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"content": "\u003cp>If it feels like you’re drowning in TV content these days, that’s because you probably are.\u003c/p>\n\u003cp>In January, researchers at the FX cable channel released a study showing 559 scripted original series aired across broadcast, cable and streaming \u003cem>last year\u003c/em>. In 2022, it feels like the tally will be even higher, with series featuring loads of big names and high-profile projects debuting on top of each other like a great flood of vehicles jammed onto a single, endless highway.\u003c/p>\n\u003cp>[aside postid='arts_13912863']Consider that, in the last month, we’ve seen new and returning TV series debut starring Julia Roberts, Sean Penn, Sissy Spacek, Jane Fonda, Lily Tomlin, Andrew Garfield, Elisabeth Moss, Mike Myers, Colin Firth, Glenn Close, Jessica Biel, Martin Freeman, Tom Hiddleston, Claire Danes, Zac Efron and David Letterman. Reboots, revivals and reinventions have included a new \u003cem>Star Trek\u003c/em> series, a new \u003cem>Star Wars\u003c/em> series this week, a fresh version of \u003cem>The Man Who Fell to Earth\u003c/em>, a series on the making of \u003cem>The Godfather\u003c/em>, a new\u003cem> Firestarter\u003c/em> movie, a new version of \u003cem>The Lincoln Lawyer\u003c/em> and a new version of \u003cem>The Time Traveler’s Wife\u003c/em>.\u003c/p>\n\u003cp>Yeah. It’s a lot.\u003c/p>\n\u003cp>So, in recognition of how tough it is to keep track of all this content, I’m offering a quick look at some worthy TV shows that may have flown under the radar. If you missed them, here’s a chance to enjoy some interesting new shows; if you caught them already, it’s just validation of how great your taste is.\u003c/p>\n\u003ch3>\u003cem>Candy\u003c/em>, on Hulu\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=LTbM06Ds42s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This was a show that seemed a little hampered by its release schedule, which split the difference between binge-watching and episodic release, dropping an episode every day in one week, starting May 9. Jessica Biel is creepily compelling as Candy Montgomery, a suburban housewife accused of murdering a friend and fellow mom with an axe after having an affair with her buddy’s husband—based on a real case from 1980 in Wylie, Texas. Viewers know upfront that Montgomery killed her friend Betty Gore—an awkward and sad woman played with sympathetic depth by Melanie Lynskey.\u003c/p>\n\u003cp>So the series focuses its energy on an exhaustive critique of a suburban culture which seems stuck in the ’70s, with women pouring all their energy into looking like the perfect moms, their emotionally disconnected husbands unable to understand why their wives are still so unfulfilled. A certain pop star makes an interesting cameo as one of the police officers investigating the case. But what really intrigues is the series’ look at how some pathological people can weaponize the mores of suburban culture to disguise and enable terrible behavior—and the awful cost which can come from feeling forced to live under such rigid social roles.\u003c/p>\n\u003ch3>\u003cem>The Man Who Fell to Earth\u003c/em>, on Showtime\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=iqM5UeQVRvI\u003c/p>\n\u003cp>For sci-fi nerds, there is nothing better than watching a great actor tackle the role of an alien outsider trying to learn the ways of earthlings. That’s why I loved seeing Chiwetel Ejiofor as Faraday, an alien who comes to Earth in search of another being from his world who may have found the key to saving their planet and ours.\u003c/p>\n\u003cp>[aside postid='arts_13913560']The limited series is a continuation of the 1976 film starring David Bowie, with an ace supporting cast that includes Bill Nighy as the character played by Bowie, Thomas Jerome Newton; Naomie Harris is a traumatized former scientist who helps Faraday, with other roles filled by similarly excellent performers like Rob Delaney, Jimmi Simpson, Clarke Peters and Martha Plimpton. Early on, we see Faraday as a smooth-talking tech mogul, but the juice of the series comes from seeing flashbacks of the character’s journey—from his arrival as a naked oddball struggling with English to his ascendance as a master of commerce ready to revolutionize two worlds.\u003c/p>\n\u003ch3>\u003cem>Under the Banner of Heaven\u003c/em>, on FX and Hulu\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=IDRqWtwbiSM\u003c/p>\n\u003cp>This limited series based on Jon Krakauer’s \u003ca href=\"https://www.nytimes.com/2003/08/03/books/thou-shalt-kill.html\" target=\"_blank\" rel=\"noopener noreferrer\">controversial 2003 nonfiction book\u003c/a> gives star Andrew Garfield lots of room to shine as a devout Mormon police detective in 1984 pressed into investigating the murder of a young mother and her baby daughter. The hitch: the killing may be connected to an influential family in the Church of Jesus Christ of Latter-day Saints. Garfield’s Jeb Pyre finds his faith shaken as it becomes increasingly apparent that a group of men with fundamentalist views of Mormonism may be involved in the slayings. Along the way, viewers get a close look at important tenets of the faith and their connection to American history.\u003c/p>\n\u003cp>The series can sometimes get lost in these depictions, leaving the viewer struggling a bit to understand how the distant past connects to murder in their present. 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But when the show clicks—combining Bayer’s optimistic cluelessness with Lewis’s hard-nosed \u003cem>Devil Wears Prada\u003c/em>-style cynicism and Shannon’s blithe entitlement—it offers truly entertaining viewing.\u003c/p>\n\u003ch3>\u003cem>Made for Love\u003c/em>, on HBO Max\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=EgK0gX2hmuE\u003c/p>\n\u003cp>This show also flew under the radar in its first season, which gave an impressive showcase to Cristin Milioti as the unfulfilled wife of a tech billionaire who discovers, after leaving their 10-year marriage, that he had her fitted with a chip that allows him to see through her eyes and have access to data on her emotions. In the second season, Milioti’s Hazel Green has struck a devil’s bargain with her husband Byron Gogol—played with a creepy entitlement by Billy Magnussen—living with him in his company’s bizarrely secretive, high-tech fortress of a headquarters called The Hub, while Gogol and his employees secretly treat her father for cancer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ray Romano brings his sad sack charm to Herbert Green, a schlub who keeps a sex doll as a companion; as season two begins, Herbert doesn’t realize he’s actually living in an area of the Hub made to look like his desert home, where he is occasionally tranquilized and given medical therapies. It all adds up to a bizarrely sprawling tale that includes an FBI investigation, Gogol’s ongoing attempts to force the world (and Hazel) to live by his rules, and the possibility of a digitally maintained afterlife. Truly a tale for our current times.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This was a show that seemed a little hampered by its release schedule, which split the difference between binge-watching and episodic release, dropping an episode every day in one week, starting May 9. Jessica Biel is creepily compelling as Candy Montgomery, a suburban housewife accused of murdering a friend and fellow mom with an axe after having an affair with her buddy’s husband—based on a real case from 1980 in Wylie, Texas. Viewers know upfront that Montgomery killed her friend Betty Gore—an awkward and sad woman played with sympathetic depth by Melanie Lynskey.