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"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. 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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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"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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"slug": "after-sappho-brings-women-in-history-to-life-to-claim-their-stories",
"title": "‘After Sappho’ Brings Women in History to Life to Claim Their Stories",
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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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"headline": "‘After Sappho’ Brings Women in History to Life to Claim Their Stories",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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>\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>\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"excerpt": "Eggs have roughly tripled in price in the last few years. Now a raft of competitors are offering substitutes.",
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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",
"headTitle": "The Real-Life Refugees of ‘Casablanca’ Make it So Much More Than a Love Story | KQED",
"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. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\u003c/p>\u003c/div>",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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\u003c/div>\u003c/p>",
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"content": "\u003cp>Fans had one final run down Splash Mountain in Florida’s Disney World on Sunday, before it closed for good. It had been in operation since 1992.\u003c/p>\n\u003cp>Renovations on Splash Mountain, which many fans consider a Disney staple, began on Monday. Disney announced in June 2020 that it was \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/25/883507841/disney-announces-redesign-of-splash-mountain-after-some-call-ride-themes-racist\">planning to reimagine\u003c/a> the ride after growing complaints due to its associations with the 1946 film \u003cem>Song of the South,\u003c/em> namely a \u003ca href=\"https://www.change.org/p/the-walt-disney-company-re-theme-splash-mountain-to-princess-and-the-frog?recruiter=683574212&utm_source=share_petition&utm_medium=twitter&utm_campaign=psf_combo_share_abi&recruited_by_id=f9543170-f5e1-11e6-a5d0-b5e95c874c8a\">Change.org petition\u003c/a> with over 21,000 signatures stating that the ride is “steeped in extremely problematic and stereotypical racist tropes.”\u003c/p>\n\u003cp>[aside postid='arts_13909983']The Splash Mountain at California’s Disneyland, which opened in 1989, is also slated to close soon, though the specific date has not yet been announced. Both of the rides will reopen as \u003ca href=\"https://disneyparks.disney.go.com/blog/2022/07/tianas-bayou-adventure-coming-to-disney-parks-in-late-2024/\">Tiana’s Bayou Adventure\u003c/a> — featuring Disney’s first Black princess — in late 2024.\u003c/p>\n\u003cp>Statements around the redesign have not mentioned the version of the ride in Japan, which also launched in 1992.\u003c/p>\n\u003cp>On Sunday, fans of Splash Mountain waited upwards of three hours to take their final run, and wait times had been higher than average for the past month, according to \u003ca href=\"https://www.thrill-data.com/waits/attraction/magic-kingdom/splashmountain/\">Thrill Data\u003c/a>. Some fans expressed disapproval of the ride’s closure and \u003ca href=\"https://www.change.org/p/everyone-to-save-splash-mountain-and-keep-it-as-it-is-in-magic-kingdom-and-disneyland\">started a petition\u003c/a> to save the ride, to no avail. Splash Mountain has already been removed from Disney World’s website.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The controversy over Splash Mountain stemmed from the movie it was based on. \u003cem>Song of the South\u003c/em> is set on a Georgia plantation after the Civil War and depicts what the NAACP in 1946 called an “\u003ca href=\"https://web.archive.org/web/20200615192050/https://www.tcm.com/tcmdb/title/90871/Song-of-the-South/notes.html\">idyllic master-slave relationship which is a distortion of the facts.\u003c/a>” Its characters appeared as animatronics in Splash Mountain, which also featured songs from the film.\u003c/p>\n\u003cp>[aside postid='arts_13910308']The new ride will be based on \u003cem>The Princess and the Frog\u003c/em>, the 2009 animated \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=121353041\">film that debuted Tiana, the first Black Disney princess\u003c/a>. In 2020, Disney CEO Bob Iger announced that \u003cem>Song of the South \u003c/em>would not be available for streaming on Disney Plus and that the movie is “\u003ca href=\"https://deadline.com/2020/03/bob-iger-song-of-the-south-disney-disclaimer-1202879464/\">not appropriate in today’s world.\u003c/a>”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The redesign is a continuation of Disney’s “longstanding history of updating attractions and adding new magic,” according to the \u003ca href=\"https://disneyparks.disney.go.com/blog/2020/06/new-adventures-with-princess-tiana-coming-to-disneyland-park-and-magic-kingdom-park/\">original announcement\u003c/a>, and the new ride will be “one that all of our guests can connect with and be inspired by, and it speaks to the diversity of the millions of people who visit our parks each year.”\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=Disney+World%27s+Splash+Mountain+runs+dry%2C+as+the+iconic+ride+closes+for+good&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans had one final run down Splash Mountain in Florida’s Disney World on Sunday, before it closed for good. It had been in operation since 1992.\u003c/p>\n\u003cp>Renovations on Splash Mountain, which many fans consider a Disney staple, began on Monday. Disney announced in June 2020 that it was \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/25/883507841/disney-announces-redesign-of-splash-mountain-after-some-call-ride-themes-racist\">planning to reimagine\u003c/a> the ride after growing complaints due to its associations with the 1946 film \u003cem>Song of the South,\u003c/em> namely a \u003ca href=\"https://www.change.org/p/the-walt-disney-company-re-theme-splash-mountain-to-princess-and-the-frog?recruiter=683574212&utm_source=share_petition&utm_medium=twitter&utm_campaign=psf_combo_share_abi&recruited_by_id=f9543170-f5e1-11e6-a5d0-b5e95c874c8a\">Change.org petition\u003c/a> with over 21,000 signatures stating that the ride is “steeped in extremely problematic and stereotypical racist tropes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Splash Mountain at California’s Disneyland, which opened in 1989, is also slated to close soon, though the specific date has not yet been announced. Both of the rides will reopen as \u003ca href=\"https://disneyparks.disney.go.com/blog/2022/07/tianas-bayou-adventure-coming-to-disney-parks-in-late-2024/\">Tiana’s Bayou Adventure\u003c/a> — featuring Disney’s first Black princess — in late 2024.\u003c/p>\n\u003cp>Statements around the redesign have not mentioned the version of the ride in Japan, which also launched in 1992.\u003c/p>\n\u003cp>On Sunday, fans of Splash Mountain waited upwards of three hours to take their final run, and wait times had been higher than average for the past month, according to \u003ca href=\"https://www.thrill-data.com/waits/attraction/magic-kingdom/splashmountain/\">Thrill Data\u003c/a>. Some fans expressed disapproval of the ride’s closure and \u003ca href=\"https://www.change.org/p/everyone-to-save-splash-mountain-and-keep-it-as-it-is-in-magic-kingdom-and-disneyland\">started a petition\u003c/a> to save the ride, to no avail. Splash Mountain has already been removed from Disney World’s website.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The controversy over Splash Mountain stemmed from the movie it was based on. \u003cem>Song of the South\u003c/em> is set on a Georgia plantation after the Civil War and depicts what the NAACP in 1946 called an “\u003ca href=\"https://web.archive.org/web/20200615192050/https://www.tcm.com/tcmdb/title/90871/Song-of-the-South/notes.html\">idyllic master-slave relationship which is a distortion of the facts.\u003c/a>” Its characters appeared as animatronics in Splash Mountain, which also featured songs from the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The new ride will be based on \u003cem>The Princess and the Frog\u003c/em>, the 2009 animated \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=121353041\">film that debuted Tiana, the first Black Disney princess\u003c/a>. In 2020, Disney CEO Bob Iger announced that \u003cem>Song of the South \u003c/em>would not be available for streaming on Disney Plus and that the movie is “\u003ca href=\"https://deadline.com/2020/03/bob-iger-song-of-the-south-disney-disclaimer-1202879464/\">not appropriate in today’s world.\u003c/a>”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The redesign is a continuation of Disney’s “longstanding history of updating attractions and adding new magic,” according to the \u003ca href=\"https://disneyparks.disney.go.com/blog/2020/06/new-adventures-with-princess-tiana-coming-to-disneyland-park-and-magic-kingdom-park/\">original announcement\u003c/a>, and the new ride will be “one that all of our guests can connect with and be inspired by, and it speaks to the diversity of the millions of people who visit our parks each year.”\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=Disney+World%27s+Splash+Mountain+runs+dry%2C+as+the+iconic+ride+closes+for+good&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Full Guide to the Sexual Misconduct Allegations Against Andrew Callaghan",
"headTitle": "A Full Guide to the Sexual Misconduct Allegations Against Andrew Callaghan | KQED",
