enjoyed last year’s Sundance hit \u003ca href=\"https://www.npr.org/2022/06/07/1103500146/emma-thompson-finds-herself-and-pleasure-in-good-luck-to-you-leo-grande\">\u003cem>Good Luck to You, Leo Grande \u003c/em>\u003c/a>(like I did), you’ll definitely find pleasure in \u003cem>MAMACRUZ. \u003c/em>(International rights to the movie \u003ca href=\"https://variety.com/2023/film/global/filmax-sundance-patricia-ortega-mamacruz-1235493897/\">were snagged by Spanish distributor Filmax\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Get+these+Sundance+2023+movies+on+your+radar+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Writing on the literary representation of women in \u003cem>A Room of One’s Own\u003c/em>, Virginia Woolf mused that “What one must do to bring her to life was to think poetically and prosaically at one and the same moment, thus keeping in touch with fact […] but not losing sight of fiction either — that she is a vessel in which all sorts of spirits and forces are coursing and flashing perpetually.”\u003c/p>\n\u003cp>[aside postid='arts_13923268']\u003cem>After Sappho\u003c/em>, a brilliant debut work from Selby Wynn Schwartz, takes Woolf at her instructive word. Longlisted for the 2022 Booker Prize, the book is partly a love letter to Woolf and the female poet Sappho, partly a work of literary criticism and partly a work of speculative biography. It’s innovatively narrated from a perspective that might be called the first person choral, levitating among multiple consciousnesses of women writers, painters and actors who channeled the spirit of Sappho in the late 19th and early 20th centuries. Like Woolf’s lushly polyphonic novel \u003cem>The Waves\u003c/em>, which she called “my first work in my own style!,” \u003cem>After Sappho\u003c/em> eschews plot in favor of riverine vignettes — in this case, of and about historical personages both well-known (Colette, Gertrude Stein, Sarah Bernhardt, and Radclyffe Hall make frequent appearances) and more obscure, like the American writer Natalie Barney, the painter Romaine Brooks, and the actress Eleonora Duse.\u003c/p>\n\u003cp>\u003cem>After Sappho \u003c/em>is billed as a novel, but can’t really be said to lodge in any one category. It skates much closer to a work of “critical fabulation,” the scholar Saidiya Hartman’s term for a method of storytelling that crosses genres and responds to omissions in the historical record by imaginative reconstruction. As Hartman (who is acknowledged in a lengthy bibliographic coda) elaborates in \u003cem>Wayward Lives, Beautiful Experiments\u003c/em>, critical fabulation is a type of “close narration, a style which places the voice of narrator and character in inseparable relation, so that the vision, language, and rhythms of the wayward shape and arrange the text.” What Hartman accomplished for a cast of Black women living in Harlem and Philadelphia a century ago, Schwartz does for her Sapphic figures, who often traversed paths in real life and found a way to make of their lives “beautiful experiments” in the face of forces ready to snuff them out.\u003c/p>\n\u003cp>[aside postid='arts_13923036']The Italian writer Lina Poletti provides an anchoring presence and is also the book’s dedicatee. We follow her along a stone-skipping path from her lonely childhood, when she was called Cordula (which she thinks sounds like “a heap of rope”) to her various romances with other women, to her writing of a manifesto as the Fascists prepared to march on Rome in 1921. In passages often recalling the sensuous prose of Ali Smith, \u003cem>After Sappho\u003c/em> tracks not just outer movement, but psychological ambulation, picking up on the subtlest shifts in mood with the delicacy of a weathervane. There are many more dramatis personae, but to speak of any of them in isolation is to miss the point of this puckishly allusive book, to do violence to how it asks to be read. The development of these women as writers, thinkers and artists, it is clear, can only be understood in terms of their relations with one another; as Schwartz writes, Lina “had many lives, all of her own and ours tangled in among them.”\u003c/p>\n\u003cp>Most of the figures are white Europeans, but we occasionally hear from more marginalized women, like a Black chorine who makes a living by singing minstrel songs and works her way up to becoming the “empress of her own nightclub.” Should more of these figures have been included? I vacillated over this question until the very last page, but ultimately felt that what would seem an oversight in a more traditional work of scholarship here seems a more forgivable lapse. The open-ended fragments never pretend to comprehensiveness, after all, and even exercise a degree of self-reflexivity about their own state of incompletion. As the ill-fated prophet Cassandra says in one section, there are “lines missing from the fragments” — lines that are lives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Schwartz, who holds a doctorate in comparative literature from U.C. Berkeley, could have easily written a series of monographs on each of the women populating her pages, but she has instead created a ravishing mosaic of creative subjectivity and self-fashioning. Rather than being embalmed in the past tense, the characters move about in the “present continuous,” which imparts a thrilling, vertiginous sense of being everything everywhere all at once. The book is exquisitely alive to the way that biographies written against the regulative grain can, as Schwartz writes, “bring forth moments of becoming that lasted for centuries; there would be more than one life unfurling in every life.” That activity of becoming is palpable on nearly every page. In one section, actresses are likened to “verbs as yet unconjugated; they contained in themselves the heady potential for any deed, any command, any future.” It’s not just actresses who possess this quality, though; in Schwartz’s skillful hands, all the characters vibrate with a sense of blood-surging-through-the-veins immediacy.\u003c/p>\n\u003cp>[aside postid='pop_102326']The book ends in 1928, the year when English women gained the right to vote and when Woolf has just published \u003cem>Orlando\u003c/em>, a novel that cheekily called itself a “biography.” Yet it was also, as Schwartz notes, “a whole fantasy,” “a talk on fiction and the future,” “a series of portraits, a manifesto, an alcove in the history of literature, an alchemical experiment, an autobiography, and a long piece from life now.” It’s a luminous summary of a book that started as a “heroically private joke” to Woolf’s lover Vita Sackville-West, but also much more: a statement of Schwartz’s own artistic intent, here splendidly and indelibly fulfilled.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Rhoda Feng is a freelance writer from New York whose criticism has appeared in ‘4Columns,’ ‘The Baffler,’ ‘The White Review,’ ‘The New Republic,’ ‘Public Books,’ ‘Village Voice,’ and others.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27After+Sappho%27+brings+women+in+history+to+life+to+claim+their+stories&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>After Sappho\u003c/em>, a brilliant debut work from Selby Wynn Schwartz, takes Woolf at her instructive word. Longlisted for the 2022 Booker Prize, the book is partly a love letter to Woolf and the female poet Sappho, partly a work of literary criticism and partly a work of speculative biography. It’s innovatively narrated from a perspective that might be called the first person choral, levitating among multiple consciousnesses of women writers, painters and actors who channeled the spirit of Sappho in the late 19th and early 20th centuries. Like Woolf’s lushly polyphonic novel \u003cem>The Waves\u003c/em>, which she called “my first work in my own style!,” \u003cem>After Sappho\u003c/em> eschews plot in favor of riverine vignettes — in this case, of and about historical personages both well-known (Colette, Gertrude Stein, Sarah Bernhardt, and Radclyffe Hall make frequent appearances) and more obscure, like the American writer Natalie Barney, the painter Romaine Brooks, and the actress Eleonora Duse.