\u003c/p>\n\u003cp>So the series focuses its energy on an exhaustive critique of a suburban culture which seems stuck in the ’70s, with women pouring all their energy into looking like the perfect moms, their emotionally disconnected husbands unable to understand why their wives are still so unfulfilled. A certain pop star makes an interesting cameo as one of the police officers investigating the case. But what really intrigues is the series’ look at how some pathological people can weaponize the mores of suburban culture to disguise and enable terrible behavior—and the awful cost which can come from feeling forced to live under such rigid social roles.\u003c/p>\n\u003ch3>\u003cem>The Man Who Fell to Earth\u003c/em>, on Showtime\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iqM5UeQVRvI'\n title='//www.youtube.com/embed/iqM5UeQVRvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For sci-fi nerds, there is nothing better than watching a great actor tackle the role of an alien outsider trying to learn the ways of earthlings. That’s why I loved seeing Chiwetel Ejiofor as Faraday, an alien who comes to Earth in search of another being from his world who may have found the key to saving their planet and ours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The limited series is a continuation of the 1976 film starring David Bowie, with an ace supporting cast that includes Bill Nighy as the character played by Bowie, Thomas Jerome Newton; Naomie Harris is a traumatized former scientist who helps Faraday, with other roles filled by similarly excellent performers like Rob Delaney, Jimmi Simpson, Clarke Peters and Martha Plimpton. Early on, we see Faraday as a smooth-talking tech mogul, but the juice of the series comes from seeing flashbacks of the character’s journey—from his arrival as a naked oddball struggling with English to his ascendance as a master of commerce ready to revolutionize two worlds.\u003c/p>\n\u003ch3>\u003cem>Under the Banner of Heaven\u003c/em>, on FX and Hulu\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IDRqWtwbiSM'\n title='//www.youtube.com/embed/IDRqWtwbiSM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This limited series based on Jon Krakauer’s \u003ca href=\"https://www.nytimes.com/2003/08/03/books/thou-shalt-kill.html\" target=\"_blank\" rel=\"noopener noreferrer\">controversial 2003 nonfiction book\u003c/a> gives star Andrew Garfield lots of room to shine as a devout Mormon police detective in 1984 pressed into investigating the murder of a young mother and her baby daughter. The hitch: the killing may be connected to an influential family in the Church of Jesus Christ of Latter-day Saints. Garfield’s Jeb Pyre finds his faith shaken as it becomes increasingly apparent that a group of men with fundamentalist views of Mormonism may be involved in the slayings. Along the way, viewers get a close look at important tenets of the faith and their connection to American history.\u003c/p>\n\u003cp>The series can sometimes get lost in these depictions, leaving the viewer struggling a bit to understand how the distant past connects to murder in their present. But the program also asks powerful questions on maintaining religious piety in the face of disappointing facts, exploring issues of polygamy, toxic masculinity and the concept of “blood atonement.” Ultimately, Pyre’s journey highlights how a religion which provides comfort and a compass to some, can also help create a stifling prison filled with dangerous men for others.\u003c/p>\n\u003ch3>\u003cem>I Love That for You\u003c/em>, on Showtime\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zjdhfiGA8BU'\n title='//www.youtube.com/embed/zjdhfiGA8BU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Saturday Night Live\u003c/em> alum Vanessa Bayer co-created and stars in this series about an ambitious home shopping host who winds up lying to her co-workers and audience, telling them her childhood leukemia has returned in order to keep her job. Bayer gets a long overdue showcase as Joanna Gold, a plucky, socially awkward woman who spent much of her childhood in hospitals watching home shopping channels. When Gold lucks into her dream job as a host, only to see it nearly yanked away after a terrible on-camera flub, she tells the lie which propels the series and forces her into increasingly ridiculous efforts to compensate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The not-so-hidden gems here are two ace supporting actors—Jenifer Lewis as Gold’s hard-charging, merciless boss Patricia, and Molly Shannon as the channel’s top host Jackie Stilton—a gently self-centered Queen Bee who seems to support Gold mostly because the newcomer idolizes her. Part TV satire, part showbiz satire and part social satire, this series sometimes strains to cover all the ground it’s reaching for. But when the show clicks—combining Bayer’s optimistic cluelessness with Lewis’s hard-nosed \u003cem>Devil Wears Prada\u003c/em>-style cynicism and Shannon’s blithe entitlement—it offers truly entertaining viewing.\u003c/p>\n\u003ch3>\u003cem>Made for Love\u003c/em>, on HBO Max\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EgK0gX2hmuE'\n title='//www.youtube.com/embed/EgK0gX2hmuE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This show also flew under the radar in its first season, which gave an impressive showcase to Cristin Milioti as the unfulfilled wife of a tech billionaire who discovers, after leaving their 10-year marriage, that he had her fitted with a chip that allows him to see through her eyes and have access to data on her emotions. In the second season, Milioti’s Hazel Green has struck a devil’s bargain with her husband Byron Gogol—played with a creepy entitlement by Billy Magnussen—living with him in his company’s bizarrely secretive, high-tech fortress of a headquarters called The Hub, while Gogol and his employees secretly treat her father for cancer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ray Romano brings his sad sack charm to Herbert Green, a schlub who keeps a sex doll as a companion; as season two begins, Herbert doesn’t realize he’s actually living in an area of the Hub made to look like his desert home, where he is occasionally tranquilized and given medical therapies. It all adds up to a bizarrely sprawling tale that includes an FBI investigation, Gogol’s ongoing attempts to force the world (and Hazel) to live by his rules, and the possibility of a digitally maintained afterlife. Truly a tale for our current times.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Overwhelmed+with+TV+options%3F+Here%27s+a+few+series+you+may+have+overlooked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Elon Musk's Crash Course' Shows the Tragic Cost of His Leadership",