"content": "\u003cp>Andrew Callaghan, a documentarian behind YouTube’s \u003cem>Channel 5\u003c/em> and HBO’s \u003cem>This Place Rules\u003c/em>, is known for chronicling spectacles from Phish shows to white nationalist rallies.\u003c/p>\n\u003cp>But this month, the 25-year-old was himself the story after thousands of social media users saw a pattern of misconduct in first- and second-hand accounts of women’s experiences that were shared across platforms in public comments and videos.\u003c/p>\n\u003cp>Callaghan addressed the allegations in an Instagram post on Sunday, apologizing to the women and pledging to examine his behavior in therapy.\u003c/p>\n\u003cp>But for many who follow Callaghan’s work, the incident raises questions about Gen Z’s tolerance for sexually questionable behavior.\u003c/p>\n\u003cp>Here’s an account of what has happened as of Friday.\u003c/p>\n\u003ch3>Who is Andrew Callaghan?\u003c/h3>\n\u003cfigure id=\"attachment_13923923\" class=\"wp-caption aligncenter\" style=\"max-width: 608px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg\" alt=\"An unkempt young white man with messy shoulder length hair looks into a camera. He is sitting in a white living room.\" width=\"608\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg 608w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8-160x90.jpg 160w\" sizes=\"(max-width: 608px) 100vw, 608px\">\u003cfigcaption class=\"wp-caption-text\">YouTube star and documentary film-maker Andrew Callaghan has publicly apologized after women came forward to say he sexually assaulted or coerced them.\u003c/figcaption>\u003c/figure>\n\u003cp>Callaghan is a self-styled journalist for the digital age whose irreverent YouTube videos have earned him fame across several platforms. His brand, \u003cem>Channel 5\u003c/em> news, has 600,000 followers on Instagram and another 2.25 million on YouTube.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Callaghan got his start while a student at Loyola University in New Orleans, where he launched a YouTube series called \u003cem>Quarter Confessions.\u003c/em> Wearing pale suits and carrying a corded microphone, Callaghan interviewed intoxicated Bourbon Street party-goers, editing together their wildest statements with quick cuts and intentionally outdated effects.\u003c/p>\n\u003cp>In 2019, he took that style of filmmaking across the country in a beat-up RV, stopping for interviews at sites like a flat-earthers’ conference and the Talladega Speedway. The show, \u003cem>All Gas No Brakes\u003c/em>, \u003ca href=\"https://www.nytimes.com/2021/03/23/style/all-gas-no-brakes.html\">fell apart in 2021 after a contract dispute\u003c/a> with its production company, Doing Things Media.\u003c/p>\n\u003cp>Callaghan then started the Patreon-funded\u003cem> Channel 5. \u003c/em>The series has amassed over 106 million YouTube views since April 2021.\u003c/p>\n\u003cp>His following has only broadened since the Dec. 30 release of his first HBO documentary, \u003cem>This Place Rules, \u003c/em>which examines the cultural divisions underlying the Jan. 6 attack on the U.S. Capitol.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MH_rX9S6sU8\u003c/p>\n\u003cp>In interviews with legacy journalists about his unfiltered reporting, Callaghan has defended his popularity among younger millennials and elder Gen Z’ers as a bit of media mockery in the service of media literacy.\u003c/p>\n\u003cp>He says giving airtime to fringe voices is an actual form of reporting in an age of overwhelming journalistic punditry.\u003c/p>\n\u003cp>“When there is a massive divide in America, you’re going to find interviews on the fringe,” he \u003ca href=\"https://www.npr.org/2022/12/31/1146453216/andrew-callaghan-on-new-jan-6-documentary-this-place-rules\">said in a recent interview with NPR\u003c/a>. “What we try to do is physically speak to people, actually show up and be there and ask people simple questions like, ‘What’s on your mind? How are you feeling?’”\u003c/p>\n\u003cp>He added that he lets the subjects “guide the conversation” in contrast to cable news reporters who use talking-head panels to “get the viewer as pissed off as possible.”\u003c/p>\n\u003ch3>Here’s when the allegations began to spread\u003c/h3>\n\u003cp>The claims against Callaghan began to go viral on Jan. 5, when a TikTok user who goes by the name Caroline Elise (@cornbreadasserole) posted a 2-minute video saying Callaghan pressured her into performing sexual acts with him.\u003c/p>\n\u003cp>[aside postid='arts_13923167']She said Callaghan, whom she’d been messaging on Instagram, asked to stay over at her house because he’d had a falling out with a crew member.\u003c/p>\n\u003cp>“I was very clear about the fact that we are not hooking up,” she said. “He gets in my bed and wears me down to the point where I eventually do agree to do things I wasn’t proud of.”\u003c/p>\n\u003cp>On Jan. 7, she posted again, sharing screenshots of messages she exchanged with Callaghan in 2021 and a photo of them together. She also shared screenshots of at least 10 messages from people saying they’d had a similar experience with Callaghan or knew of someone who had.\u003c/p>\n\u003cp>Caroline Elise has since deleted the videos from her TikTok feed, saying the response had diminished her mental health. But other users have saved and continue to share the videos across other platforms.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/waveninja1/status/1612866496266645505\">One version of it posted to Twitter\u003c/a> has been viewed over 756,000 times. \u003ca href=\"https://www.twitch.tv/videos/1702531869\">A version shared on a Twitch livestream\u003c/a> has over 833,000 views.\u003c/p>\n\u003cp>https://twitter.com/waveninja1/status/1612866496266645505\u003c/p>\n\u003cp>Caroline Elise said she didn’t want to talk directly to NPR also for mental health reasons. She instead put us in touch with a long-time friend, whose name we’ve agreed to withhold over her fears of online harassment.\u003c/p>\n\u003cp>The friend said that Callaghan knew how Caroline Elise felt about the incident months before she’d ever posted it to TikTok. The friend shared screenshots of Instagram posts from August 2021, in which the friend warned other women in her city that Callaghan had “knowingly assaulted my friend and got away with it.”\u003c/p>\n\u003cp>The friend also shared screenshots of a text message conversation that took place between Callaghan and Caroline Elise in December 2021, after Caroline Elise had confronted Callaghan about his behavior.\u003c/p>\n\u003cp>In one long message, Callaghan said he recognized that the social power dynamics at play “can dramatically warp consent” and had tried to unpack his behavior in therapy.\u003c/p>\n\u003cp>He also said that “prior partners” from New Orleans and Nashville had reached out to him in response to the Instagram posts and had “started dialogues with him that have benefitted all our lives for the better.”\u003c/p>\n\u003cp>“I want to do whatever I possibly can to be accountable and support you in whatever way you’d like,” the message continues. “It would mean the world to me to be able to have an open conversation with you.”\u003c/p>\n\u003ch3>A second accuser claims Callaghan sexually assaulted her in 2019\u003c/h3>\n\u003cp>Caroline Elise’s video prompted another woman, a TikTok user who goes by the name Dana (@moldyfreckle), to come forward.\u003c/p>\n\u003cp>In a series of videos, Dana said Callaghan assaulted her on a drive home from dinner, first kissing her neck, then putting his hand down her pants and putting her hands on his crotch as she was telling him to stop. Callaghan left the car after she’d asked multiple times, Dana said.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7186167704103996715\" data-video-id=\"7186167704103996715\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a> Part 4. This will be my last video tonight. \u003ca title=\"andrewcallaghan\" href=\"https://www.tiktok.com/tag/andrewcallaghan?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#andrewcallaghan\u003c/a> \u003ca title=\"allgasnobrakes\" href=\"https://www.tiktok.com/tag/allgasnobrakes?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#allgasnobrakes\u003c/a> \u003ca title=\"thisplacerules\" href=\"https://www.tiktok.com/tag/thisplacerules?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thisplacerules\u003c/a> \u003ca title=\"channel5\" href=\"https://www.tiktok.com/tag/channel5?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#channel5\u003c/a> \u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7186167830167997226?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Dana later posted a video showing screenshots of her messages with Callahan in January 2019. She hasn’t responded to multiple requests from NPR.\u003c/p>\n\u003cp>In addressing the responses to her videos, Dana dismissed ideas that she was seeking clout, money or trying to sabotage Callaghan’s success.\u003c/p>\n\u003cp>“I’m not going to let someone else go through this alone,” she said in her TikTok post, referencing Caroline’s video. “I’m just saying the truth right now and I don’t care what you believe, but I want other women who he’s affected to feel comfortable talking about it.”\u003c/p>\n\u003cp>While the stories from Dana and Caroline Elise have remained the most widely shared and commented upon, several other people have since posted in comments or videos claiming similarly pushy sexual behavior. They say their experiences with Callaghan formed a pattern.\u003c/p>\n\u003ch3>How did Callaghan respond?\u003c/h3>\n\u003cp>In a video posted to Instagram on Sunday, Callaghan thanked the people who’d spoken out about “different ways in which my behavior has made them feel uncomfortable or pressured during a sexual situation” and apologized to them, as well as his collaborators. He did not single out any particular accusations, or confirm or deny any specific accusations circulating.\u003c/p>\n\u003cp>https://www.instagram.com/p/CndGN_Av97E/\u003c/p>\n\u003cp>He did, however, say that he thought many of the accusations were missing important contextual information.\u003c/p>\n\u003cp>“I want to make a few things clear: I’ve always taken no for an answer,” he said. “As far as consent, I’ve never overstepped that line.”\u003c/p>\n\u003cp>“Up until this point, I didn’t really realize that I had this pattern that affected multiple people,” he said, later adding that he thought going home from a bar alone “made you a loser” and that “persistence was a form of flattery.”\u003c/p>\n\u003cp>Callaghan had largely laid low online and in public \u003ca href=\"https://www.motherjones.com/politics/2023/01/this-place-rules-is-a-peoples-history-of-january-6-documentary-npr-cnn/\">since a tumultuous live interview\u003c/a> with \u003ca href=\"https://www.wbur.org/events/822709/this-place-rules-hbo-original-screening-and-conversation-with-gonzo-journalist-andrew-callaghan-on-the-jan-6-insurrection\">NPR member station WBUR\u003c/a> on Jan. 4. He explained in the video that he’d waited nearly two weeks to respond because he was in a state of shock and “spiraled into a mental health crisis.”