\u003c/p>\n\u003cp>\u003cem>After Sappho \u003c/em>is billed as a novel, but can’t really be said to lodge in any one category. It skates much closer to a work of “critical fabulation,” the scholar Saidiya Hartman’s term for a method of storytelling that crosses genres and responds to omissions in the historical record by imaginative reconstruction. As Hartman (who is acknowledged in a lengthy bibliographic coda) elaborates in \u003cem>Wayward Lives, Beautiful Experiments\u003c/em>, critical fabulation is a type of “close narration, a style which places the voice of narrator and character in inseparable relation, so that the vision, language, and rhythms of the wayward shape and arrange the text.” What Hartman accomplished for a cast of Black women living in Harlem and Philadelphia a century ago, Schwartz does for her Sapphic figures, who often traversed paths in real life and found a way to make of their lives “beautiful experiments” in the face of forces ready to snuff them out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Italian writer Lina Poletti provides an anchoring presence and is also the book’s dedicatee. We follow her along a stone-skipping path from her lonely childhood, when she was called Cordula (which she thinks sounds like “a heap of rope”) to her various romances with other women, to her writing of a manifesto as the Fascists prepared to march on Rome in 1921. In passages often recalling the sensuous prose of Ali Smith, \u003cem>After Sappho\u003c/em> tracks not just outer movement, but psychological ambulation, picking up on the subtlest shifts in mood with the delicacy of a weathervane. There are many more dramatis personae, but to speak of any of them in isolation is to miss the point of this puckishly allusive book, to do violence to how it asks to be read. The development of these women as writers, thinkers and artists, it is clear, can only be understood in terms of their relations with one another; as Schwartz writes, Lina “had many lives, all of her own and ours tangled in among them.”\u003c/p>\n\u003cp>Most of the figures are white Europeans, but we occasionally hear from more marginalized women, like a Black chorine who makes a living by singing minstrel songs and works her way up to becoming the “empress of her own nightclub.” Should more of these figures have been included? I vacillated over this question until the very last page, but ultimately felt that what would seem an oversight in a more traditional work of scholarship here seems a more forgivable lapse. The open-ended fragments never pretend to comprehensiveness, after all, and even exercise a degree of self-reflexivity about their own state of incompletion. As the ill-fated prophet Cassandra says in one section, there are “lines missing from the fragments” — lines that are lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book ends in 1928, the year when English women gained the right to vote and when Woolf has just published \u003cem>Orlando\u003c/em>, a novel that cheekily called itself a “biography.” Yet it was also, as Schwartz notes, “a whole fantasy,” “a talk on fiction and the future,” “a series of portraits, a manifesto, an alcove in the history of literature, an alchemical experiment, an autobiography, and a long piece from life now.” It’s a luminous summary of a book that started as a “heroically private joke” to Woolf’s lover Vita Sackville-West, but also much more: a statement of Schwartz’s own artistic intent, here splendidly and indelibly fulfilled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mung Bean Omelet, Anyone? Sky High Egg Prices Crack Open Market for Alternatives",
"headTitle": "Mung Bean Omelet, Anyone? Sky High Egg Prices Crack Open Market for Alternatives | KQED",
"content": "\u003cp>Americans love eggs. And it is a consuming love. We eat about 280 eggs a year (more than half an egg per day).\u003c/p>\n\u003cp>But lately, that love is costing us dearly: The price of eggs has roughly\u003ca href=\"https://fred.stlouisfed.org/series/APU0000708111\"> tripled\u003c/a> since the pandemic began and egg shortages are hitting parts of the country. That combination has created a rare window of opportunity for substitutes.\u003c/p>\n\u003ch3>Shell-shocked consumers\u003c/h3>\n\u003cp>The price of most food \u003ca href=\"https://www.bls.gov/news.release/cpi.nr0.htm\">has risen over the last year\u003c/a> and while that has caused a lot of shock and hardship for people across the country, the price of eggs has struck a particular chord. Eggs are often seen a cheap, reliable source of protein — a go-to when other things get expensive.\u003c/p>\n\u003cp>When the price of eggs goes up, people get emotional.\u003c/p>\n\u003cp>“It’s a hot button for consumers,” says Bill Lapp, president of \u003ca href=\"https://www.advancedeconomicsolutions.com/\">Advanced Economic Solutions\u003c/a>, a food industry consultant. “It’s similar to driving down the highway and seeing gas prices at $5.30.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, it’s not just emotional: \u003ca href=\"https://www.bls.gov/news.release/cpi.nr0.htm\">The price of eggs has risen more than the price of almost anything else in the economy.\u003c/a>\u003c/p>\n\u003cp>The reason? A lot of it has to do with the usual suspects: rising energy prices and rising prices for feed, packaging and labor.\u003c/p>\n\u003cp>[aside postid='bayareabites_111426']With eggs, though, there is another culprit: A devastating avian flu has killed millions of chickens over the last year. The supply of eggs in the US has plummeted and, in some places, it’s hard to get eggs at all.\u003c/p>\n\u003cp>“A lot of people are concerned with not being able to get eggs,” says Ron Kern, a chicken farmer in Nampa, Idaho.\u003c/p>\n\u003cp>He hears this from his customers: they go to the supermarket and there aren’t any eggs. “These huge freezers are empty,” he says. That has people worried that eggs might start being hard to find.\u003c/p>\n\u003cp>That eggsistential angst gave Kern an idea.\u003c/p>\n\u003ch3>Feeding time\u003c/h3>\n\u003cp>Kern runs \u003ca href=\"https://www.back-forty-farms.com/\">Back Forty Farms\u003c/a> in Nampa, Idaho, where it is 4 p.m. — time to feed the chickens.\u003c/p>\n\u003cp>Kern walks into the coop with a bucket of feed and hundreds of chickens rush in from all directions: fluttering down from their roosts, hustling in from outside.\u003c/p>\n\u003cp>As the chickens peck at their food, Ron Kern and his son Tony gather up the eggs — a mix of green, blue, white and brown. They are very careful with them. These eggs are valuable. Especially now.\u003c/p>\n\u003cfigure id=\"attachment_13924264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM-800x557.png\" alt=\"Two men, warmly dressed, hold a blue bucket that’s about half full of multi-colored eggs.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM.png 1516w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Kern and his son Tony show off some of the eggs they’ve gathered outside of their chicken coop at Back Forty Farms in Nampa, Idaho. \u003ccite>(Stacey Vanek Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few years ago, these eggs would have been packaged into boxes and sold for about $3 a dozen, but these days, most of them go straight into a freeze dryer.\u003c/p>\n\u003ch3>Freeze dried gold dust\u003c/h3>\n\u003cp>Instead of selling fresh eggs, Kern now freeze dries most of them.\u003c/p>\n\u003cp>The freeze dryers are about the size of a mini fridge and a row of them hums away in a little building near Kern’s chicken coop.