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"content": "\u003cp>Just as his effort to buy Twitter has led the world to focus on Elon Musk’s management style and business strategies, FX and \u003cem>The New York Times\u003c/em> have stepped up with a documentary taking a close look at how Musk responded to crashes involving the Autopilot function in cars from his company, Tesla.\u003c/p>\n\u003cp>For those watching Musk’s \u003ca href=\"https://www.npr.org/2022/05/17/1099416770/elon-musk-says-doubt-about-spam-accounts-could-doom-twitter-deal\" target=\"_blank\" rel=\"noopener noreferrer\">fitful attempt to buy Twitter\u003c/a>, the film also serves as a pointed comparison; showing how his penchant for bold moves and provocative statements can lead fans to see what they want in his words—regardless of whether what he says is actually possible.\u003c/p>\n\u003cp>[aside postid='arts_13880859']As part of FX’s \u003cem>The New York Times Presents \u003c/em>documentary series,\u003cem> Elon Musk’s Crash Course\u003c/em> suggests that Musk oversold the cars’ self-driving capabilities, leading to public confusion over what it could actually do. And when federal authorities began an investigation into a fatal crash involving the technology, the program says Musk pressured officials to curb the investigation.\u003c/p>\n\u003cp>“He would say really cool things—like science fiction things—and he would make you believe that you could do it,” said JT Stukes, a former senior product engineer at Tesla, noting how Musk’s ambitious public statements turned into goals staffers would have to work hard to attain.\u003c/p>\n\u003cp>“The message is constantly going up and down,” added Cade Metz, a technology correspondent for the \u003cem>New York Times\u003c/em>. “Elon can change his mind at any moment. He can say one thing at one moment and then say something completely different.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1q9I68DuaNI\u003c/p>\n\u003ch3>A look at Musk’s history and leadership style\u003c/h3>\n\u003cp>The film features fresh interviews with a wide range of subjects, including former Tesla employees and corporate leaders, \u003cem>Times\u003c/em> journalists and friends of a man killed in a 2016 crash while operating his Tesla’s Autopilot function. Musk declined to sit for an interview, but is represented by loads of clips from public appearances and past interviews.\u003c/p>\n\u003cp>In one clip, Musk is shown calling the development of self-driving technology for cars a “solved problem”; in others, he predicts a near future where cars can park themselves and navigate long trips without driver assistance.\u003c/p>\n\u003cp>[aside postid='arts_13882749']\u003cem>Times\u003c/em> journalists and some critics say such bullish talk has confused consumers, leading them to think that Tesla’s cars can be trusted to drive themselves. The film notes that Tesla used hype around its Autopilot system as a selling point to get consumers to buy its cars.\u003c/p>\n\u003cp>But Tesla insists drivers should keep hands on the steering wheel while Autopilot is operating, just in case the system fails to recognize a road hazard. (In one telling news clip, a CNN anchor asks: if drivers still must hold the steering wheel while Autopilot is on, “what’s the point?”)\u003c/p>\n\u003cp>Crashes involving Tesla’s Autopilot function explicitly illustrate the high stakes involved. One man, Josh Brown, was killed when his car didn’t recognize a tractor trailer crossing in front of the vehicle.\u003c/p>\n\u003cp>“People were trusting the system to do things it was not designed or capable of doing,” Stukes said. “The fact that … [Brown’s accident] happened was obviously tragic … But it was going to happen.”\u003c/p>\n\u003ch3>Questions about Tesla’s development process\u003c/h3>\n\u003cp>One former employee noted Musk had updates to the autopilot sent to his personal vehicles, so staffers wound up working to address his concerns instead of looking at larger issues. Another ex-employee said cameras the cars use to detect traffic and roadways had a blind spot where a small dog or small child might not be seen.\u003c/p>\n\u003cp>When the National Highway Traffic Safety Administration finally \u003ca href=\"https://static.nhtsa.gov/odi/inv/2016/INCLA-PE16007-7876.PDF\" target=\"_blank\" rel=\"noopener noreferrer\">released its report\u003c/a> on the accident which claimed Brown’s life, it concluded the Autopilot system wasn’t at fault, because it was an Advanced Driver Assistance System requiring the driver to pay attention during operation. The report also included an observation—which the film says was based on data from Tesla—that the company’s cars with the auto-steering technology crashed 40% less than those without it, allowing Tesla to spin the report as a positive finding.\u003c/p>\n\u003cp>The film quoted one former employee, software engineer Raven Jiang, who was unsettled by how the system worked. “Sometimes it seems like people and companies were being rewarded, not for telling the truth, but in fact, for doing a bit of the opposite,” he added.\u003c/p>\n\u003cp>[aside postid='arts_13910084']Like a few other TV projects these days, the documentary zeroes in on the strategy employed by many Silicon Valley leaders to talk up the possibilities of their companies’ products before their achievements are fully realized. It’s a “fake it until you make it” style that allows companies to harness enthusiasm and capital to push toward goals which might otherwise seem impossible to reach.\u003c/p>\n\u003cp>But \u003cem>Elon Musk’s Crash Course\u003c/em> is a straightforward look at the dangers of such an approach when the product involved controls a speeding automobile.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And it asks us all to consider the possible damage from a system which tolerates—and even rewards—such risks in service of powerful, wealthy business moguls chasing profits and glory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27Elon+Musk%27s+Crash+Course%27+shows+the+tragic+cost+of+his+leadership&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As part of FX’s \u003cem>The New York Times Presents \u003c/em>documentary series,\u003cem> Elon Musk’s Crash Course\u003c/em> suggests that Musk oversold the cars’ self-driving capabilities, leading to public confusion over what it could actually do. And when federal authorities began an investigation into a fatal crash involving the technology, the program says Musk pressured officials to curb the investigation.\u003c/p>\n\u003cp>“He would say really cool things—like science fiction things—and he would make you believe that you could do it,” said JT Stukes, a former senior product engineer at Tesla, noting how Musk’s ambitious public statements turned into goals staffers would have to work hard to attain.\u003c/p>\n\u003cp>“The message is constantly going up and down,” added Cade Metz, a technology correspondent for the \u003cem>New York Times\u003c/em>. “Elon can change his mind at any moment. He can say one thing at one moment and then say something completely different.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Times\u003c/em> journalists and some critics say such bullish talk has confused consumers, leading them to think that Tesla’s cars can be trusted to drive themselves. The film notes that Tesla used hype around its Autopilot system as a selling point to get consumers to buy its cars.\u003c/p>\n\u003cp>But Tesla insists drivers should keep hands on the steering wheel while Autopilot is operating, just in case the system fails to recognize a road hazard. (In one telling news clip, a CNN anchor asks: if drivers still must hold the steering wheel while Autopilot is on, “what’s the point?”)\u003c/p>\n\u003cp>Crashes involving Tesla’s Autopilot function explicitly illustrate the high stakes involved. One man, Josh Brown, was killed when his car didn’t recognize a tractor trailer crossing in front of the vehicle.\u003c/p>\n\u003cp>“People were trusting the system to do things it was not designed or capable of doing,” Stukes said. “The fact that … [Brown’s accident] happened was obviously tragic … But it was going to happen.”\u003c/p>\n\u003ch3>Questions about Tesla’s development process\u003c/h3>\n\u003cp>One former employee noted Musk had updates to the autopilot sent to his personal vehicles, so staffers wound up working to address his concerns instead of looking at larger issues. Another ex-employee said cameras the cars use to detect traffic and roadways had a blind spot where a small dog or small child might not be seen.