\u003c/p>\n\u003cp>Callaghan also said he believes alcohol may have contributed to his decision-making and said that he’s planning to join a 12-step program.\u003c/p>\n\u003cp>Dana \u003ca href=\"https://www.youtube.com/watch?v=bD8g_ZfcrEo\">posted YouTube\u003c/a> and TikTok videos on Wednesday evening saying that she didn’t believe the apology was genuine and she didn’t forgive him, but also that she was finished talking about it.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7189806338938178862\" data-video-id=\"7189806338938178862\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a>\u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7189806337738443566?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>“I’m fed up, and I know other people are getting fed up,” she said. “It’s called karma. It’s not blackmail. It’s not revenge, it’s just how it goes.”\u003c/p>\n\u003cp>Caroline Elise had not publicly addressed Callaghan’s statements at the time of publication.\u003c/p>\n\u003ch3>What about the blackmail claims?\u003c/h3>\n\u003cp>Three days before Callaghan’s Instagram video, news outlets \u003ca href=\"https://www.tmz.com/2023/01/12/andrew-callaghan-all-gas-no-brakes-responds-sexual-assault-accusation/\">like TMZ\u003c/a> and \u003ca href=\"https://variety.com/2023/digital/news/andrew-callaghan-allegations-tim-heidecker-1235484693/\">\u003cem>Variety\u003c/em> \u003c/a>published portions of a statement, shared by a “legal representative” for Callaghan, which acknowledged Callaghan’s need to re-evaluate his behavior but also pointed to “multiple sides to a story.”\u003c/p>\n\u003cp>“While every dynamic is open to interpretation and proper communication is critical from all those involved, repeated requests for money should not be part of these conversations,” reads the statement, according to both outlets.\u003c/p>\n\u003cp>Neither Callaghan’s agent or publicist responded to NPR’s request for confirmation of the statement. Callaghan hasn’t responded to multiple NPR attempts to reach him through his social media.\u003c/p>\n\u003cp>Caroline Elise’s friend shared a screenshot of one message Caroline Elise sent to Callaghan six days before posting the allegations on TikTok.\u003c/p>\n\u003cp>The message includes the handle of Caroline Elise’s Venmo account. She wrote Callaghan could use it if “HBO cuts you a fat check, and you in any way feel like helping contribute to the massive amounts of therapy bills I have accrued.”\u003c/p>\n\u003cp>Caroline Elise’s friend told NPR that’s the only time Caroline Elise had brought up the prospect of him reimbursing her in their conversations together. Callaghan never responded to the text, Caroline Elise’s friend said.\u003c/p>\n\u003cp>Caroline Elise confirmed through her friend that she shared the allegation to raise awareness of Callaghan’s behavior. She has no plans to file a police report or a lawsuit, her friend told NPR.\u003c/p>\n\u003cfigure id=\"attachment_13923922\" class=\"wp-caption aligncenter\" style=\"max-width: 591px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg\" alt=\"\" width=\"591\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg 591w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8-160x120.jpg 160w\" sizes=\"(max-width: 591px) 100vw, 591px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot provided to NPR by a close friend of the TikTok user Caroline, who claims Andrew Callaghan coerced her into having sex in 2021. \u003ccite>(Screenshot provided to NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>How did Callaghan’s fans react to the allegations?\u003c/h3>\n\u003cp>The claims, statements and reaction quickly spread on several social media platforms, where users, many of them anonymous, dissected Callaghan’s behavior in ways reminiscent of 2016’s #MeToo eruption, but with new cancel culture considerations.\u003c/p>\n\u003cp>The Reddit forum r/Channel5ive, which is in the top 5% of Reddit communities by size, was once dedicated to Callaghan fan adoration. Now it contains over 100 posts dedicated to investigating the allegations and debating which of the alleged behaviors crossed the line.\u003c/p>\n\u003cp>“Drinking with someone, inviting someone into your home, even inviting someone into your bed does not equal consent,” \u003ca href=\"https://www.reddit.com/r/Channel5ive/comments/105vp67/whatever_the_truth_is_we_as_a_community_need_to/\">wrote one user in a post\u003c/a> that received 1,100 up votes and 382 comments.\u003c/p>\n\u003cp>“I’m not saying let’s just ‘cancel’ the whole thing, but I really don’t like people saying we can just separate his journalism from his misconduct,” posted another.\u003c/p>\n\u003cp>Responding to requests by users, moderators eventually removed a Patreon link supporting Callaghan’s work and replaced it with a link to the National Women’s Law Center, which helps victims of sexual assault.\u003c/p>\n\u003cp>https://twitter.com/_letterbxmb/status/1612620941619597313\u003c/p>\n\u003cp>YouTube and Twitch streamers whose audiences overlap with Callaghan’s also parsed through the allegations and apology, trying to glean universal lessons.\u003c/p>\n\u003cp>Twitch streamer Hasan Piker (@Hasanabi), who boasts 2.3 million subscribers, \u003ca href=\"https://www.youtube.com/watch?v=woYpUM0EKqg\">said in his third video mentioning the allegations\u003c/a> that Callaghan’s apology is promising but that it’s only natural that his fans wait before passing judgment.\u003c/p>\n\u003cp>“People are not going to read this with any kind of charitability,” because Callaghan hasn’t done anything yet to demonstrate how he’s changed, Piker predicted.\u003c/p>\n\u003ch3>What does this mean for ‘Channel 5’ and Callaghan’s work?\u003c/h3>\n\u003cp>In his video apology, Callaghan said he wasn’t sure what comes next, but he wanted to take a step back from public life while he processed his behavior.\u003c/p>\n\u003cp>“I’m only 25 years old and I have my whole life ahead of me,” he said, adding that reporting was still his first love.\u003c/p>\n\u003cp>Tim Heidecker, a comedian who helped produce \u003cem>This Place Rules\u003c/em>, addressed the allegations on \u003ca href=\"https://podcasts.apple.com/us/podcast/234-atsuko-okatsuka/id1153746716?i=1000594133836\">his \u003cem>Office Hours\u003c/em> podcast last Thursday\u003c/a> by saying he had no plans to collaborate with Callaghan again in the future.\u003c/p>\n\u003cp>https://twitter.com/OfficeHrsLive/status/1613596594925981696\u003c/p>\n\u003cp>“We have no professional relationship with Andrew at this time and have no plans to have any relationship with him,” Heidecker said, speaking on behalf of his comedy and production partner, Eric Wareheim.\u003c/p>\n\u003cp>A publicist for Heidecker and Wareheim told NPR the pair had no updated comments on Callaghan’s apology. The press offices for A24 and HBO did not respond to NPR’s requests for comment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The YouTube page for \u003cem>Channel 5\u003c/em>, which had been sharing clips from \u003cem>This Place Rules\u003c/em> for the last three weeks, hasn’t posted a new video since the week the allegations surfaced.\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=A+full+guide+to+the+sexual+misconduct+allegations+against+YouTuber+Andrew+Callaghan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrew Callaghan, a documentarian behind YouTube’s \u003cem>Channel 5\u003c/em> and HBO’s \u003cem>This Place Rules\u003c/em>, is known for chronicling spectacles from Phish shows to white nationalist rallies.\u003c/p>\n\u003cp>But this month, the 25-year-old was himself the story after thousands of social media users saw a pattern of misconduct in first- and second-hand accounts of women’s experiences that were shared across platforms in public comments and videos.\u003c/p>\n\u003cp>Callaghan addressed the allegations in an Instagram post on Sunday, apologizing to the women and pledging to examine his behavior in therapy.\u003c/p>\n\u003cp>But for many who follow Callaghan’s work, the incident raises questions about Gen Z’s tolerance for sexually questionable behavior.\u003c/p>\n\u003cp>Here’s an account of what has happened as of Friday.\u003c/p>\n\u003ch3>Who is Andrew Callaghan?\u003c/h3>\n\u003cfigure id=\"attachment_13923923\" class=\"wp-caption aligncenter\" style=\"max-width: 608px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg\" alt=\"An unkempt young white man with messy shoulder length hair looks into a camera. He is sitting in a white living room.\" width=\"608\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8.jpg 608w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/capture_wide-e15ad23b11e9a25a474b5b0de2e6401ac69bd3a8-160x90.jpg 160w\" sizes=\"(max-width: 608px) 100vw, 608px\">\u003cfigcaption class=\"wp-caption-text\">YouTube star and documentary film-maker Andrew Callaghan has publicly apologized after women came forward to say he sexually assaulted or coerced them.\u003c/figcaption>\u003c/figure>\n\u003cp>Callaghan is a self-styled journalist for the digital age whose irreverent YouTube videos have earned him fame across several platforms. His brand, \u003cem>Channel 5\u003c/em> news, has 600,000 followers on Instagram and another 2.25 million on YouTube.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Callaghan got his start while a student at Loyola University in New Orleans, where he launched a YouTube series called \u003cem>Quarter Confessions.\u003c/em> Wearing pale suits and carrying a corded microphone, Callaghan interviewed intoxicated Bourbon Street party-goers, editing together their wildest statements with quick cuts and intentionally outdated effects.\u003c/p>\n\u003cp>In 2019, he took that style of filmmaking across the country in a beat-up RV, stopping for interviews at sites like a flat-earthers’ conference and the Talladega Speedway. The show, \u003cem>All Gas No Brakes\u003c/em>, \u003ca href=\"https://www.nytimes.com/2021/03/23/style/all-gas-no-brakes.html\">fell apart in 2021 after a contract dispute\u003c/a> with its production company, Doing Things Media.\u003c/p>\n\u003cp>Callaghan then started the Patreon-funded\u003cem> Channel 5. \u003c/em>The series has amassed over 106 million YouTube views since April 2021.\u003c/p>\n\u003cp>His following has only broadened since the Dec. 30 release of his first HBO documentary, \u003cem>This Place Rules, \u003c/em>which examines the cultural divisions underlying the Jan. 6 attack on the U.S. Capitol.