\u003c/p>\n\u003cp>The eggs Kern and his son just collected will be cleaned, cracked, whipped and poured into cookie sheets that go into the freeze dryers.\u003c/p>\n\u003cp>The freeze dryers reduce the eggs to a bright yellow powder. “Looks kind of like gold dust,” remarks Kern. “I guess it kind of is gold dust, right?”\u003c/p>\n\u003cfigure id=\"attachment_13924253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924253\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-800x1067.jpg\" alt=\"A vacuum packed bag of yellow food grains with a label reading FREEZE DRIED CHICKEN EGGS.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-1535x2048.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-1920x2561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-scaled.jpg 1919w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A package of freeze dried chicken eggs costs about $20 a dozen. The eggs keep for more than 20 years, weigh almost nothing and store easily. They sell out as fast as Ron Kern can post them. \u003ccite>(Back Forty Farms)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The proof is in the profits\u003c/h3>\n\u003cp>Kern charges about $20 a dozen for his freeze dried eggs. He tells me this is a good deal: the eggs weigh almost nothing, keep for decades, don’t lose any nutritional value and come in a little mylar envelope, which stores easily.\u003c/p>\n\u003cp>And, mostly, it gives customers peace of mind: whatever supply chain disasters, deadly flus, price spikes and shortages the economy might throw at us, they will still have their beloved breakfast dish.\u003c/p>\n\u003cp>The proof is in the profits. The moment Kern started selling his eggs online, orders poured in from all across the country.\u003c/p>\n\u003cp>“The demand went nuts,” he recalls. “Every single package that we put on our online store was sold within 30 seconds. They just … fly off the shelves,” He adds: “I’m not even a pun person, but there you go.”\u003c/p>\n\u003cfigure id=\"attachment_13924243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-800x600.jpg\" alt=\"A coop of white and black chickens gathers around a feed bucket.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In one of the chicken coops on Back Forty Farms, the chickens come in for feeding time. \u003ccite>(Back Forty Farms)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Incidentally, nobody, \u003ca href=\"https://www.usda.gov/media/blog/2020/04/14/egg-stat-ic-about-eggs\">not even authors of government\u003c/a> reports, seems able to resist egg puns — they are ineggscapable.)\u003c/p>\n\u003ch3>Economics vs eggonomics\u003c/h3>\n\u003cp>Basic economics tells us that when the price of something rises, people will buy less of it: Demand goes down.\u003c/p>\n\u003cp>But eggonomics is a different story, says Bill Lapp. Even when the price of eggs go up, people buy them. This is what is called ‘inelastic demand’ in economics, meaning that it’s something people will buy no matter what.\u003c/p>\n\u003cp>Inelastic demand is usually reserved for necessities, like gasoline, electricity etc. Eggs are an exception.\u003c/p>\n\u003cp>“The demand for eggs is pretty inelastic,” says Lapp. “It’s a cheap source of protein, it’s convenient and consumers are very very fond of cracking that shell open and cooking their egg. The demand has been slow to change.”\u003c/p>\n\u003ch3>Any interest in a mung bean omelet?\u003c/h3>\n\u003cp>Demand might be slow to change, but supply is another story. The eggceptional circumstances around eggs over the last few years has created a major business opportunity for food companies.\u003c/p>\n\u003cp>[aside postid='bayareabites_115736']All kinds of egg alternatives have been cropping up: Not only freeze dried eggs, but also plant based egg products. Those are usually soy or bean based liquids that resemble scrambled eggs when you cook them up.\u003c/p>\n\u003cp>For the first time last year, egg alternatives were cheaper than real eggs. And, not surprisingly, sales of egg substitutes rose by nearly 20%, \u003ca href=\"https://www.iriworldwide.com/en-us\">according to Chicago based market research firm, IRI\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.ju.st/\">JUST Egg\u003c/a>, which makes a mung-bean based scrambled egg product, has reportedly seen \u003ca href=\"https://www.bloomberg.com/news/articles/2023-01-18/plant-based-eggs-are-having-a-moment\">sales rise by about 17%\u003c/a> over the last year.\u003c/p>\n\u003cp>Right now, if you can make something that looks like an egg, tastes like an egg, and costs less than an egg, you can make a lot of money.\u003c/p>\n\u003ch3>An eggceptionally unscientific taste test\u003c/h3>\n\u003cp>[aside postid='bayareabites_114702']But do the substitute egg products actually taste like eggs? Do they have a shot at getting between Americans and their beloved eggs? I got some of my NPR colleagues together to try some of the eggternatives and see if they’ve managed to crack the code.\u003c/p>\n\u003cp>I don’t think eggs are going to lose their superstar status anytime soon (one of my colleagues remarked that the plant-based eggs tasted like potatoes, another colleague described them as “super interesting… but nothing like eggs”).\u003c/p>\n\u003ch3>That’s all, yolks\u003c/h3>\n\u003cp>But never fear, egg lovers! Science is moving quickly: \u003ca href=\"https://techcrunch.com/2022/05/17/yo-egg-restaurant-plant-based-eggs/\">The first plant based fried egg\u003c/a> has just been developed by a start up in Israel and investors are pouring billions of dollars into food start ups that are working to tackle the elusive egg.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One thing is for sure: If egg prices stay high and supply stays spotty, customers could start getting serious about looking for the eggsit.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mung+bean+omelet%2C+anyone%3F+Sky+high+egg+prices+crack+open+market+for+alternatives&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Americans love eggs. And it is a consuming love. We eat about 280 eggs a year (more than half an egg per day).\u003c/p>\n\u003cp>But lately, that love is costing us dearly: The price of eggs has roughly\u003ca href=\"https://fred.stlouisfed.org/series/APU0000708111\"> tripled\u003c/a> since the pandemic began and egg shortages are hitting parts of the country. That combination has created a rare window of opportunity for substitutes.\u003c/p>\n\u003ch3>Shell-shocked consumers\u003c/h3>\n\u003cp>The price of most food \u003ca href=\"https://www.bls.gov/news.release/cpi.nr0.htm\">has risen over the last year\u003c/a> and while that has caused a lot of shock and hardship for people across the country, the price of eggs has struck a particular chord. Eggs are often seen a cheap, reliable source of protein — a go-to when other things get expensive.\u003c/p>\n\u003cp>When the price of eggs goes up, people get emotional.\u003c/p>\n\u003cp>“It’s a hot button for consumers,” says Bill Lapp, president of \u003ca href=\"https://www.advancedeconomicsolutions.com/\">Advanced Economic Solutions\u003c/a>, a food industry consultant. “It’s similar to driving down the highway and seeing gas prices at $5.30.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, it’s not just emotional: \u003ca href=\"https://www.bls.gov/news.release/cpi.nr0.htm\">The price of eggs has risen more than the price of almost anything else in the economy.\u003c/a>\u003c/p>\n\u003cp>The reason? A lot of it has to do with the usual suspects: rising energy prices and rising prices for feed, packaging and labor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With eggs, though, there is another culprit: A devastating avian flu has killed millions of chickens over the last year. The supply of eggs in the US has plummeted and, in some places, it’s hard to get eggs at all.