\u003c/p>\n\u003cp>When the National Highway Traffic Safety Administration finally \u003ca href=\"https://static.nhtsa.gov/odi/inv/2016/INCLA-PE16007-7876.PDF\" target=\"_blank\" rel=\"noopener noreferrer\">released its report\u003c/a> on the accident which claimed Brown’s life, it concluded the Autopilot system wasn’t at fault, because it was an Advanced Driver Assistance System requiring the driver to pay attention during operation. The report also included an observation—which the film says was based on data from Tesla—that the company’s cars with the auto-steering technology crashed 40% less than those without it, allowing Tesla to spin the report as a positive finding.\u003c/p>\n\u003cp>The film quoted one former employee, software engineer Raven Jiang, who was unsettled by how the system worked. “Sometimes it seems like people and companies were being rewarded, not for telling the truth, but in fact, for doing a bit of the opposite,” he added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like a few other TV projects these days, the documentary zeroes in on the strategy employed by many Silicon Valley leaders to talk up the possibilities of their companies’ products before their achievements are fully realized. It’s a “fake it until you make it” style that allows companies to harness enthusiasm and capital to push toward goals which might otherwise seem impossible to reach.\u003c/p>\n\u003cp>But \u003cem>Elon Musk’s Crash Course\u003c/em> is a straightforward look at the dangers of such an approach when the product involved controls a speeding automobile.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And it asks us all to consider the possible damage from a system which tolerates—and even rewards—such risks in service of powerful, wealthy business moguls chasing profits and glory.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27Elon+Musk%27s+Crash+Course%27+shows+the+tragic+cost+of+his+leadership&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My sense of time is fuzzier thanks to the pandemic, so this could be a late spring or an early summer round-up. The one thing I know for sure is that this mixed bag of terrific books is one I’d want to carry with me anytime.\u003c/p>\n\u003chr>\n\u003ch3>This Time Tomorrow\u003c/h3>\n\u003cp>by Emma Straub\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913651 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86.jpg\" alt=\"\" width=\"321\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86.jpg 321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86-160x120.jpg 160w\" sizes=\"(max-width: 321px) 100vw, 321px\">Straub’s new novel is a time-travel fantasy imbued with her signature awareness of the infinite ways we humans make life harder for ourselves. The heroine here is a single woman named Alice who works at her old high school. Her father, a bestselling novelist who raised Alice on his own, is dying in a New York hospital. That ordeal, coupled with Alice’s approaching 40th birthday, plunges her into despondency: “Alice had always thought of her professional life in perfect contrast with her father’s—he’d had wild success, and she, none, just hanging on to something stable like a seahorse with its tail looped around some seagrass …”\u003c/p>\n\u003cp>On the night of her birthday, Alice returns from a drunken binge and stumbles into the gift of time travel, which allows her to explore the big question, “What if?” The greatest compliment I can pay to \u003cem>This Time Tomorrow\u003c/em> is to say that I’d always considered Jack Finney’s 1970 novel, \u003ca href=\"https://www.npr.org/2009/07/23/106168183/escape-to-new-york-a-sentimental-trip-through-time\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Time and Again\u003c/em>\u003c/a>, to be \u003cem>the\u003c/em> New York City time travel tale; now Finney’s classic has company.\u003c/p>\n\u003chr>\n\u003ch3>Search\u003c/h3>\n\u003cp>by Michelle Huneven\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Huneven’s comic novel is a delicious, recipe-laden, must-read for anyone who’s ever served on a committee. The narrator, Dana Potowski, is a food writer living in California who’s roped into joining the search committee for the new minister of her Unitarian Universalist church.\u003c/p>\n\u003cp>Huneven dramatizes how one strong personality—in this case a young woman swollen with insolence—can control a committee. And her descriptions of conducting first-round interviews over Zoom are hilarious. Here’s Dana describing an interview with a female candidate that turns disastrous:\u003c/p>\n\u003cblockquote>\u003cp>Just before she signed off, she offered to sing us a song.\u003c/p>\n\u003cp>Plucking a dulcimer off the wall, she … started in on “Bridge over Troubled Water”. … With the chorus, she began to keep time by slapping the dulcimer, and somehow each slap was a sharp direct crack to our eardrums. … At the end, she looked up, smiled ecstatically, and waved.\u003c/p>\u003c/blockquote>\n\u003chr>\n\u003ch3>One-Shot Harry\u003c/h3>\n\u003cp>by Gary Phillips\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913657 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/9781641292917.jpg\" alt=\"\" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/9781641292917.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/9781641292917-160x240.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">Group decisions are not something Harry Ingram worries about. He’s the star of this new hard-boiled mystery by veteran crime writer Gary Phillips. \u003cem>One-Shot Harry i\u003c/em>s set in L.A. in 1963, as racial tensions are escalating in advance of Martin Luther King’s upcoming Freedom Rally at Wrigley Field. Harry, a Black freelance news photographer who roams all over L.A. with his Speed Graphic camera, is the best of all possible guides to this watershed moment. His job gives him entrée into neighborhoods and events that might otherwise be off-limits to him because of his race. In the course of investigating a friend’s suspicious death, Harry finds himself facing off with a white supremacist group who wants the speedometer of racial progress pushed way back down. What makes \u003cem>One-Shot Harry\u003c/em> a standout is the cityscape of mid-century L.A. it summons up—its music, chromium cars, hateful slurs, “invisible” racial boundaries and cautious hopes.\u003c/p>\n\u003chr>\n\u003ch3>Knock Off the Hat\u003c/h3>\n\u003cp>by Richard Stevenson\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913658 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1.jpg\" alt=\"\" width=\"329\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1.jpg 329w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1-160x243.jpg 160w\" sizes=\"(max-width: 329px) 100vw, 329px\">The circumstances of this last recommendation are unusual. Richard Lipez, who wrote under the penname Richard Stevenson, was a groundbreaking author of gay detective novels featuring private eye Donald Strachey. Decades ago, I reviewed one of those Strachey books, and Dick and I became fast friends. He died in March, but one of the things he left behind was the first novel in what would have been a new series about a gay private eye in 1940s Philadelphia. \u003cem>Knock Off The Hat \u003c/em>may be \u003cem>the\u003c/em> best novel Dick ever wrote. Its main character, Clifford Waterman, is a former police detective dishonorably discharged from the Army during World War II for an “indecent act.” Cliff gets drawn into helping a man who’s nabbed in a raid on a so-called “Degenerates” club.