\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/MH_rX9S6sU8'\n title='//www.youtube.com/embed/MH_rX9S6sU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In interviews with legacy journalists about his unfiltered reporting, Callaghan has defended his popularity among younger millennials and elder Gen Z’ers as a bit of media mockery in the service of media literacy.\u003c/p>\n\u003cp>He says giving airtime to fringe voices is an actual form of reporting in an age of overwhelming journalistic punditry.\u003c/p>\n\u003cp>“When there is a massive divide in America, you’re going to find interviews on the fringe,” he \u003ca href=\"https://www.npr.org/2022/12/31/1146453216/andrew-callaghan-on-new-jan-6-documentary-this-place-rules\">said in a recent interview with NPR\u003c/a>. “What we try to do is physically speak to people, actually show up and be there and ask people simple questions like, ‘What’s on your mind? How are you feeling?’”\u003c/p>\n\u003cp>He added that he lets the subjects “guide the conversation” in contrast to cable news reporters who use talking-head panels to “get the viewer as pissed off as possible.”\u003c/p>\n\u003ch3>Here’s when the allegations began to spread\u003c/h3>\n\u003cp>The claims against Callaghan began to go viral on Jan. 5, when a TikTok user who goes by the name Caroline Elise (@cornbreadasserole) posted a 2-minute video saying Callaghan pressured her into performing sexual acts with him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She said Callaghan, whom she’d been messaging on Instagram, asked to stay over at her house because he’d had a falling out with a crew member.\u003c/p>\n\u003cp>“I was very clear about the fact that we are not hooking up,” she said. “He gets in my bed and wears me down to the point where I eventually do agree to do things I wasn’t proud of.”\u003c/p>\n\u003cp>On Jan. 7, she posted again, sharing screenshots of messages she exchanged with Callaghan in 2021 and a photo of them together. She also shared screenshots of at least 10 messages from people saying they’d had a similar experience with Callaghan or knew of someone who had.\u003c/p>\n\u003cp>Caroline Elise has since deleted the videos from her TikTok feed, saying the response had diminished her mental health. But other users have saved and continue to share the videos across other platforms.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/waveninja1/status/1612866496266645505\">One version of it posted to Twitter\u003c/a> has been viewed over 756,000 times. \u003ca href=\"https://www.twitch.tv/videos/1702531869\">A version shared on a Twitch livestream\u003c/a> has over 833,000 views.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Caroline Elise said she didn’t want to talk directly to NPR also for mental health reasons. She instead put us in touch with a long-time friend, whose name we’ve agreed to withhold over her fears of online harassment.\u003c/p>\n\u003cp>The friend said that Callaghan knew how Caroline Elise felt about the incident months before she’d ever posted it to TikTok. The friend shared screenshots of Instagram posts from August 2021, in which the friend warned other women in her city that Callaghan had “knowingly assaulted my friend and got away with it.”\u003c/p>\n\u003cp>The friend also shared screenshots of a text message conversation that took place between Callaghan and Caroline Elise in December 2021, after Caroline Elise had confronted Callaghan about his behavior.\u003c/p>\n\u003cp>In one long message, Callaghan said he recognized that the social power dynamics at play “can dramatically warp consent” and had tried to unpack his behavior in therapy.\u003c/p>\n\u003cp>He also said that “prior partners” from New Orleans and Nashville had reached out to him in response to the Instagram posts and had “started dialogues with him that have benefitted all our lives for the better.”\u003c/p>\n\u003cp>“I want to do whatever I possibly can to be accountable and support you in whatever way you’d like,” the message continues. “It would mean the world to me to be able to have an open conversation with you.”\u003c/p>\n\u003ch3>A second accuser claims Callaghan sexually assaulted her in 2019\u003c/h3>\n\u003cp>Caroline Elise’s video prompted another woman, a TikTok user who goes by the name Dana (@moldyfreckle), to come forward.\u003c/p>\n\u003cp>In a series of videos, Dana said Callaghan assaulted her on a drive home from dinner, first kissing her neck, then putting his hand down her pants and putting her hands on his crotch as she was telling him to stop. Callaghan left the car after she’d asked multiple times, Dana said.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7186167704103996715\" data-video-id=\"7186167704103996715\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a> Part 4. This will be my last video tonight. \u003ca title=\"andrewcallaghan\" href=\"https://www.tiktok.com/tag/andrewcallaghan?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#andrewcallaghan\u003c/a> \u003ca title=\"allgasnobrakes\" href=\"https://www.tiktok.com/tag/allgasnobrakes?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#allgasnobrakes\u003c/a> \u003ca title=\"thisplacerules\" href=\"https://www.tiktok.com/tag/thisplacerules?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#thisplacerules\u003c/a> \u003ca title=\"channel5\" href=\"https://www.tiktok.com/tag/channel5?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#channel5\u003c/a> \u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7186167830167997226?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dana later posted a video showing screenshots of her messages with Callahan in January 2019. She hasn’t responded to multiple requests from NPR.\u003c/p>\n\u003cp>In addressing the responses to her videos, Dana dismissed ideas that she was seeking clout, money or trying to sabotage Callaghan’s success.\u003c/p>\n\u003cp>“I’m not going to let someone else go through this alone,” she said in her TikTok post, referencing Caroline’s video. “I’m just saying the truth right now and I don’t care what you believe, but I want other women who he’s affected to feel comfortable talking about it.”\u003c/p>\n\u003cp>While the stories from Dana and Caroline Elise have remained the most widely shared and commented upon, several other people have since posted in comments or videos claiming similarly pushy sexual behavior. They say their experiences with Callaghan formed a pattern.\u003c/p>\n\u003ch3>How did Callaghan respond?\u003c/h3>\n\u003cp>In a video posted to Instagram on Sunday, Callaghan thanked the people who’d spoken out about “different ways in which my behavior has made them feel uncomfortable or pressured during a sexual situation” and apologized to them, as well as his collaborators. He did not single out any particular accusations, or confirm or deny any specific accusations circulating.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He did, however, say that he thought many of the accusations were missing important contextual information.\u003c/p>\n\u003cp>“I want to make a few things clear: I’ve always taken no for an answer,” he said. “As far as consent, I’ve never overstepped that line.”\u003c/p>\n\u003cp>“Up until this point, I didn’t really realize that I had this pattern that affected multiple people,” he said, later adding that he thought going home from a bar alone “made you a loser” and that “persistence was a form of flattery.”\u003c/p>\n\u003cp>Callaghan had largely laid low online and in public \u003ca href=\"https://www.motherjones.com/politics/2023/01/this-place-rules-is-a-peoples-history-of-january-6-documentary-npr-cnn/\">since a tumultuous live interview\u003c/a> with \u003ca href=\"https://www.wbur.org/events/822709/this-place-rules-hbo-original-screening-and-conversation-with-gonzo-journalist-andrew-callaghan-on-the-jan-6-insurrection\">NPR member station WBUR\u003c/a> on Jan. 4. He explained in the video that he’d waited nearly two weeks to respond because he was in a state of shock and “spiraled into a mental health crisis.”\u003c/p>\n\u003cp>Callaghan also said he believes alcohol may have contributed to his decision-making and said that he’s planning to join a 12-step program.\u003c/p>\n\u003cp>Dana \u003ca href=\"https://www.youtube.com/watch?v=bD8g_ZfcrEo\">posted YouTube\u003c/a> and TikTok videos on Wednesday evening saying that she didn’t believe the apology was genuine and she didn’t forgive him, but also that she was finished talking about it.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@moldyfreckle/video/7189806338938178862\" data-video-id=\"7189806338938178862\">\n\u003csection>\u003ca title=\"@moldyfreckle\" href=\"https://www.tiktok.com/@moldyfreckle?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@moldyfreckle\u003c/a>\u003ca title=\"♬ original sound - DJ\" href=\"https://www.tiktok.com/music/original-sound-7189806337738443566?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – DJ\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m fed up, and I know other people are getting fed up,” she said. “It’s called karma. It’s not blackmail. It’s not revenge, it’s just how it goes.”\u003c/p>\n\u003cp>Caroline Elise had not publicly addressed Callaghan’s statements at the time of publication.\u003c/p>\n\u003ch3>What about the blackmail claims?\u003c/h3>\n\u003cp>Three days before Callaghan’s Instagram video, news outlets \u003ca href=\"https://www.tmz.com/2023/01/12/andrew-callaghan-all-gas-no-brakes-responds-sexual-assault-accusation/\">like TMZ\u003c/a> and \u003ca href=\"https://variety.com/2023/digital/news/andrew-callaghan-allegations-tim-heidecker-1235484693/\">\u003cem>Variety\u003c/em> \u003c/a>published portions of a statement, shared by a “legal representative” for Callaghan, which acknowledged Callaghan’s need to re-evaluate his behavior but also pointed to “multiple sides to a story.”\u003c/p>\n\u003cp>“While every dynamic is open to interpretation and proper communication is critical from all those involved, repeated requests for money should not be part of these conversations,” reads the statement, according to both outlets.\u003c/p>\n\u003cp>Neither Callaghan’s agent or publicist responded to NPR’s request for confirmation of the statement. Callaghan hasn’t responded to multiple NPR attempts to reach him through his social media.\u003c/p>\n\u003cp>Caroline Elise’s friend shared a screenshot of one message Caroline Elise sent to Callaghan six days before posting the allegations on TikTok.\u003c/p>\n\u003cp>The message includes the handle of Caroline Elise’s Venmo account. She wrote Callaghan could use it if “HBO cuts you a fat check, and you in any way feel like helping contribute to the massive amounts of therapy bills I have accrued.”