\u003c/p>\n\u003cp>“A lot of people are concerned with not being able to get eggs,” says Ron Kern, a chicken farmer in Nampa, Idaho.\u003c/p>\n\u003cp>He hears this from his customers: they go to the supermarket and there aren’t any eggs. “These huge freezers are empty,” he says. That has people worried that eggs might start being hard to find.\u003c/p>\n\u003cp>That eggsistential angst gave Kern an idea.\u003c/p>\n\u003ch3>Feeding time\u003c/h3>\n\u003cp>Kern runs \u003ca href=\"https://www.back-forty-farms.com/\">Back Forty Farms\u003c/a> in Nampa, Idaho, where it is 4 p.m. — time to feed the chickens.\u003c/p>\n\u003cp>Kern walks into the coop with a bucket of feed and hundreds of chickens rush in from all directions: fluttering down from their roosts, hustling in from outside.\u003c/p>\n\u003cp>As the chickens peck at their food, Ron Kern and his son Tony gather up the eggs — a mix of green, blue, white and brown. They are very careful with them. These eggs are valuable. Especially now.\u003c/p>\n\u003cfigure id=\"attachment_13924264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM-800x557.png\" alt=\"Two men, warmly dressed, hold a blue bucket that’s about half full of multi-colored eggs.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-26-at-11.12.14-AM.png 1516w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Kern and his son Tony show off some of the eggs they’ve gathered outside of their chicken coop at Back Forty Farms in Nampa, Idaho. \u003ccite>(Stacey Vanek Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few years ago, these eggs would have been packaged into boxes and sold for about $3 a dozen, but these days, most of them go straight into a freeze dryer.\u003c/p>\n\u003ch3>Freeze dried gold dust\u003c/h3>\n\u003cp>Instead of selling fresh eggs, Kern now freeze dries most of them.\u003c/p>\n\u003cp>The freeze dryers are about the size of a mini fridge and a row of them hums away in a little building near Kern’s chicken coop.\u003c/p>\n\u003cp>The eggs Kern and his son just collected will be cleaned, cracked, whipped and poured into cookie sheets that go into the freeze dryers.\u003c/p>\n\u003cp>The freeze dryers reduce the eggs to a bright yellow powder. “Looks kind of like gold dust,” remarks Kern. “I guess it kind of is gold dust, right?”\u003c/p>\n\u003cfigure id=\"attachment_13924253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924253\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-800x1067.jpg\" alt=\"A vacuum packed bag of yellow food grains with a label reading FREEZE DRIED CHICKEN EGGS.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-1535x2048.jpg 1535w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-1920x2561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/egg-freeze-dried_vert-7ee637b3908d227a645868ef27dda23986d06158-scaled.jpg 1919w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A package of freeze dried chicken eggs costs about $20 a dozen. The eggs keep for more than 20 years, weigh almost nothing and store easily. They sell out as fast as Ron Kern can post them. \u003ccite>(Back Forty Farms)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The proof is in the profits\u003c/h3>\n\u003cp>Kern charges about $20 a dozen for his freeze dried eggs. He tells me this is a good deal: the eggs weigh almost nothing, keep for decades, don’t lose any nutritional value and come in a little mylar envelope, which stores easily.\u003c/p>\n\u003cp>And, mostly, it gives customers peace of mind: whatever supply chain disasters, deadly flus, price spikes and shortages the economy might throw at us, they will still have their beloved breakfast dish.\u003c/p>\n\u003cp>The proof is in the profits. The moment Kern started selling his eggs online, orders poured in from all across the country.\u003c/p>\n\u003cp>“The demand went nuts,” he recalls. “Every single package that we put on our online store was sold within 30 seconds. They just … fly off the shelves,” He adds: “I’m not even a pun person, but there you go.”\u003c/p>\n\u003cfigure id=\"attachment_13924243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-800x600.jpg\" alt=\"A coop of white and black chickens gathers around a feed bucket.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/img_4231-a66e176766e914fd62ce86141ae3d78eb9cd2431-scaled-e1674759704866.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In one of the chicken coops on Back Forty Farms, the chickens come in for feeding time. \u003ccite>(Back Forty Farms)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Incidentally, nobody, \u003ca href=\"https://www.usda.gov/media/blog/2020/04/14/egg-stat-ic-about-eggs\">not even authors of government\u003c/a> reports, seems able to resist egg puns — they are ineggscapable.)\u003c/p>\n\u003ch3>Economics vs eggonomics\u003c/h3>\n\u003cp>Basic economics tells us that when the price of something rises, people will buy less of it: Demand goes down.\u003c/p>\n\u003cp>But eggonomics is a different story, says Bill Lapp. Even when the price of eggs go up, people buy them. This is what is called ‘inelastic demand’ in economics, meaning that it’s something people will buy no matter what.\u003c/p>\n\u003cp>Inelastic demand is usually reserved for necessities, like gasoline, electricity etc. Eggs are an exception.\u003c/p>\n\u003cp>“The demand for eggs is pretty inelastic,” says Lapp. “It’s a cheap source of protein, it’s convenient and consumers are very very fond of cracking that shell open and cooking their egg. The demand has been slow to change.”\u003c/p>\n\u003ch3>Any interest in a mung bean omelet?\u003c/h3>\n\u003cp>Demand might be slow to change, but supply is another story. The eggceptional circumstances around eggs over the last few years has created a major business opportunity for food companies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All kinds of egg alternatives have been cropping up: Not only freeze dried eggs, but also plant based egg products. Those are usually soy or bean based liquids that resemble scrambled eggs when you cook them up.\u003c/p>\n\u003cp>For the first time last year, egg alternatives were cheaper than real eggs. And, not surprisingly, sales of egg substitutes rose by nearly 20%, \u003ca href=\"https://www.iriworldwide.com/en-us\">according to Chicago based market research firm, IRI\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.ju.st/\">JUST Egg\u003c/a>, which makes a mung-bean based scrambled egg product, has reportedly seen \u003ca href=\"https://www.bloomberg.com/news/articles/2023-01-18/plant-based-eggs-are-having-a-moment\">sales rise by about 17%\u003c/a> over the last year.\u003c/p>\n\u003cp>Right now, if you can make something that looks like an egg, tastes like an egg, and costs less than an egg, you can make a lot of money.\u003c/p>\n\u003ch3>An eggceptionally unscientific taste test\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But do the substitute egg products actually taste like eggs? Do they have a shot at getting between Americans and their beloved eggs? I got some of my NPR colleagues together to try some of the eggternatives and see if they’ve managed to crack the code.\u003c/p>\n\u003cp>I don’t think eggs are going to lose their superstar status anytime soon (one of my colleagues remarked that the plant-based eggs tasted like potatoes, another colleague described them as “super interesting… but nothing like eggs”).\u003c/p>\n\u003ch3>That’s all, yolks\u003c/h3>\n\u003cp>But never fear, egg lovers! Science is moving quickly: \u003ca href=\"https://techcrunch.com/2022/05/17/yo-egg-restaurant-plant-based-eggs/\">The first plant based fried egg\u003c/a> has just been developed by a start up in Israel and investors are pouring billions of dollars into food start ups that are working to tackle the elusive egg.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One thing is for sure: If egg prices stay high and supply stays spotty, customers could start getting serious about looking for the eggsit.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mung+bean+omelet%2C+anyone%3F+Sky+high+egg+prices+crack+open+market+for+alternatives&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "No Lie: Natasha Lyonne is Unforgettable in ‘Poker Face’",