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As with \u003cem>One-Shot Harry\u003c/em>, the greatest pleasures here are the details that make 1940s Philly come alive: the Horn & Hardart automat meals of meat loaf and coconut cream pie; the network of Cliff’s closeted friends, working in town at Wanamaker’s shoe department or even on the police force. I wish I could say there’d be more Waterman novels to come, but the fact that Dick was in his early 80s when he wrote this novel — well, maybe that’s a reason to believe in springtime possibilities no matter the season.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+4+novels+will+get+your+summer+off+to+a+terrific+start&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My sense of time is fuzzier thanks to the pandemic, so this could be a late spring or an early summer round-up. The one thing I know for sure is that this mixed bag of terrific books is one I’d want to carry with me anytime.\u003c/p>\n\u003chr>\n\u003ch3>This Time Tomorrow\u003c/h3>\n\u003cp>by Emma Straub\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913651 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86.jpg\" alt=\"\" width=\"321\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86.jpg 321w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/straub-a965343142b2bc063f23c2aad3e4a032f5267c86-160x120.jpg 160w\" sizes=\"(max-width: 321px) 100vw, 321px\">Straub’s new novel is a time-travel fantasy imbued with her signature awareness of the infinite ways we humans make life harder for ourselves. The heroine here is a single woman named Alice who works at her old high school. Her father, a bestselling novelist who raised Alice on his own, is dying in a New York hospital. That ordeal, coupled with Alice’s approaching 40th birthday, plunges her into despondency: “Alice had always thought of her professional life in perfect contrast with her father’s—he’d had wild success, and she, none, just hanging on to something stable like a seahorse with its tail looped around some seagrass …”\u003c/p>\n\u003cp>On the night of her birthday, Alice returns from a drunken binge and stumbles into the gift of time travel, which allows her to explore the big question, “What if?” The greatest compliment I can pay to \u003cem>This Time Tomorrow\u003c/em> is to say that I’d always considered Jack Finney’s 1970 novel, \u003ca href=\"https://www.npr.org/2009/07/23/106168183/escape-to-new-york-a-sentimental-trip-through-time\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Time and Again\u003c/em>\u003c/a>, to be \u003cem>the\u003c/em> New York City time travel tale; now Finney’s classic has company.\u003c/p>\n\u003chr>\n\u003ch3>Search\u003c/h3>\n\u003cp>by Michelle Huneven\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Huneven’s comic novel is a delicious, recipe-laden, must-read for anyone who’s ever served on a committee. The narrator, Dana Potowski, is a food writer living in California who’s roped into joining the search committee for the new minister of her Unitarian Universalist church.\u003c/p>\n\u003cp>Huneven dramatizes how one strong personality—in this case a young woman swollen with insolence—can control a committee. And her descriptions of conducting first-round interviews over Zoom are hilarious. Here’s Dana describing an interview with a female candidate that turns disastrous:\u003c/p>\n\u003cblockquote>\u003cp>Just before she signed off, she offered to sing us a song.\u003c/p>\n\u003cp>Plucking a dulcimer off the wall, she … started in on “Bridge over Troubled Water”. … With the chorus, she began to keep time by slapping the dulcimer, and somehow each slap was a sharp direct crack to our eardrums. … At the end, she looked up, smiled ecstatically, and waved.\u003c/p>\u003c/blockquote>\n\u003chr>\n\u003ch3>One-Shot Harry\u003c/h3>\n\u003cp>by Gary Phillips\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913657 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/9781641292917.jpg\" alt=\"\" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/9781641292917.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/9781641292917-160x240.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">Group decisions are not something Harry Ingram worries about. He’s the star of this new hard-boiled mystery by veteran crime writer Gary Phillips. \u003cem>One-Shot Harry i\u003c/em>s set in L.A. in 1963, as racial tensions are escalating in advance of Martin Luther King’s upcoming Freedom Rally at Wrigley Field. Harry, a Black freelance news photographer who roams all over L.A. with his Speed Graphic camera, is the best of all possible guides to this watershed moment. His job gives him entrée into neighborhoods and events that might otherwise be off-limits to him because of his race. In the course of investigating a friend’s suspicious death, Harry finds himself facing off with a white supremacist group who wants the speedometer of racial progress pushed way back down. What makes \u003cem>One-Shot Harry\u003c/em> a standout is the cityscape of mid-century L.A. it summons up—its music, chromium cars, hateful slurs, “invisible” racial boundaries and cautious hopes.\u003c/p>\n\u003chr>\n\u003ch3>Knock Off the Hat\u003c/h3>\n\u003cp>by Richard Stevenson\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913658 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1.jpg\" alt=\"\" width=\"329\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1.jpg 329w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/41EhZmxz8CL._SX327_BO1204203200_-1-160x243.jpg 160w\" sizes=\"(max-width: 329px) 100vw, 329px\">The circumstances of this last recommendation are unusual. Richard Lipez, who wrote under the penname Richard Stevenson, was a groundbreaking author of gay detective novels featuring private eye Donald Strachey. Decades ago, I reviewed one of those Strachey books, and Dick and I became fast friends. He died in March, but one of the things he left behind was the first novel in what would have been a new series about a gay private eye in 1940s Philadelphia. \u003cem>Knock Off The Hat \u003c/em>may be \u003cem>the\u003c/em> best novel Dick ever wrote. Its main character, Clifford Waterman, is a former police detective dishonorably discharged from the Army during World War II for an “indecent act.” Cliff gets drawn into helping a man who’s nabbed in a raid on a so-called “Degenerates” club.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As with \u003cem>One-Shot Harry\u003c/em>, the greatest pleasures here are the details that make 1940s Philly come alive: the Horn & Hardart automat meals of meat loaf and coconut cream pie; the network of Cliff’s closeted friends, working in town at Wanamaker’s shoe department or even on the police force. I wish I could say there’d be more Waterman novels to come, but the fact that Dick was in his early 80s when he wrote this novel — well, maybe that’s a reason to believe in springtime possibilities no matter the season.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+4+novels+will+get+your+summer+off+to+a+terrific+start&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Doctor Who' Has its First Black Lead. Will the Show Contend With Race?",
"headTitle": "‘Doctor Who’ Has its First Black Lead. Will the Show Contend With Race? | KQED",