\u003c/p>\n\u003cp>Caroline Elise’s friend told NPR that’s the only time Caroline Elise had brought up the prospect of him reimbursing her in their conversations together. Callaghan never responded to the text, Caroline Elise’s friend said.\u003c/p>\n\u003cp>Caroline Elise confirmed through her friend that she shared the allegation to raise awareness of Callaghan’s behavior. She has no plans to file a police report or a lawsuit, her friend told NPR.\u003c/p>\n\u003cfigure id=\"attachment_13923922\" class=\"wp-caption aligncenter\" style=\"max-width: 591px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg\" alt=\"\" width=\"591\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8.jpg 591w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/renderedimage-98424a307d1029db4726b0768b665280a04664c8-160x120.jpg 160w\" sizes=\"(max-width: 591px) 100vw, 591px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot provided to NPR by a close friend of the TikTok user Caroline, who claims Andrew Callaghan coerced her into having sex in 2021. \u003ccite>(Screenshot provided to NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>How did Callaghan’s fans react to the allegations?\u003c/h3>\n\u003cp>The claims, statements and reaction quickly spread on several social media platforms, where users, many of them anonymous, dissected Callaghan’s behavior in ways reminiscent of 2016’s #MeToo eruption, but with new cancel culture considerations.\u003c/p>\n\u003cp>The Reddit forum r/Channel5ive, which is in the top 5% of Reddit communities by size, was once dedicated to Callaghan fan adoration. Now it contains over 100 posts dedicated to investigating the allegations and debating which of the alleged behaviors crossed the line.\u003c/p>\n\u003cp>“Drinking with someone, inviting someone into your home, even inviting someone into your bed does not equal consent,” \u003ca href=\"https://www.reddit.com/r/Channel5ive/comments/105vp67/whatever_the_truth_is_we_as_a_community_need_to/\">wrote one user in a post\u003c/a> that received 1,100 up votes and 382 comments.\u003c/p>\n\u003cp>“I’m not saying let’s just ‘cancel’ the whole thing, but I really don’t like people saying we can just separate his journalism from his misconduct,” posted another.\u003c/p>\n\u003cp>Responding to requests by users, moderators eventually removed a Patreon link supporting Callaghan’s work and replaced it with a link to the National Women’s Law Center, which helps victims of sexual assault.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>YouTube and Twitch streamers whose audiences overlap with Callaghan’s also parsed through the allegations and apology, trying to glean universal lessons.\u003c/p>\n\u003cp>Twitch streamer Hasan Piker (@Hasanabi), who boasts 2.3 million subscribers, \u003ca href=\"https://www.youtube.com/watch?v=woYpUM0EKqg\">said in his third video mentioning the allegations\u003c/a> that Callaghan’s apology is promising but that it’s only natural that his fans wait before passing judgment.\u003c/p>\n\u003cp>“People are not going to read this with any kind of charitability,” because Callaghan hasn’t done anything yet to demonstrate how he’s changed, Piker predicted.\u003c/p>\n\u003ch3>What does this mean for ‘Channel 5’ and Callaghan’s work?\u003c/h3>\n\u003cp>In his video apology, Callaghan said he wasn’t sure what comes next, but he wanted to take a step back from public life while he processed his behavior.\u003c/p>\n\u003cp>“I’m only 25 years old and I have my whole life ahead of me,” he said, adding that reporting was still his first love.\u003c/p>\n\u003cp>Tim Heidecker, a comedian who helped produce \u003cem>This Place Rules\u003c/em>, addressed the allegations on \u003ca href=\"https://podcasts.apple.com/us/podcast/234-atsuko-okatsuka/id1153746716?i=1000594133836\">his \u003cem>Office Hours\u003c/em> podcast last Thursday\u003c/a> by saying he had no plans to collaborate with Callaghan again in the future.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“We have no professional relationship with Andrew at this time and have no plans to have any relationship with him,” Heidecker said, speaking on behalf of his comedy and production partner, Eric Wareheim.\u003c/p>\n\u003cp>A publicist for Heidecker and Wareheim told NPR the pair had no updated comments on Callaghan’s apology. The press offices for A24 and HBO did not respond to NPR’s requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The YouTube page for \u003cem>Channel 5\u003c/em>, which had been sharing clips from \u003cem>This Place Rules\u003c/em> for the last three weeks, hasn’t posted a new video since the week the allegations surfaced.\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=A+full+guide+to+the+sexual+misconduct+allegations+against+YouTuber+Andrew+Callaghan&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "When Her Mother Goes ‘Missing,’ a Gen-Z Teen Takes up a Tense Search on Screens",
"headTitle": "When Her Mother Goes ‘Missing,’ a Gen-Z Teen Takes up a Tense Search on Screens | KQED",
"content": "\u003cp>It is a truth universally acknowledged that repetition often destroys elegance.\u003c/p>\n\u003cp>Compare the elegance of \u003cem>Speed\u003c/em> (if this bus slows down, it will blow up) with the clumsy \u003cem>Speed 2: Cruise Control \u003c/em>(this cruise ship is going to very slowly run into a beach). The elegance of \u003cem>The Fast and the Furious \u003c/em>(street racing is fun!) with Ludacris and Tyrese Gibson ending up in space. The elegance of \u003cem>Die Hard \u003c/em>(one cop tries to rescue a building full of hostages) with … well, any other \u003cem>Die Hard \u003c/em>movie.\u003c/p>\n\u003cp>[aside postid='arts_13923818']The 2014 horror film \u003cem>Unfriended\u003c/em>, an early entry in the “screenlife” category in which everything plays out on computer screens, is formally elegant — simple, economical and effective. Mostly, you are just watching a group video call, with periodic visits to other places like Facebook or sketchy, unpleasantly believable forums where links seem like they could lead anywhere. And that video call, it turns out, is haunted, and will gradually knock off everybody on it. That’s the story; that’s the format. Screenlife has ties not just to “found-footage” movies (also formally elegant: \u003cem>The Blair Witch Project\u003c/em>), but to epistolary novels, too. In all these forms, the traditional telling of a story is replaced by the opportunity for the viewer/reader to examine the evidence that the story happened.\u003c/p>\n\u003cp>One of the producers of \u003cem>Unfriended \u003c/em>was Timur Bekmambetov, who was also a producer of not only its follow-up \u003cem>Unfriended: Dark Web\u003c/em>, but also the 2018 screenlife thriller \u003cem>Searching\u003c/em>. \u003cem>Searching\u003c/em> was directed by Aneesh Chaganty and stars John Cho as a father stumbling through the digital life of his teenage daughter trying to solve the mystery of her disappearance. And now, Bekmambetov is a producer of \u003cem>Missing\u003c/em>, which is a flashier, snazzier, and — yes — less formally elegant project written and directed by Nick Johnson and Will Merrick, who were editors on \u003cem>Searching\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>stars Storm Reid as June, a bright and restless young woman whose mother, Grace (Nia Long), vanishes during a vacation to Colombia with her boyfriend, Kevin (Ken Leung). In an inversion of \u003cem>Searching’\u003c/em>s tense portrayal of a father who feels helpless and adrift in the complexities of his daughter’s highly connected life, \u003cem>Missing \u003c/em>makes June a Gen-Z’er who knows how to get around adults who reuse their passwords, don’t secure their devices, and thus leave themselves open to all manner of snooping. This is her environment; she is at home here on her screens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=seBixtcx19E\u003c/p>\n\u003cp>It’s a good thing June feels at ease with her tech, because 10 years after \u003cem>Unfriended\u003c/em>, her online life has grown far more complicated than that haunted video call. She has a Ring doorbell, she has voice-activated everything, she can chat with people around the world who are not in front of their computers, she inhabits a world full of live webcams, and home security systems have boomed. Her social media life isn’t about a Facebook page; it’s about bits and bobs scattered all over. She’s also not John Cho’s David from \u003cem>Searching\u003c/em>, who slowly explores one platform at a time, painstakingly dragging individual snippets of information out of the dark. June hops from window to window like a plate-spinner; following her “screenlife” investigation of her mother’s disappearance is dizzying. It is her \u003cem>expectation\u003c/em> that information she needs can be found somewhere, from her laptop. The editing has been accelerated and complicated by self-consciously inventive visual transitions, and regrettably, a lot of the simplicity has been lost.\u003c/p>\n\u003cp>[aside postid='arts_13891785']There is something bracingly confident, in retrospect, about \u003cem>Unfriended\u003c/em>, which plays out the boring acts of typing and scrolling in real time, the frustrations of trying over and over to click on things that cannot be clicked on. (Because it’s got a virus and that virus is … a ghost.) In classic horror style, what is unseen in that film is often more frightening than what is seen, and what is seen is limited by the format. While it’s a thriller rather than a horror film, \u003cem>Searching\u003c/em>, too, moves deliberately, making limited and effective use of hidden cameras, streaming, and other avenues that allow a found-footage style (more similar to \u003cem>Paranormal Activity \u003c/em>or \u003cem>The Blair Witch Project\u003c/em>) to take over from a pure screenlife style.\u003c/p>\n\u003cp>Much of \u003cem>Missing\u003c/em>, however, particularly late in its story, is more a found-footage film than a screenlife film. It doesn’t rely on messages, chats, forums, or that dance of typing and scrolling — it shows you a regular scene, but from the perspective of a camera that exists inside the story.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>is not a bad film; it’s a good film. It’s smart, Reid is terrific, the thriller elements are gripping, the twists are surprising, and some of the moments in which June outsmarts people who are trying to cut her off from information she needs are highly satisfying. At the same time, it feels, in a way that’s a bit deflating, like a regression to the mean, where the repetition of this format across films (with perhaps greater and greater box-office expectations) makes them less and less formally interesting.