"headTitle": "No Lie: Natasha Lyonne is Unforgettable in ‘Poker Face’ | KQED",
"content": "\u003cp>From the start, it’s no secret that the new series \u003cem>Poker Face \u003c/em>is a throwback to an earlier era of television — to \u003cem>Columbo\u003c/em>, especially. The opening titles even recall the yellow \u003cem>Columbo \u003c/em>font. And while it might not be instantly obvious that Natasha Lyonne is the Peter Falk of her generation, by the end of a couple of episodes, you will believe.\u003c/p>\n\u003cp>\u003cem>Poker Face \u003c/em>was created by Rian Johnson, the writer and director of\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\"> \u003cem>Knives Out \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2022/12/12/1142183112/glass-onion-knives-out-rian-johnson\">\u003cem>Glass Onion\u003c/em>, \u003c/a>who directed and wrote some, though not all, of the episodes. His sense of structure — the idea that you don’t withhold everything until the end, even in something that’s done in the style of a mystery — recalled \u003cem>Columbo \u003c/em>to begin with. (Every episode of \u003cem>Columbo\u003c/em>, for those who may not be fans, started with the viewer seeing what actually happened, and the rest was watching Columbo figure it out.) So it makes sense that he’s created a show here that, in a similar fashion, shows the crime itself at the top, then tells the longer story of how it came to happen and how it unravels. But instead of a detective, these stories intersect with the life of Charlie Cale, played by Lyonne, whom we first meet as a casino worker prized for her ability to tell when people are lying.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4x2NzusLAqk\u003c/p>\n\u003cp>The first episode sees Charlie get tangled up in a mess that involves her boss (Adrien Brody) and his henchman (Benjamin Bratt). That mystery, in turn, puts her in danger and sends her on the run. Subsequent episodes find her in various parts of the country, scratching together cash in odd jobs.\u003c/p>\n\u003cp>One advantage of this format is that it allows Charlie to cross paths with an impressive lineup of guest stars. There’s trucker played by (new Oscar nominee for \u003cem>The Whale\u003c/em>) Hong Chau, feuding actors played by Ellen Barkin and Tim Meadows, a barbecue entrepreneur played by Lil Rel Howery, retirement community residents played by Judith Light and \u003cem>Law & Order \u003c/em>legend S. Epatha Merkerson, and musicians played by Chloe Sevigny and The Mountain Goats’ John Darnielle. All these stories are self-contained, because even as she tries to escape her own perilous situation, Charlie stumbles into a crime in every town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Naturally, Charlie’s story is in part a travelogue. \u003cem>Poker Face \u003c/em>takes her to a lot of different locations, but Johnson’s love of the dusty landscapes he shot in a couple of great episodes of \u003cem>Breaking Bad \u003c/em>is echoed in Charlie’s initial Vegas home (there’s a terrific shot of her sitting in a folding chair outside her trailer) and in some of the desolate roads she ends up on later. But these standalone episodes (critics have gotten to see six out of what will eventually be 10) take the series into a marvelous variety of different worlds.\u003c/p>\n\u003cp>[aside postid='arts_13923656']At the center of the show and its appeal is Natasha Lyonne. On the one hand, she is an actor who is always herself — she doesn’t often disappear into roles in a way that will make you say, “Oh wow, that’s Natasha Lyonne?” But at the same time, there are shadings to her work here that are different from, for instance, her highly regarded role in Netflix’s \u003cem>Russian Doll\u003c/em>. She’s more relaxed and under control in this part, still funny and still utterly unique, but also careful and deliberate. Charlie is a good bit happier, too, even when she’s in trouble.\u003c/p>\n\u003cp>Lyonne’s affect is almost always one of world-weariness, of having seen \u003cem>a lot\u003c/em>, which makes her a natural as a woman like Charlie, whose accumulated experiences make her skeptical, quick on her feet and sympathetic. If Columbo was always getting tied up in mysteries because he’s a detective and it’s his job, Charlie keeps getting tied up in them because she doesn’t like liars and it bugs her when unfair things — whether violence or false accusations — happen to people she meets and likes.\u003c/p>\n\u003cfigure id=\"attachment_13924194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg\" alt=\"A Black man wearing 1980s-style glasses, a white cowboy hat, blue denim shirt and bolo tie looks confounded.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Rel Howery is just one of the guest stars who crosses paths with Charlie as she runs from her problems.\u003c/figcaption>\u003c/figure>\n\u003cp>And the focus remains on the characters, because fortunately, \u003cem>Poker Face \u003c/em>makes sparing use of Charlie’s special talent for knowing when people are lying. As she explains it, as long as a person is lying intentionally — that is, they know what they’re saying isn’t true, as opposed to being wrong — she can always tell. This could easily become a lazy shortcut, where she always suddenly solves the whole case based on her magical abilities. But her special radar is deployed rarely, to the point where you’ll forget she even can do this until it comes up. And it isn’t usually about a big and central lie (like “I didn’t kill him!”), but about a small and seemingly insignificant lie (like “I had fish for dinner”) that sends her looking for an explanation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13923488']The drop schedule for \u003cem>Poker Face \u003c/em>honestly is a bit baffling; a natural candidate for a week-to-week release, it’s instead getting four episodes dropped on Peacock on January 26, and then the rest will be one per week. But whatever pacing you choose, this is a terrific show, funny and smart, that accomplishes exactly the combination of homage and experimentation that it promises.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=No+lie%3A+Natasha+Lyonne+is+unforgettable+in+%27Poker+Face%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the start, it’s no secret that the new series \u003cem>Poker Face \u003c/em>is a throwback to an earlier era of television — to \u003cem>Columbo\u003c/em>, especially. The opening titles even recall the yellow \u003cem>Columbo \u003c/em>font. And while it might not be instantly obvious that Natasha Lyonne is the Peter Falk of her generation, by the end of a couple of episodes, you will believe.\u003c/p>\n\u003cp>\u003cem>Poker Face \u003c/em>was created by Rian Johnson, the writer and director of\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\"> \u003cem>Knives Out \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2022/12/12/1142183112/glass-onion-knives-out-rian-johnson\">\u003cem>Glass Onion\u003c/em>, \u003c/a>who directed and wrote some, though not all, of the episodes. His sense of structure — the idea that you don’t withhold everything until the end, even in something that’s done in the style of a mystery — recalled \u003cem>Columbo \u003c/em>to begin with. (Every episode of \u003cem>Columbo\u003c/em>, for those who may not be fans, started with the viewer seeing what actually happened, and the rest was watching Columbo figure it out.) So it makes sense that he’s created a show here that, in a similar fashion, shows the crime itself at the top, then tells the longer story of how it came to happen and how it unravels. But instead of a detective, these stories intersect with the life of Charlie Cale, played by Lyonne, whom we first meet as a casino worker prized for her ability to tell when people are lying.