"content": "\u003cp>When news first broke that Ncuti Gatwa \u003ca href=\"https://www.npr.org/2022/05/08/1097488412/ncuti-gatwa-doctor-who?utm_source=npr_newsletter&utm_medium=email&utm_content=20220513&utm_term=6700828&utm_campaign=pop-culture&utm_id=18014506&orgid=671&utm_att1=\" target=\"_blank\" rel=\"noopener noreferrer\">would be the new star\u003c/a> of the BBC’s long-running science fiction series \u003cem>Doctor Who\u003c/em>, it felt like an important step forward for the franchise.\u003c/p>\n\u003cp>After all, the show’s lead character—a time traveling alien thousands of years old known as The Doctor—has only been played by white people since the show’s inception in 1963.\u003c/p>\n\u003cp>[aside postid='pop_13273']Current star Jodie Whittaker became the first woman to star in the show just five years ago. And Gatwa, a Black man born in Rwanda and raised in Scotland who earned raves playing a gay high schooler on the Netflix series \u003cem>Sex Education\u003c/em>, seems poised to offer an even more revolutionary vision for one of TV’s most enduring science fiction characters.\u003c/p>\n\u003cp>That news was compounded by more announcements: David Tennant, who played a popular version of The Doctor from 2005 to 2010, \u003ca href=\"https://www.bbc.com/news/entertainment-arts-61455936?xtor=AL-72-%5Bpartner%5D-%5Bbbc.news.twitter%5D-%5Bheadline%5D-%5Bnews%5D-%5Bbizdev%5D-%5Bisapi%5D&at_custom3=%40BBCNews&at_campaign=64&at_custom2=twitter&at_custom1=%5Bpost+type%5D&at_medium=custom7&at_custom4=FE1F63CA-D478-11EC-8C91-89BA4744363C\" target=\"_blank\" rel=\"noopener noreferrer\">will return\u003c/a> for the show’s 60th anniversary next year. He’ll be joined by Catherine Tate who played a popular sidekick to The Doctor—they’re known as “companions” on the show—Donna Noble.\u003c/p>\n\u003cp>And Yasmin Finney, last seen in Netflix’s popular British coming-of-age teen drama, \u003cem>Heartstopper\u003c/em>, \u003ca href=\"https://variety.com/2022/tv/news/heartstopper-yasmin-finney-doctor-who-rose-tyler-1235268305/\" target=\"_blank\" rel=\"noopener noreferrer\">will join the cast\u003c/a> as one of the few openly transgender actors to appear on \u003cem>Doctor Who\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All this will be guided by returning showrunner Russell T. Davies, who revived \u003cem>Doctor Who\u003c/em> in 2005 after a 16-year hiatus and left the series when Tennant did in 2010. With credits that include groundbreaking work like \u003cem>Queer as Folk\u003c/em> and \u003cem>It’s a Sin\u003c/em>, there seems little doubt that Davies plans on taking the show in directions it’s never traveled before.\u003c/p>\n\u003cp>And yet. As a longtime Whovian—that’s nerdspeak for a fan of the show—I’m left to wonder if the new \u003cem>Doctor Who\u003c/em> will fully take advantage of all the diversity in its new casting choices.\u003c/p>\n\u003cp>Specifically, I fear \u003cem>Doctor Who\u003c/em> may not really explore what it means to turn a Black man into one of Britain’s most beloved TV characters. Because, when the current production team had a chance to develop storylines around reimagining The Doctor as a woman, they often skirted the issue.\u003c/p>\n\u003ch3>Reimagining the show through regeneration\u003c/h3>\n\u003cp>For those unfamiliar with the show, \u003cem>Doctor Who\u003c/em> came up with an ingenious way to keep the series going in its early days, allowing the program to switch out its lead actors. The Doctor undergoes what’s called a “regeneration,” where he morphs into a new body, often with a different personality, accounting for his tremendously long life.\u003c/p>\n\u003cp>In practical terms, this storytelling device allows the show to change its star whenever necessary, fueling \u003cem>Doctor Who\u003c/em>‘s rise as a British TV institution and international phenomenon. And in 2017, Scottish actor Peter Capaldi departed the role as Whittaker took over.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m_cchDZGtwE\u003c/p>\n\u003cp>I’ll be honest, I haven’t been all that impressed with the episodes featuring Whittaker, crafted by current showrunner Chris Chibnall. Too often, it seems as if the show races through plotting and circumstances at breakneck speed, leaving me yearning for a little more time spent developing the characters.\u003c/p>\n\u003cp>No shade intended for the show’s actors—especially Whittaker, who has plunged into playing The Doctor with an appealing abandon. She nails every scene in a way that recalls the best characteristics of the classic Doctors, while also developing her own vision. Still, the show’s writing too often hasn’t matched her skill.\u003c/p>\n\u003cp>The series’ recent six-episode story arc, dubbed \u003cem>Flux\u003c/em>, featured The Doctor facing off against a cavalcade of bad guys, including two aliens who looked like they had crystals stuck to their faces, classic villains like the Weeping Angels, another murderous alien called The Grand Serpent and a character who claimed to be our hero’s adoptive mother. Even in a season aiming for an epic story, it felt a bit overstuffed.\u003c/p>\n\u003cp>[aside postid='pop_106360']To be sure, the core of \u003cem>Flux\u003c/em>‘s story turns on important revelations about The Doctor’s origin and life story. But it tumbles out in a rush, culminating with The Doctor’s decision—spoiler alert!—to turn away from an object which would allow her to access all the memories of her previous lives, closing the door on too much introspection and robbing the character of her biggest weapon: her experience.\u003c/p>\n\u003cp>What there wasn’t enough of—at least from my perspective—was a peek inside The Doctor’s own head. In the last special, \u003cem>Legend of the Sea Devils\u003c/em>, The Doctor turned down a romantic relationship with her companion, Mandip Gill’s steadfast Yasmin Khan, for fear of getting hurt. The wonderfully poignant scene was one of the few times we saw her inner life emerge—but almost as it was happening, she turned away.\u003c/p>\n\u003cp>One of my greatest joys in watching Whittaker’s predecessor, the wiry-browed Capaldi, was seeing him develop the Doctor from a curmudgeonly know-it-all with little patience for individual humanoids to a character who begrudgingly appreciated his connection to others. Especially his companions.\u003c/p>\n\u003cp>It’s something I’ve always felt was true about the best \u003cem>Doctor Who\u003c/em> storylines; The most interesting aspect of any episode is always The Doctor.\u003c/p>\n\u003cfigure id=\"attachment_13913567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/doctor-who-flux-1_wide-eef5162326205b50ab10ca6778717812b7febf39-800x450.jpe\" alt=\"A South Asian woman with hair pulled back, a white blonde woman and a white man with greying hair stand side by side, serious expressions on their faces.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Mandip Gill, Jodie Whittaker and John Bishop from the cast of ‘Doctor Who.’ \u003ccite>(James Pardon/BBC Studios/BBC America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Think about it: Even for a series which goes to the end of time and back, what could be more interesting than a super-intelligent, eccentrically charming, steadfastly moral alien who has seen it all and still cares? How that character views existence, danger, romance and societies is often the most exciting and revelatory element of my favorite episodes, including \u003cem>The Day of the Doctor—\u003c/em>a special episode featuring Tennant, Matt Smith and John Hurt as three different iterations of The Doctor working together.\u003c/p>\n\u003cp>Despite all the ground they have covered, the Chibnall/Whittaker episodes haven’t really connected with what it might mean to change the gender of a character who has been a man onscreen for nearly 60 years. This feels like something of an opportunity missed, muting the impact of such revolutionary casting.