\u003c/p>\n\u003cp>[aside postid='arts_13923783']June’s active, inventive exploration of online information is also, perhaps, part of the evolution of a concept that travels from the horror realm to the thriller realm, with the shift in intensity that suggests. Maybe if a thriller is about what frightens you, a horror film is about what frightens you \u003cem>most\u003c/em> — that’s an oversimplification and certainly not the genre definition, but it captures something about the difference between the adrenaline of thrillers and the visceral wallop of horror.\u003c/p>\n\u003cp>What frightens many of us \u003cem>most\u003c/em> is not peril itself, but the growing sense of helplessness and hopelessness that horror does so well. What June has at her disposal is a multiplicity of tools, of new avenues to explore. \u003cem>Missing \u003c/em>is a study of the ways in which the internet is full of a hundred ways to solve a problem; it’s a story about bending these tools to your will. \u003cem>Unfriended \u003c/em>was about the anonymous message, the blank page, the blinking cursor, the grayed-out option, the spinning ball, the baffling intrusion — online life when it doesn’t work.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But it’s hard not to wonder what a thriller would look like that had more faith in this format, that didn’t feel so beholden to found-footage films. It’s another truth universally acknowledged that limitations often spur creativity; \u003cem>Missing \u003c/em>without the benefit of quite so many accessible cameras for June to peek through would be an adventure all its own.\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=When+her+mother+goes+%27Missing%2C%27+a+Gen-Z+teen+takes+up+a+tense+search+on+screens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is a truth universally acknowledged that repetition often destroys elegance.\u003c/p>\n\u003cp>Compare the elegance of \u003cem>Speed\u003c/em> (if this bus slows down, it will blow up) with the clumsy \u003cem>Speed 2: Cruise Control \u003c/em>(this cruise ship is going to very slowly run into a beach). The elegance of \u003cem>The Fast and the Furious \u003c/em>(street racing is fun!) with Ludacris and Tyrese Gibson ending up in space. The elegance of \u003cem>Die Hard \u003c/em>(one cop tries to rescue a building full of hostages) with … well, any other \u003cem>Die Hard \u003c/em>movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 2014 horror film \u003cem>Unfriended\u003c/em>, an early entry in the “screenlife” category in which everything plays out on computer screens, is formally elegant — simple, economical and effective. Mostly, you are just watching a group video call, with periodic visits to other places like Facebook or sketchy, unpleasantly believable forums where links seem like they could lead anywhere. And that video call, it turns out, is haunted, and will gradually knock off everybody on it. That’s the story; that’s the format. Screenlife has ties not just to “found-footage” movies (also formally elegant: \u003cem>The Blair Witch Project\u003c/em>), but to epistolary novels, too. In all these forms, the traditional telling of a story is replaced by the opportunity for the viewer/reader to examine the evidence that the story happened.\u003c/p>\n\u003cp>One of the producers of \u003cem>Unfriended \u003c/em>was Timur Bekmambetov, who was also a producer of not only its follow-up \u003cem>Unfriended: Dark Web\u003c/em>, but also the 2018 screenlife thriller \u003cem>Searching\u003c/em>. \u003cem>Searching\u003c/em> was directed by Aneesh Chaganty and stars John Cho as a father stumbling through the digital life of his teenage daughter trying to solve the mystery of her disappearance. And now, Bekmambetov is a producer of \u003cem>Missing\u003c/em>, which is a flashier, snazzier, and — yes — less formally elegant project written and directed by Nick Johnson and Will Merrick, who were editors on \u003cem>Searching\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>stars Storm Reid as June, a bright and restless young woman whose mother, Grace (Nia Long), vanishes during a vacation to Colombia with her boyfriend, Kevin (Ken Leung). In an inversion of \u003cem>Searching’\u003c/em>s tense portrayal of a father who feels helpless and adrift in the complexities of his daughter’s highly connected life, \u003cem>Missing \u003c/em>makes June a Gen-Z’er who knows how to get around adults who reuse their passwords, don’t secure their devices, and thus leave themselves open to all manner of snooping. This is her environment; she is at home here on her screens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/seBixtcx19E'\n title='//www.youtube.com/embed/seBixtcx19E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a good thing June feels at ease with her tech, because 10 years after \u003cem>Unfriended\u003c/em>, her online life has grown far more complicated than that haunted video call. She has a Ring doorbell, she has voice-activated everything, she can chat with people around the world who are not in front of their computers, she inhabits a world full of live webcams, and home security systems have boomed. Her social media life isn’t about a Facebook page; it’s about bits and bobs scattered all over. She’s also not John Cho’s David from \u003cem>Searching\u003c/em>, who slowly explores one platform at a time, painstakingly dragging individual snippets of information out of the dark. June hops from window to window like a plate-spinner; following her “screenlife” investigation of her mother’s disappearance is dizzying. It is her \u003cem>expectation\u003c/em> that information she needs can be found somewhere, from her laptop. The editing has been accelerated and complicated by self-consciously inventive visual transitions, and regrettably, a lot of the simplicity has been lost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is something bracingly confident, in retrospect, about \u003cem>Unfriended\u003c/em>, which plays out the boring acts of typing and scrolling in real time, the frustrations of trying over and over to click on things that cannot be clicked on. (Because it’s got a virus and that virus is … a ghost.) In classic horror style, what is unseen in that film is often more frightening than what is seen, and what is seen is limited by the format. While it’s a thriller rather than a horror film, \u003cem>Searching\u003c/em>, too, moves deliberately, making limited and effective use of hidden cameras, streaming, and other avenues that allow a found-footage style (more similar to \u003cem>Paranormal Activity \u003c/em>or \u003cem>The Blair Witch Project\u003c/em>) to take over from a pure screenlife style.\u003c/p>\n\u003cp>Much of \u003cem>Missing\u003c/em>, however, particularly late in its story, is more a found-footage film than a screenlife film. It doesn’t rely on messages, chats, forums, or that dance of typing and scrolling — it shows you a regular scene, but from the perspective of a camera that exists inside the story.\u003c/p>\n\u003cp>\u003cem>Missing \u003c/em>is not a bad film; it’s a good film. It’s smart, Reid is terrific, the thriller elements are gripping, the twists are surprising, and some of the moments in which June outsmarts people who are trying to cut her off from information she needs are highly satisfying. At the same time, it feels, in a way that’s a bit deflating, like a regression to the mean, where the repetition of this format across films (with perhaps greater and greater box-office expectations) makes them less and less formally interesting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>June’s active, inventive exploration of online information is also, perhaps, part of the evolution of a concept that travels from the horror realm to the thriller realm, with the shift in intensity that suggests. Maybe if a thriller is about what frightens you, a horror film is about what frightens you \u003cem>most\u003c/em> — that’s an oversimplification and certainly not the genre definition, but it captures something about the difference between the adrenaline of thrillers and the visceral wallop of horror.\u003c/p>\n\u003cp>What frightens many of us \u003cem>most\u003c/em> is not peril itself, but the growing sense of helplessness and hopelessness that horror does so well. What June has at her disposal is a multiplicity of tools, of new avenues to explore. \u003cem>Missing \u003c/em>is a study of the ways in which the internet is full of a hundred ways to solve a problem; it’s a story about bending these tools to your will. \u003cem>Unfriended \u003c/em>was about the anonymous message, the blank page, the blinking cursor, the grayed-out option, the spinning ball, the baffling intrusion — online life when it doesn’t work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it’s hard not to wonder what a thriller would look like that had more faith in this format, that didn’t feel so beholden to found-footage films. It’s another truth universally acknowledged that limitations often spur creativity; \u003cem>Missing \u003c/em>without the benefit of quite so many accessible cameras for June to peek through would be an adventure all its own.\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=When+her+mother+goes+%27Missing%2C%27+a+Gen-Z+teen+takes+up+a+tense+search+on+screens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Alec Baldwin Will Be Charged With Involuntary Manslaughter in ‘Rust’ Shooting Death",
"headTitle": "Alec Baldwin Will Be Charged With Involuntary Manslaughter in ‘Rust’ Shooting Death | KQED",