\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/4x2NzusLAqk'\n title='//www.youtube.com/embed/4x2NzusLAqk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first episode sees Charlie get tangled up in a mess that involves her boss (Adrien Brody) and his henchman (Benjamin Bratt). That mystery, in turn, puts her in danger and sends her on the run. Subsequent episodes find her in various parts of the country, scratching together cash in odd jobs.\u003c/p>\n\u003cp>One advantage of this format is that it allows Charlie to cross paths with an impressive lineup of guest stars. There’s trucker played by (new Oscar nominee for \u003cem>The Whale\u003c/em>) Hong Chau, feuding actors played by Ellen Barkin and Tim Meadows, a barbecue entrepreneur played by Lil Rel Howery, retirement community residents played by Judith Light and \u003cem>Law & Order \u003c/em>legend S. Epatha Merkerson, and musicians played by Chloe Sevigny and The Mountain Goats’ John Darnielle. All these stories are self-contained, because even as she tries to escape her own perilous situation, Charlie stumbles into a crime in every town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Naturally, Charlie’s story is in part a travelogue. \u003cem>Poker Face \u003c/em>takes her to a lot of different locations, but Johnson’s love of the dusty landscapes he shot in a couple of great episodes of \u003cem>Breaking Bad \u003c/em>is echoed in Charlie’s initial Vegas home (there’s a terrific shot of her sitting in a folding chair outside her trailer) and in some of the desolate roads she ends up on later. But these standalone episodes (critics have gotten to see six out of what will eventually be 10) take the series into a marvelous variety of different worlds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the show and its appeal is Natasha Lyonne. On the one hand, she is an actor who is always herself — she doesn’t often disappear into roles in a way that will make you say, “Oh wow, that’s Natasha Lyonne?” But at the same time, there are shadings to her work here that are different from, for instance, her highly regarded role in Netflix’s \u003cem>Russian Doll\u003c/em>. She’s more relaxed and under control in this part, still funny and still utterly unique, but also careful and deliberate. Charlie is a good bit happier, too, even when she’s in trouble.\u003c/p>\n\u003cp>Lyonne’s affect is almost always one of world-weariness, of having seen \u003cem>a lot\u003c/em>, which makes her a natural as a woman like Charlie, whose accumulated experiences make her skeptical, quick on her feet and sympathetic. If Columbo was always getting tied up in mysteries because he’s a detective and it’s his job, Charlie keeps getting tied up in them because she doesn’t like liars and it bugs her when unfair things — whether violence or false accusations — happen to people she meets and likes.\u003c/p>\n\u003cfigure id=\"attachment_13924194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg\" alt=\"A Black man wearing 1980s-style glasses, a white cowboy hat, blue denim shirt and bolo tie looks confounded.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/nup_200257_00013_wide-b3000f696bcda8513a2491bc7dc627be61ebaa5d.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Rel Howery is just one of the guest stars who crosses paths with Charlie as she runs from her problems.\u003c/figcaption>\u003c/figure>\n\u003cp>And the focus remains on the characters, because fortunately, \u003cem>Poker Face \u003c/em>makes sparing use of Charlie’s special talent for knowing when people are lying. As she explains it, as long as a person is lying intentionally — that is, they know what they’re saying isn’t true, as opposed to being wrong — she can always tell. This could easily become a lazy shortcut, where she always suddenly solves the whole case based on her magical abilities. But her special radar is deployed rarely, to the point where you’ll forget she even can do this until it comes up. And it isn’t usually about a big and central lie (like “I didn’t kill him!”), but about a small and seemingly insignificant lie (like “I had fish for dinner”) that sends her looking for an explanation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The drop schedule for \u003cem>Poker Face \u003c/em>honestly is a bit baffling; a natural candidate for a week-to-week release, it’s instead getting four episodes dropped on Peacock on January 26, and then the rest will be one per week. But whatever pacing you choose, this is a terrific show, funny and smart, that accomplishes exactly the combination of homage and experimentation that it promises.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=No+lie%3A+Natasha+Lyonne+is+unforgettable+in+%27Poker+Face%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Real-Life Refugees of ‘Casablanca’ Make it So Much More Than a Love Story",
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"content": "\u003cp>It’s been 80 years since the Hollywood classic \u003cem>Casablanca\u003c/em> opened nationwide. Set at Rick’s Cafe, a nightclub in the Moroccan city during World War II, the story centers around a love triangle.\u003c/p>\n\u003cp>Humphrey Bogart stars as Rick, the cynical American bar owner who repeatedly claims to be neutral in the war. Ingrid Bergman plays his old flame Ilsa Lund, who is now married to Victor Laszlo, a dashing resistance leader played by Paul Henreid.\u003c/p>\n\u003cp>[aside postid='arts_13919710']But \u003cem>Casablanca\u003c/em> is more than just a love story. It is a film about, and stocked with, the waves of refugees fleeing Nazi-occupied Europe during wartime. And many of the actors playing those roles were, in fact, refugees.\u003c/p>\n\u003cp>“When people speak here, the accents are real,” says \u003ca href=\"https://www.bu.edu/creativewriting/people/faculty/leslie-epstein-program-director/\">Leslie Epstein\u003c/a>, the son and nephew of screenwriters Philip and Julius Epstein\u003cem>. “\u003c/em>That gives it a kind of authenticity. In a sense, they’re playing themselves.”\u003c/p>\n\u003cp>Helmut Dantine was one such actor. Dantine was born in Austria and, as a teenager, became the leader of the anti-Nazi youth movement in Vienna. When the Nazis annexed Austria in March of 1938, they promptly arrested 19-year-old Dantine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His family used their political connections to negotiate his release, and immediately sent him to the United States. He landed in Los Angeles, enrolled at UCLA, and began his acting career.\u003c/p>\n\u003cp>“He was drop dead gorgeous,” says his widow Niki Dantine. “He would walk in the room and the ladies would straighten the seams in their stockings.”\u003c/p>\n\u003cp>In \u003cem>Casablanca\u003c/em>, Dantine plays Jan Brandel, a young refugee who has fled Europe with his wife. In one scene, Jan is playing roulette, hoping to win enough money to buy their exit visas. But he’s losing. Seeing his predicament, Rick rigs the game to help Jan win, essentially gifting them the cash to secure the couple’s passage to America.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xD_bKVAZJBw&t=151s\u003c/p>\n\u003cp>In other wartime films, Dantine would be cast as the villain, playing Nazi officers opposite Errol Flynn in \u003cem>Northern Pursuit\u003c/em> (1943) and \u003cem>Escape in the Desert \u003c/em>(1945).\u003c/p>\n\u003cp>“It must have been incredibly hard for him emotionally,” Niki Dantine told \u003cem>Radio Diaries\u003c/em>. “Having been the leader of the anti-Nazi youth movement, to then be playing Nazis in film.”