\u003c/p>\n\u003ch3>Why diversity matters on a show about an alien\u003c/h3>\n\u003cp>It may sound bizarre, worrying that a show about a time traveling alien doesn’t sufficiently explore gender or race on screen. But that is the unique vision of \u003cem>Doctor Who\u003c/em>; it’s a series that sends its characters to the end of the universe and time, yet grounds it all in a cheeky reflection of British culture.\u003c/p>\n\u003cp>It is, like so many of the best iterations of science fiction in media, a grand palette for exploring the current state of humanity. And centering the narrative on characters from groups previously marginalized by big, venerated franchises like\u003cem> Doctor Who\u003c/em>, requires more than just casting a new actor—it demands building a new character rooted in a new identity.\u003c/p>\n\u003cp>[aside postid='pop_92372']Davies is a skilled showrunner who has deftly handled depictions of race and identity in other series, so I remain hopeful these new casting decisions reflect a willingness to dig into the possibilities. (After \u003cem>Flux\u003c/em>, Whittaker and Chibnall have produced three \u003cem>Doctor Who\u003c/em> specials for this year, culminating with her final appearance in \u003ca href=\"https://www.digitalspy.com/tv/a39991185/doctor-who-jodie-whittaker-final-episode-runtime/\" target=\"_blank\" rel=\"noopener noreferrer\">a 90-minute finale\u003c/a> in October.)\u003c/p>\n\u003cp>Gatwa’s casting actually reminded me of an old joke a white comedian told to a Black friend about time machines—saying that he could go anywhere he wanted, but his friend could only travel back to about 1965 before he would have some serious problems.\u003c/p>\n\u003cp>I’m hopeful, in an odd way, that Gatwa’s version of The Doctor winds up reckoning with the painful reality behind that joke—particularly, how people of color and folks from LGBTQ communities have been treated throughout human history. And I can’t wait for the symbolic impact of seeing a Black man as the charismatic know-it-all with all the answers—a type of role far too often denied non-white performers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may not be quite as seismic as a Black actor playing James Bond. But for this Whovian of color—who has watched the show off and on since the mid-1970s—it’s close enough.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27Doctor+Who%27+has+its+first+Black+lead.+Will+the+show+contend+with+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When news first broke that Ncuti Gatwa \u003ca href=\"https://www.npr.org/2022/05/08/1097488412/ncuti-gatwa-doctor-who?utm_source=npr_newsletter&utm_medium=email&utm_content=20220513&utm_term=6700828&utm_campaign=pop-culture&utm_id=18014506&orgid=671&utm_att1=\" target=\"_blank\" rel=\"noopener noreferrer\">would be the new star\u003c/a> of the BBC’s long-running science fiction series \u003cem>Doctor Who\u003c/em>, it felt like an important step forward for the franchise.\u003c/p>\n\u003cp>After all, the show’s lead character—a time traveling alien thousands of years old known as The Doctor—has only been played by white people since the show’s inception in 1963.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Current star Jodie Whittaker became the first woman to star in the show just five years ago. And Gatwa, a Black man born in Rwanda and raised in Scotland who earned raves playing a gay high schooler on the Netflix series \u003cem>Sex Education\u003c/em>, seems poised to offer an even more revolutionary vision for one of TV’s most enduring science fiction characters.\u003c/p>\n\u003cp>That news was compounded by more announcements: David Tennant, who played a popular version of The Doctor from 2005 to 2010, \u003ca href=\"https://www.bbc.com/news/entertainment-arts-61455936?xtor=AL-72-%5Bpartner%5D-%5Bbbc.news.twitter%5D-%5Bheadline%5D-%5Bnews%5D-%5Bbizdev%5D-%5Bisapi%5D&at_custom3=%40BBCNews&at_campaign=64&at_custom2=twitter&at_custom1=%5Bpost+type%5D&at_medium=custom7&at_custom4=FE1F63CA-D478-11EC-8C91-89BA4744363C\" target=\"_blank\" rel=\"noopener noreferrer\">will return\u003c/a> for the show’s 60th anniversary next year. He’ll be joined by Catherine Tate who played a popular sidekick to The Doctor—they’re known as “companions” on the show—Donna Noble.\u003c/p>\n\u003cp>And Yasmin Finney, last seen in Netflix’s popular British coming-of-age teen drama, \u003cem>Heartstopper\u003c/em>, \u003ca href=\"https://variety.com/2022/tv/news/heartstopper-yasmin-finney-doctor-who-rose-tyler-1235268305/\" target=\"_blank\" rel=\"noopener noreferrer\">will join the cast\u003c/a> as one of the few openly transgender actors to appear on \u003cem>Doctor Who\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All this will be guided by returning showrunner Russell T. Davies, who revived \u003cem>Doctor Who\u003c/em> in 2005 after a 16-year hiatus and left the series when Tennant did in 2010. With credits that include groundbreaking work like \u003cem>Queer as Folk\u003c/em> and \u003cem>It’s a Sin\u003c/em>, there seems little doubt that Davies plans on taking the show in directions it’s never traveled before.\u003c/p>\n\u003cp>And yet. As a longtime Whovian—that’s nerdspeak for a fan of the show—I’m left to wonder if the new \u003cem>Doctor Who\u003c/em> will fully take advantage of all the diversity in its new casting choices.\u003c/p>\n\u003cp>Specifically, I fear \u003cem>Doctor Who\u003c/em> may not really explore what it means to turn a Black man into one of Britain’s most beloved TV characters. Because, when the current production team had a chance to develop storylines around reimagining The Doctor as a woman, they often skirted the issue.\u003c/p>\n\u003ch3>Reimagining the show through regeneration\u003c/h3>\n\u003cp>For those unfamiliar with the show, \u003cem>Doctor Who\u003c/em> came up with an ingenious way to keep the series going in its early days, allowing the program to switch out its lead actors. The Doctor undergoes what’s called a “regeneration,” where he morphs into a new body, often with a different personality, accounting for his tremendously long life.\u003c/p>\n\u003cp>In practical terms, this storytelling device allows the show to change its star whenever necessary, fueling \u003cem>Doctor Who\u003c/em>‘s rise as a British TV institution and international phenomenon. And in 2017, Scottish actor Peter Capaldi departed the role as Whittaker took over.\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/m_cchDZGtwE'\n title='//www.youtube.com/embed/m_cchDZGtwE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’ll be honest, I haven’t been all that impressed with the episodes featuring Whittaker, crafted by current showrunner Chris Chibnall. Too often, it seems as if the show races through plotting and circumstances at breakneck speed, leaving me yearning for a little more time spent developing the characters.\u003c/p>\n\u003cp>No shade intended for the show’s actors—especially Whittaker, who has plunged into playing The Doctor with an appealing abandon. She nails every scene in a way that recalls the best characteristics of the classic Doctors, while also developing her own vision. Still, the show’s writing too often hasn’t matched her skill.\u003c/p>\n\u003cp>The series’ recent six-episode story arc, dubbed \u003cem>Flux\u003c/em>, featured The Doctor facing off against a cavalcade of bad guys, including two aliens who looked like they had crystals stuck to their faces, classic villains like the Weeping Angels, another murderous alien called The Grand Serpent and a character who claimed to be our hero’s adoptive mother. Even in a season aiming for an epic story, it felt a bit overstuffed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To be sure, the core of \u003cem>Flux\u003c/em>‘s story turns on important revelations about The Doctor’s origin and life story. But it tumbles out in a rush, culminating with The Doctor’s decision—spoiler alert!