"content": "\u003cp>Actor Alec Baldwin will face a criminal charge of involuntary manslaughter in the shooting death of cinematographer \u003ca href=\"https://www.npr.org/2021/10/22/1048377659/halyna-hutchins-cinematographer-killed-on-a-film-set-is-honored-by-colleagues\">Halyna Hutchins\u003c/a> on the set of the film \u003cem>Rust\u003c/em>, prosecutors in Santa Fe, N.M., said on Thursday.\u003c/p>\n\u003cp>The film’s armorer, Hannah Gutierrez-Reed, is facing the same charge, First Judicial District Attorney Mary Carmack-Altwies said \u003ca href=\"https://www.facebook.com/1stJDA/posts/pfbid02b3LtsS7cHsQwdYK2ghBZEvAwAJA7wCDKwzo9PrM9CqguUd8rKvTD13qGD26UxAul\">in a written statement\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13905217']In addition to those charges, assistant director David Halls “has signed a plea deal for the charge of negligent use of a deadly weapon,” according to the announcement.\u003c/p>\n\u003cp>“If any one of these three people — Alec Baldwin, Hannah Gutierrez-Reed or David Halls — had done their job, Halyna Hutchins would be alive today,” said Andrea Reeb, the special prosecutor appointed by Carmack-Altwies. “It’s that simple.”\u003c/p>\n\u003cp>A review of evidence in the case “clearly shows a pattern of criminal disregard for safety” on the film’s set, Reeb added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baldwin’s attorney, Luke Nikas, called the decision to file charges “a terrible miscarriage of justice” and a distortion of a tragedy.\u003c/p>\n\u003cp>The actor “relied on the professionals with whom he worked, who assured him the gun did not have live rounds,” Nikas said in a statement to NPR. “We will fight these charges, and we will win.”\u003c/p>\n\u003cp>In October 2021, Baldwin was holding a Colt .45-caliber pistol that fired a live round, killing Hutchins. At the time, they were rehearsing a scene for the Western film.\u003c/p>\n\u003cp>Baldwin has maintained that Hutchins died in a tragic accident, saying he didn’t intentionally fire the weapon and had no idea that it held live ammunition when the film crew gathered to rehearse a scene for the film.\u003c/p>\n\u003ch3>What are the charges against Baldwin?\u003c/h3>\n\u003cp>Baldwin and Gutierrez-Reed are each being charged with two counts of involuntary manslaughter, meaning they’re “charged in the alternative.” Prosecutors say they want a jury to decide not only if the pair are guilty, but which type of involuntary manslaughter should apply to the events around Hutchins’ death.\u003c/p>\n\u003cp>At the base level, both of the charges are fourth-degree felonies, punishable by up to 18 months in jail and a $5,000 fine. But if Baldwin and/or Gutierrez-Reed are found guilty of the most serious charges that carry a firearm enhancement, they stand to face five years in prison.\u003c/p>\n\u003cp>Under the basic involuntary manslaughter charge, prosecutors would need to show that underlying negligence played a role in the shooting death. That charge would also “likely” merge with a misdemeanor charge of negligent use of a firearm, prosecutors said.\u003c/p>\n\u003cp>[aside postid='arts_13906796']The other charge is involuntary manslaughter in the commission of a lawful act — which would require prosecutors to establish that factors beyond simple negligence contributed to Hutchins’ death. This version of the charge includes a firearm enhancement, meaning that if the actor or armorer are found guilty, they would face a mandatory prison term of five years.\u003c/p>\n\u003cp>When contacted by NPR, Gutierrez-Reed’s attorney, Jason Bowles, said his client “is, and has always been, very emotional and sad about this tragic accident. But she did not commit involuntary manslaughter.”\u003c/p>\n\u003cp>Calling the official investigation “flawed,” Bowles stated, “We intend to bring the full truth to light and believe Hannah will be exonerated of wrongdoing by a jury.”\u003c/p>\n\u003cp>The charges will be formally filed by the end of this month, the prosecutors said, setting the case in motion in the court system.\u003c/p>\n\u003ch3>The decision comes after months of debate and accusation\u003c/h3>\n\u003cp>The shooting has sparked a series of conflicting versions and opinions, from Baldwin saying he didn’t pull the trigger on the gun, to the \u003ca href=\"https://www.npr.org/2022/08/15/1117577604/alec-baldwin-fbi-report-movie-shooting\">FBI refuting that statement\u003c/a> — and Baldwin’s attorney saying the FBI’s findings were “misconstrued.”\u003c/p>\n\u003cp>As for how the bullet came to be in the gun, Gutierrez-Reed has previously \u003ca href=\"https://www.npr.org/2022/01/13/1072763841/the-rust-armorer-is-suing-the-films-ammo-supplier-over-the-deadly-on-set-shootin\">accused the film’s supplier\u003c/a> of providing live rounds rather than blanks or dummy rounds.\u003c/p>\n\u003cp>[aside postid='arts_13906102']Hutchins’ family filed a wrongful death suit against Baldwin and others involved in making the film \u003ca href=\"https://www.npr.org/2022/02/15/1080862149/alec-baldwin-halyna-hutchins-rust-lawsuit\">last February\u003c/a>, alleging that “reckless behavior and cost-cutting” contributed to the death of Hutchins at age 42.\u003c/p>\n\u003cp>But that lawsuit \u003ca href=\"https://www.npr.org/2022/10/05/1126940511/halyna-hutchins-rust-alec-baldwin-settlement\">was halted last October\u003c/a>, after the actor and Hutchins’ family agreed to a settlement. The deal included a call for production of \u003cem>Rust\u003c/em> to \u003ca href=\"https://www.pbs.org/newshour/arts/rust-filming-to-resume-after-alec-baldwin-shooting-lawsuit-settled\">resume this month\u003c/a>, with Hutchins’ husband, Matthew, added as an executive producer on the film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have no interest in engaging in recriminations or attribution of blame (to the producers or Mr. Baldwin),” Matthew Hutchins said in a statement about the settlement. “All of us believe Halyna’s death was a terrible accident. I am grateful that the producers and the entertainment community have come together to pay tribute to Halyna’s final work.”\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=Alec+Baldwin+will+be+charged+with+involuntary+manslaughter+in+%27Rust%27+shooting+death&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Alec Baldwin will face a criminal charge of involuntary manslaughter in the shooting death of cinematographer \u003ca href=\"https://www.npr.org/2021/10/22/1048377659/halyna-hutchins-cinematographer-killed-on-a-film-set-is-honored-by-colleagues\">Halyna Hutchins\u003c/a> on the set of the film \u003cem>Rust\u003c/em>, prosecutors in Santa Fe, N.M., said on Thursday.\u003c/p>\n\u003cp>The film’s armorer, Hannah Gutierrez-Reed, is facing the same charge, First Judicial District Attorney Mary Carmack-Altwies said \u003ca href=\"https://www.facebook.com/1stJDA/posts/pfbid02b3LtsS7cHsQwdYK2ghBZEvAwAJA7wCDKwzo9PrM9CqguUd8rKvTD13qGD26UxAul\">in a written statement\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In addition to those charges, assistant director David Halls “has signed a plea deal for the charge of negligent use of a deadly weapon,” according to the announcement.\u003c/p>\n\u003cp>“If any one of these three people — Alec Baldwin, Hannah Gutierrez-Reed or David Halls — had done their job, Halyna Hutchins would be alive today,” said Andrea Reeb, the special prosecutor appointed by Carmack-Altwies. “It’s that simple.”\u003c/p>\n\u003cp>A review of evidence in the case “clearly shows a pattern of criminal disregard for safety” on the film’s set, Reeb added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baldwin’s attorney, Luke Nikas, called the decision to file charges “a terrible miscarriage of justice” and a distortion of a tragedy.\u003c/p>\n\u003cp>The actor “relied on the professionals with whom he worked, who assured him the gun did not have live rounds,” Nikas said in a statement to NPR. “We will fight these charges, and we will win.”\u003c/p>\n\u003cp>In October 2021, Baldwin was holding a Colt .45-caliber pistol that fired a live round, killing Hutchins. At the time, they were rehearsing a scene for the Western film.\u003c/p>\n\u003cp>Baldwin has maintained that Hutchins died in a tragic accident, saying he didn’t intentionally fire the weapon and had no idea that it held live ammunition when the film crew gathered to rehearse a scene for the film.\u003c/p>\n\u003ch3>What are the charges against Baldwin?\u003c/h3>\n\u003cp>Baldwin and Gutierrez-Reed are each being charged with two counts of involuntary manslaughter, meaning they’re “charged in the alternative.” Prosecutors say they want a jury to decide not only if the pair are guilty, but which type of involuntary manslaughter should apply to the events around Hutchins’ death.\u003c/p>\n\u003cp>At the base level, both of the charges are fourth-degree felonies, punishable by up to 18 months in jail and a $5,000 fine. But if Baldwin and/or Gutierrez-Reed are found guilty of the most serious charges that carry a firearm enhancement, they stand to face five years in prison.\u003c/p>\n\u003cp>Under the basic involuntary manslaughter charge, prosecutors would need to show that underlying negligence played a role in the shooting death. That charge would also “likely” merge with a misdemeanor charge of negligent use of a firearm, prosecutors said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The other charge is involuntary manslaughter in the commission of a lawful act — which would require prosecutors to establish that factors beyond simple negligence contributed to Hutchins’ death. This version of the charge includes a firearm enhancement, meaning that if the actor or armorer are found guilty, they would face a mandatory prison term of five years.\u003c/p>\n\u003cp>When contacted by NPR, Gutierrez-Reed’s attorney, Jason Bowles, said his client “is, and has always been, very emotional and sad about this tragic accident. But she did not commit involuntary manslaughter.”\u003c/p>\n\u003cp>Calling the official investigation “flawed,” Bowles stated, “We intend to bring the full truth to light and believe Hannah will be exonerated of wrongdoing by a jury.”\u003c/p>\n\u003cp>The charges will be formally filed by the end of this month, the prosecutors said, setting the case in motion in the court system.\u003c/p>\n\u003ch3>The decision comes after months of debate and accusation\u003c/h3>\n\u003cp>The shooting has sparked a series of conflicting versions and opinions, from Baldwin saying he didn’t pull the trigger on the gun, to the \u003ca href=\"https://www.npr.org/2022/08/15/1117577604/alec-baldwin-fbi-report-movie-shooting\">FBI refuting that statement\u003c/a> — and Baldwin’s attorney saying the FBI’s findings were “misconstrued.”\u003c/p>\n\u003cp>As for how the bullet came to be in the gun, Gutierrez-Reed has previously \u003ca href=\"https://www.npr.org/2022/01/13/1072763841/the-rust-armorer-is-suing-the-films-ammo-supplier-over-the-deadly-on-set-shootin\">accused the film’s supplier\u003c/a> of providing live rounds rather than blanks or dummy rounds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hutchins’ family filed a wrongful death suit against Baldwin and others involved in making the film \u003ca href=\"https://www.npr.org/2022/02/15/1080862149/alec-baldwin-halyna-hutchins-rust-lawsuit\">last February\u003c/a>, alleging that “reckless behavior and cost-cutting” contributed to the death of Hutchins at age 42.\u003c/p>\n\u003cp>But that lawsuit \u003ca href=\"https://www.npr.org/2022/10/05/1126940511/halyna-hutchins-rust-alec-baldwin-settlement\">was halted last October\u003c/a>, after the actor and Hutchins’ family agreed to a settlement. The deal included a call for production of \u003cem>Rust\u003c/em> to \u003ca href=\"https://www.pbs.org/newshour/arts/rust-filming-to-resume-after-alec-baldwin-shooting-lawsuit-settled\">resume this month\u003c/a>, with Hutchins’ husband, Matthew, added as an executive producer on the film.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have no interest in engaging in recriminations or attribution of blame (to the producers or Mr. Baldwin),” Matthew Hutchins said in a statement about the settlement. “All of us believe Halyna’s death was a terrible accident. I am grateful that the producers and the entertainment community have come together to pay tribute to Halyna’s final work.”\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=Alec+Baldwin+will+be+charged+with+involuntary+manslaughter+in+%27Rust%27+shooting+death&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Saint Omer’ is a Complex Courtroom Drama About Much More Than the Murder at Hand | KQED",