\u003c/p>\n\u003cp>There were several other European-born actors in \u003cem>Casablanca \u003c/em>who had made it to Hollywood after fleeing the Nazis.\u003c/p>\n\u003cul>\n\u003cli>Conrad Veidt plays Nazi officer Major Strasser. Veidt was a German actor whose wife was Jewish. Like Dantine, he escaped the Nazis only to find success portraying them on screen.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Peter Lorre plays Ugarte, a customer at Rick’s Cafe who steals from German couriers at the start of the film. Lorre began his career as a stage actor in Vienna and Berlin, and became internationally known with his performance in Fritz Lang’s \u003cem>M \u003c/em>(1931) and in America for his role in \u003cem>The Maltese Falcon\u003c/em> (1941).\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>S.Z. Sakall plays Carl the waiter. Before the war, Sakall was a Hungarian cabaret actor. Members of his family died in the death camps and he escaped to Hollywood, where he was known as “cuddles” and often cast in comedic roles.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Marcel Dalio plays Emil, the croupier. In France, Dalio was a star, known for his roles in Jean Renoir’s\u003cem> La Grande Illusion\u003c/em> (1937) and \u003cem>The Rules of the Game \u003c/em>(1939). Dalio was Jewish and he fled Paris in 1940 with his wife Madeleine Lebeau — who plays Yvonne in \u003cem>Casablanca\u003c/em>.\u003c/li>\n\u003c/ul>\n\u003cp>Today, many viewers see these on-screen refugees as Jewish, but they are never identified as such. From \u003cem>The Jazz Singer \u003c/em>(1927) to \u003cem>Gentleman’s Agreement \u003c/em>(1947), the term “Jewish” rarely appeared in Hollywood screenplays. One exception was \u003cem>Mr. Skeffington\u003c/em> (1944), written by the same writers as \u003cem>Casablanca\u003c/em>: the Epstein Brothers.\u003c/p>\n\u003cp>[aside postid='arts_13896717']“The Hollywood moguls, the boards in Washington, none of these people wanted the American public to think of World War II as a war for the Jews,” Leslie Epstein told \u003cem>Radio Diaries\u003c/em>. But even if it softened the specifics, \u003cem>Casablanca \u003c/em>still delivered a powerful political message to audiences.\u003c/p>\n\u003cp>“\u003cem>Casablanca\u003c/em> is a propaganda film,” says Noah Isenberg, author of \u003ca href=\"https://wwnorton.com/books/Well-Always-Have-Casablanca/\">\u003cem>We’ll Always Have Casablanca\u003c/em>\u003c/a>. “It’s a propaganda film because the American public were not fully convinced of the moral imperative of fighting this war; and the message is, this is a fight worth fighting.”\u003c/p>\n\u003cp>The character arc of Rick Blaine, played by Bogart, is a clear metaphor for the United States and foreign policy. Rick begins the film as an isolationist, telling Ilsa: “I’m not fighting for anything anymore, except myself. I’m the only cause I’m interested in.”\u003c/p>\n\u003cp>But as the story progresses, cracks appear in that façade. In the scene with Dantine, for example, Rick’s aid of young refugees is a sign he is not as cold-hearted as he leads people to believe.\u003c/p>\n\u003cp>Later in the famous scene of the singing of \u003cem>La Marseillaise\u003c/em>, Rick gives permission for the band to play the song of the resistance. As the refugees in the bar belt out their anthem, the film cuts to a closeup of the young French actress Madeleine Lebeau, tears streaming down her face.\u003c/p>\n\u003cp>Lebeau had fled Paris with her husband, Marcel Dalio, just two years prior. “They’re not tears of glycerin shed by an actress,” says Epstein. “The tears in her eyes are real.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HM-E2H1ChJM\u003c/p>\n\u003cp>During World War II, Hollywood provided safe harbor and employment for European emigres. After the war, a few of the refugee actors in \u003cem>Casablanca\u003c/em> were successful playing character roles. But for most, the work dried up as Hollywood turned its focus back to life in America. Some would be targeted by the House Committee on Un-American Activities. Others returned to post-war Europe.\u003c/p>\n\u003cp>[aside postid='arts_13915838']\u003cem>Casablanca\u003c/em> is often considered one of the greatest love stories ever told on screen, but its political message was particularly attuned to the times. Niki Dantine believes it left a mark.\u003c/p>\n\u003cp>“I think a film like \u003cem>Casablanca\u003c/em> gave Americans an opportunity to see what it was like to survive and how your life hangs in the balance during wartime.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was produced by Nellie Gilles of ‘Radio Diaries,’ and edited by Deborah George, Ben Shapiro and Joe Richman. You can find more stories on the ‘\u003c/em>\u003ca href=\"https://podcasts.apple.com/us/podcast/radio-diaries/id207505466\">\u003cem>Radio Diaries’ podcast. \u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+real-life+refugees+of+%27Casablanca%27+make+it+so+much+more+than+a+love+story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His family used their political connections to negotiate his release, and immediately sent him to the United States. He landed in Los Angeles, enrolled at UCLA, and began his acting career.\u003c/p>\n\u003cp>“He was drop dead gorgeous,” says his widow Niki Dantine. “He would walk in the room and the ladies would straighten the seams in their stockings.”\u003c/p>\n\u003cp>In \u003cem>Casablanca\u003c/em>, Dantine plays Jan Brandel, a young refugee who has fled Europe with his wife. In one scene, Jan is playing roulette, hoping to win enough money to buy their exit visas. But he’s losing. Seeing his predicament, Rick rigs the game to help Jan win, essentially gifting them the cash to secure the couple’s passage to America.\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/xD_bKVAZJBw'\n title='//www.youtube.com/embed/xD_bKVAZJBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In other wartime films, Dantine would be cast as the villain, playing Nazi officers opposite Errol Flynn in \u003cem>Northern Pursuit\u003c/em> (1943) and \u003cem>Escape in the Desert \u003c/em>(1945).\u003c/p>\n\u003cp>“It must have been incredibly hard for him emotionally,” Niki Dantine told \u003cem>Radio Diaries\u003c/em>. “Having been the leader of the anti-Nazi youth movement, to then be playing Nazis in film.”\u003c/p>\n\u003cp>There were several other European-born actors in \u003cem>Casablanca \u003c/em>who had made it to Hollywood after fleeing the Nazis.\u003c/p>\n\u003cul>\n\u003cli>Conrad Veidt plays Nazi officer Major Strasser. Veidt was a German actor whose wife was Jewish. Like Dantine, he escaped the Nazis only to find success portraying them on screen.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Peter Lorre plays Ugarte, a customer at Rick’s Cafe who steals from German couriers at the start of the film. Lorre began his career as a stage actor in Vienna and Berlin, and became internationally known with his performance in Fritz Lang’s \u003cem>M \u003c/em>(1931) and in America for his role in \u003cem>The Maltese Falcon\u003c/em> (1941).\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>S.Z. Sakall plays Carl the waiter. Before the war, Sakall was a Hungarian cabaret actor. Members of his family died in the death camps and he escaped to Hollywood, where he was known as “cuddles” and often cast in comedic roles.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Marcel Dalio plays Emil, the croupier. In France, Dalio was a star, known for his roles in Jean Renoir’s\u003cem> La Grande Illusion\u003c/em> (1937) and \u003cem>The Rules of the Game \u003c/em>(1939). Dalio was Jewish and he fled Paris in 1940 with his wife Madeleine Lebeau — who plays Yvonne in \u003cem>Casablanca\u003c/em>.