"content": "\u003cp>When I was a kid, I used to watch \u003cem>Perry Mason\u003c/em> every day after school. I was drawn to the show’s black-and-white clarity. Perry always found out who was lying, who was telling the truth, who was guilty — and why.\u003c/p>\n\u003cp>As I grew older, I naturally discovered that things are grayer and more elusive in real world courtrooms. It’s not simply that you can’t always be sure who’s telling the truth, but that sometimes nobody knows the truth well enough to tell it.\u003c/p>\n\u003cp>[aside postid='arts_13923388']This ambiguity takes mesmerizing form in \u003cem>Saint Omer\u003c/em>, the strikingly confident feature debut of Alice Diop, a 43-year-old French filmmaker born of Senegalese immigrants. Based on an actual criminal case in France in which a Senegalese woman killed her baby daughter, Diop’s fictionalized version is at once rigorous, powerful and crackling with ideas about isolation, colonialism, the tricky bonds between mothers and daughters, and the equally tricky human habit of identifying with other people for reasons we may not grasp.\u003c/p>\n\u003cp>\u003cem>Saint Omer\u003c/em> begins with Diop’s surrogate, Rama (Kayije Kagame), a successful intellectual writer who has a white musician boyfriend and a Senegalese mother she can’t quite stand. She heads off from Paris to the town of Saint Omer to watch the trial of Laurence Coly (Guslagie Malanda).\u003c/p>\n\u003cp>Laurence is a Senegalese woman who once dreamed of being a genius philosopher — she casually namechecks Descartes — but now confesses to causing the death of her baby daughter Elise. Rama plans to write a book about her titled, \u003cem>Medea Shipwrecked\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iWw-EyrG5Sw\u003c/p>\n\u003cp>Like Rama, we get sucked into a trial that unfolds in the French manner, meaning that the judge — empathetically played by Valérie Dréville — questions most of the witnesses in a probing, expansive way reminiscent of a Ph.D. oral exam.\u003c/p>\n\u003cp>We see the self-serving slipperiness of Laurence’s partner, a bearded white man 30-odd years her senior who wouldn’t let her meet his family or friends. We hear the righteous words of the mother she always felt distant from, and we cringe at the testimony of her one-time professor who, with exquisite cultural condescension, wonders why Laurence had wanted to study Wittgenstein rather than a thinker befitting her African roots.\u003c/p>\n\u003cp>Of course, the trial’s star attraction is Laurence who, in Malanda’s rivetingly charismatic performance, is at once controlled and unreadable: She makes us feel that there’s a whole universe in Laurence’s head that we can never reach. Although her testimony is delivered matter-of-factly — even when she blames the murder on sorcery — she often contradicts her earlier statements. Asked why she left Elise to die on the beach, she replies that she doesn’t know, adding, “I hope this trial will give me the answer.”\u003c/p>\n\u003cfigure id=\"attachment_13923820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg\" alt=\"A young Black woman with braids, wearing a loose olive green shirt, wears a concerned expression, sitting in the audience of a court hearing.\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kayije Kagame plays a writer covering the murder trial. \u003ccite>(via Toronto Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Laurence remains a mystery, even to herself, we gradually realize why Rama is so enthralled by her story. I won’t tell you exactly why, but I will say that \u003cem>Saint Omer\u003c/em> is as much about Rama as it is about Laurence. The film explores Rama’s own cultural alienation, trouble with her mother, and intellectual analogies to Elise’s murder that may or may not be accurate. She wonders if she may contain within herself the seeds of whatever has been motivating Laurence.\u003c/p>\n\u003cp>[aside postid='arts_13923573']Now, it must be said that Rama’s story is less emotionally compelling than the murder case, in part because Kagame, though haunted looking, is a less expressive actor than Malanda. That said, her story is important conceptually. Rama’s identification with Laurence shows how the social and psychological issues raised in the trial go well beyond the courtroom. \u003cem>Saint Omer \u003c/em>is about far more than just one murderous mother.\u003c/p>\n\u003cp>What makes the movie unforgettable are the scenes in the courtroom, every moment of them gripping. Diop started out making documentaries, and she looks at the trial with a born observer’s unblinkingly rapt attention. Using superbly-acted long takes, she scrutinizes the characters for hints as to what made Laurence do it; she makes us feel the volcanic emotional pressure behind Laurence’s largely unflappable demeanor; and she lets us see the complex, multi-layered network of social and psychological forces that led her to the beach. We keep asking ourselves whether Laurence is a criminal — or a victim. There are no easy answers, no simple explanation for her actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’re a long, long way from Perry Mason.\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=%27Saint+Omer%27+is+a+complex+courtroom+drama+about+much+more+than+the+murder+at+hand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iWw-EyrG5Sw'\n title='//www.youtube.com/embed/iWw-EyrG5Sw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Rama, we get sucked into a trial that unfolds in the French manner, meaning that the judge — empathetically played by Valérie Dréville — questions most of the witnesses in a probing, expansive way reminiscent of a Ph.D. oral exam.\u003c/p>\n\u003cp>We see the self-serving slipperiness of Laurence’s partner, a bearded white man 30-odd years her senior who wouldn’t let her meet his family or friends. We hear the righteous words of the mother she always felt distant from, and we cringe at the testimony of her one-time professor who, with exquisite cultural condescension, wonders why Laurence had wanted to study Wittgenstein rather than a thinker befitting her African roots.\u003c/p>\n\u003cp>Of course, the trial’s star attraction is Laurence who, in Malanda’s rivetingly charismatic performance, is at once controlled and unreadable: She makes us feel that there’s a whole universe in Laurence’s head that we can never reach. Although her testimony is delivered matter-of-factly — even when she blames the murder on sorcery — she often contradicts her earlier statements. Asked why she left Elise to die on the beach, she replies that she doesn’t know, adding, “I hope this trial will give me the answer.”\u003c/p>\n\u003cfigure id=\"attachment_13923820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg\" alt=\"A young Black woman with braids, wearing a loose olive green shirt, wears a concerned expression, sitting in the audience of a court hearing.\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/saintomer_01_custom-c5c8d39f8da431a91555c4a97cd30e9d20da2029.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kayije Kagame plays a writer covering the murder trial. \u003ccite>(via Toronto Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Laurence remains a mystery, even to herself, we gradually realize why Rama is so enthralled by her story. I won’t tell you exactly why, but I will say that \u003cem>Saint Omer\u003c/em> is as much about Rama as it is about Laurence. The film explores Rama’s own cultural alienation, trouble with her mother, and intellectual analogies to Elise’s murder that may or may not be accurate. She wonders if she may contain within herself the seeds of whatever has been motivating Laurence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, it must be said that Rama’s story is less emotionally compelling than the murder case, in part because Kagame, though haunted looking, is a less expressive actor than Malanda. That said, her story is important conceptually. Rama’s identification with Laurence shows how the social and psychological issues raised in the trial go well beyond the courtroom. \u003cem>Saint Omer \u003c/em>is about far more than just one murderous mother.\u003c/p>\n\u003cp>What makes the movie unforgettable are the scenes in the courtroom, every moment of them gripping. Diop started out making documentaries, and she looks at the trial with a born observer’s unblinkingly rapt attention. Using superbly-acted long takes, she scrutinizes the characters for hints as to what made Laurence do it; she makes us feel the volcanic emotional pressure behind Laurence’s largely unflappable demeanor; and she lets us see the complex, multi-layered network of social and psychological forces that led her to the beach. We keep asking ourselves whether Laurence is a criminal — or a victim. There are no easy answers, no simple explanation for her actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’re a long, long way from Perry Mason.\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=%27Saint+Omer%27+is+a+complex+courtroom+drama+about+much+more+than+the+murder+at+hand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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