\u003c/li>\n\u003c/ul>\n\u003cp>Today, many viewers see these on-screen refugees as Jewish, but they are never identified as such. From \u003cem>The Jazz Singer \u003c/em>(1927) to \u003cem>Gentleman’s Agreement \u003c/em>(1947), the term “Jewish” rarely appeared in Hollywood screenplays. One exception was \u003cem>Mr. Skeffington\u003c/em> (1944), written by the same writers as \u003cem>Casablanca\u003c/em>: the Epstein Brothers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The Hollywood moguls, the boards in Washington, none of these people wanted the American public to think of World War II as a war for the Jews,” Leslie Epstein told \u003cem>Radio Diaries\u003c/em>. But even if it softened the specifics, \u003cem>Casablanca \u003c/em>still delivered a powerful political message to audiences.\u003c/p>\n\u003cp>“\u003cem>Casablanca\u003c/em> is a propaganda film,” says Noah Isenberg, author of \u003ca href=\"https://wwnorton.com/books/Well-Always-Have-Casablanca/\">\u003cem>We’ll Always Have Casablanca\u003c/em>\u003c/a>. “It’s a propaganda film because the American public were not fully convinced of the moral imperative of fighting this war; and the message is, this is a fight worth fighting.”\u003c/p>\n\u003cp>The character arc of Rick Blaine, played by Bogart, is a clear metaphor for the United States and foreign policy. Rick begins the film as an isolationist, telling Ilsa: “I’m not fighting for anything anymore, except myself. I’m the only cause I’m interested in.”\u003c/p>\n\u003cp>But as the story progresses, cracks appear in that façade. In the scene with Dantine, for example, Rick’s aid of young refugees is a sign he is not as cold-hearted as he leads people to believe.\u003c/p>\n\u003cp>Later in the famous scene of the singing of \u003cem>La Marseillaise\u003c/em>, Rick gives permission for the band to play the song of the resistance. As the refugees in the bar belt out their anthem, the film cuts to a closeup of the young French actress Madeleine Lebeau, tears streaming down her face.\u003c/p>\n\u003cp>Lebeau had fled Paris with her husband, Marcel Dalio, just two years prior. “They’re not tears of glycerin shed by an actress,” says Epstein. “The tears in her eyes are real.”\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/HM-E2H1ChJM'\n title='//www.youtube.com/embed/HM-E2H1ChJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During World War II, Hollywood provided safe harbor and employment for European emigres. After the war, a few of the refugee actors in \u003cem>Casablanca\u003c/em> were successful playing character roles. But for most, the work dried up as Hollywood turned its focus back to life in America. Some would be targeted by the House Committee on Un-American Activities. Others returned to post-war Europe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A cabaret dance troupe of elders from San Francisco’s Chinatown has released a rap track and video celebrating the \u003ca href=\"https://www.npr.org/2023/01/20/1150070528/these-lunar-new-year-dishes-remind-those-who-make-them-of-their-family-and-frien\">Lunar New Year\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13923317']“\u003ca href=\"https://www.facebook.com/watch/?v=1600909627034398&t=0\" target=\"_blank\" rel=\"noopener noreferrer\">That Lunar Cheer\u003c/a>,” a collaboration between the \u003ca href=\"http://grantavenuefollies.com\">Grant Avenue Follies\u003c/a> and Los Angeles-based rapper \u003ca href=\"http://jasonchumusic.com\">Jason Chu\u003c/a>, hippety-hops into the Year of the Rabbit with calls for food, family and fun.\u003c/p>\n\u003cp>“We’ve been through a couple challenging years and we want to wish everybody a happy new year as well as making sure that it will be a peaceful and healthy new year. That is very important to us,” Follies co-founder Cynthia Yee told NPR. “We have customs that have to be followed, such as cleaning the house before New Year’s Day to sweep away all the bad luck and welcome the new.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?height=314&href=https%3A%2F%2Fwww.facebook.com%2FAARPAAPI%2Fvideos%2F1600909627034398%2F&show_text=false&width=560&t=0\" width=\"560\" height=\"314\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowfullscreen=\"true\" allow=\"autoplay; clipboard-write; encrypted-media; picture-in-picture; web-share\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The video was was funded by the AARP, a nonprofit interest group focusing on issues affecting those over the age of 50.\u003c/p>\n\u003ch3>No strangers to hip-hop\u003c/h3>\n\u003cp>The 12 members of the Follies, aged between 61 and 87, might be steeped in tap dance and the songs of the 1950s and ‘60s. But they are no strangers to hip-hop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>That Lunar Cheer\u003c/em> is the group’s third rap track to date. The Follies’ song protesting violence against people of Asian descent, \u003cem>Gai Mou Sou Rap \u003c/em>(named after the chicken feature dusters that Chinese parents traditionally use around the home, and also use to spank naughty children), has garnered nearly 90,000 views on YouTube since debuting in May 2021.\u003c/p>\n\u003cp>Follies founder Yee said she feels a connection to the hip-hop genre.\u003c/p>\n\u003cp>‘What better way to express ourselves through poetry, which is a song with rap,” she said.\u003c/p>\n\u003cp>[aside postid='arts_13923548']Their dedication to the art form impressed rapper Chu, who wrote \u003cem>That Lunar Cheer\u003c/em>, and has a strong background in community activism as well as music.\u003c/p>\n\u003cp>“These ladies are strong and feisty and creative,” Chu told NPR. “Getting to collaborate with them is exactly the kind of art I love making — something that highlights culture and community in a way that’s fun and empowering.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yee added she hopes the song exemplifies the values of the Year of the Rabbit: “Mostly very quiet, very lovable, very fuzzy-wuzzy, and of course all about having lots of family,” she said. “The Year of the Rabbit is about multiplying everything, whether that’s children, grandchildren or money.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=San+Francisco+Chinatown+seniors+welcome+in+the+Lunar+New+Year+with+rap+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“\u003ca href=\"https://www.facebook.com/watch/?v=1600909627034398&t=0\" target=\"_blank\" rel=\"noopener noreferrer\">That Lunar Cheer\u003c/a>,” a collaboration between the \u003ca href=\"http://grantavenuefollies.com\">Grant Avenue Follies\u003c/a> and Los Angeles-based rapper \u003ca href=\"http://jasonchumusic.com\">Jason Chu\u003c/a>, hippety-hops into the Year of the Rabbit with calls for food, family and fun.\u003c/p>\n\u003cp>“We’ve been through a couple challenging years and we want to wish everybody a happy new year as well as making sure that it will be a peaceful and healthy new year. That is very important to us,” Follies co-founder Cynthia Yee told NPR. “We have customs that have to be followed, such as cleaning the house before New Year’s Day to sweep away all the bad luck and welcome the new.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?height=314&href=https%3A%2F%2Fwww.facebook.com%2FAARPAAPI%2Fvideos%2F1600909627034398%2F&show_text=false&width=560&t=0\" width=\"560\" height=\"314\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowfullscreen=\"true\" allow=\"autoplay; clipboard-write; encrypted-media; picture-in-picture; web-share\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The video was was funded by the AARP, a nonprofit interest group focusing on issues affecting those over the age of 50.\u003c/p>\n\u003ch3>No strangers to hip-hop\u003c/h3>\n\u003cp>The 12 members of the Follies, aged between 61 and 87, might be steeped in tap dance and the songs of the 1950s and ‘60s. But they are no strangers to hip-hop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
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