—to turn away from an object which would allow her to access all the memories of her previous lives, closing the door on too much introspection and robbing the character of her biggest weapon: her experience.\u003c/p>\n\u003cp>What there wasn’t enough of—at least from my perspective—was a peek inside The Doctor’s own head. In the last special, \u003cem>Legend of the Sea Devils\u003c/em>, The Doctor turned down a romantic relationship with her companion, Mandip Gill’s steadfast Yasmin Khan, for fear of getting hurt. The wonderfully poignant scene was one of the few times we saw her inner life emerge—but almost as it was happening, she turned away.\u003c/p>\n\u003cp>One of my greatest joys in watching Whittaker’s predecessor, the wiry-browed Capaldi, was seeing him develop the Doctor from a curmudgeonly know-it-all with little patience for individual humanoids to a character who begrudgingly appreciated his connection to others. Especially his companions.\u003c/p>\n\u003cp>It’s something I’ve always felt was true about the best \u003cem>Doctor Who\u003c/em> storylines; The most interesting aspect of any episode is always The Doctor.\u003c/p>\n\u003cfigure id=\"attachment_13913567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/doctor-who-flux-1_wide-eef5162326205b50ab10ca6778717812b7febf39-800x450.jpe\" alt=\"A South Asian woman with hair pulled back, a white blonde woman and a white man with greying hair stand side by side, serious expressions on their faces.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Mandip Gill, Jodie Whittaker and John Bishop from the cast of ‘Doctor Who.’ \u003ccite>(James Pardon/BBC Studios/BBC America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Think about it: Even for a series which goes to the end of time and back, what could be more interesting than a super-intelligent, eccentrically charming, steadfastly moral alien who has seen it all and still cares? How that character views existence, danger, romance and societies is often the most exciting and revelatory element of my favorite episodes, including \u003cem>The Day of the Doctor—\u003c/em>a special episode featuring Tennant, Matt Smith and John Hurt as three different iterations of The Doctor working together.\u003c/p>\n\u003cp>Despite all the ground they have covered, the Chibnall/Whittaker episodes haven’t really connected with what it might mean to change the gender of a character who has been a man onscreen for nearly 60 years. This feels like something of an opportunity missed, muting the impact of such revolutionary casting.\u003c/p>\n\u003ch3>Why diversity matters on a show about an alien\u003c/h3>\n\u003cp>It may sound bizarre, worrying that a show about a time traveling alien doesn’t sufficiently explore gender or race on screen. But that is the unique vision of \u003cem>Doctor Who\u003c/em>; it’s a series that sends its characters to the end of the universe and time, yet grounds it all in a cheeky reflection of British culture.\u003c/p>\n\u003cp>It is, like so many of the best iterations of science fiction in media, a grand palette for exploring the current state of humanity. And centering the narrative on characters from groups previously marginalized by big, venerated franchises like\u003cem> Doctor Who\u003c/em>, requires more than just casting a new actor—it demands building a new character rooted in a new identity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Davies is a skilled showrunner who has deftly handled depictions of race and identity in other series, so I remain hopeful these new casting decisions reflect a willingness to dig into the possibilities. (After \u003cem>Flux\u003c/em>, Whittaker and Chibnall have produced three \u003cem>Doctor Who\u003c/em> specials for this year, culminating with her final appearance in \u003ca href=\"https://www.digitalspy.com/tv/a39991185/doctor-who-jodie-whittaker-final-episode-runtime/\" target=\"_blank\" rel=\"noopener noreferrer\">a 90-minute finale\u003c/a> in October.)\u003c/p>\n\u003cp>Gatwa’s casting actually reminded me of an old joke a white comedian told to a Black friend about time machines—saying that he could go anywhere he wanted, but his friend could only travel back to about 1965 before he would have some serious problems.\u003c/p>\n\u003cp>I’m hopeful, in an odd way, that Gatwa’s version of The Doctor winds up reckoning with the painful reality behind that joke—particularly, how people of color and folks from LGBTQ communities have been treated throughout human history. And I can’t wait for the symbolic impact of seeing a Black man as the charismatic know-it-all with all the answers—a type of role far too often denied non-white performers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may not be quite as seismic as a Black actor playing James Bond. But for this Whovian of color—who has watched the show off and on since the mid-1970s—it’s close enough.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27Doctor+Who%27+has+its+first+Black+lead.+Will+the+show+contend+with+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Try as he may, Julian Fellowes can’t seem to escape the Crawley family and their antics.\u003c/p>\n\u003cp>[aside postid='pop_20730']It might be because Fellowes is the executive producer and creator of \u003cem>Downton Abbey\u003c/em>, the smash hit television series that spanned six seasons and one movie spin-off, focusing on the lives and legacies of fading nobility in the Yorkshire countryside. This, of course, includes plenty of drama, betrayal and lies; think \u003cem>The Kardashians\u003c/em> with British accents and a lot less spray tan.\u003c/p>\n\u003cp>Despite many plot lines seeing resolution in the eponymous 2019 film adaptation, Fellowes and the Crawley family are back with \u003cem>Downton Abbey: A New Era\u003c/em> set for release in theaters this week.\u003c/p>\n\u003cp>Fellowes spoke with \u003cem>All Things Considered\u003c/em> about what lies ahead in this new chapter, the relatability of aristocrats in our modern age, and the excess of misery in modern media.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wN0Spmq610Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>On just wanting people to watch his movies and enjoy themselves\u003c/strong>\u003c/p>\n\u003cp>Yes—cry a bit, laugh a bit. Sometimes you hope you’ve sort of provoked a reasonably interesting thought they’ll consider later when they’re, you know, sitting in the traffic, waiting for the light to change. I mean, I feel a strong part of the entertainment industry is to entertain. I’m not really trying to provoke the French Revolution. You know, I just like to make people think about things, maybe change their attitude.\u003c/p>\n\u003cp>\u003cstrong>On telling the story of a privileged white family for a modern audience\u003c/strong>\u003c/p>\n\u003cp>I mean, we’re looking at a certain way of life. It involves some privileged people. It involves more unprivileged people. In my own head, among the servants, you get the different types. You get the ones who are resentful and unhappy like O’Brien. You get the ones who adore the family and worship them and see them as their soap opera like Carson. You get the ones for whom it was a job, who I am quite sure were in the vast majority, like Mrs. Hughes. And I think that’s a fairly truthful reflection of that society.\u003c/p>\n\u003cp>[aside postid='pop_20977']I think in the end, you know, when you’re going to make any film, any TV show and write a book, what you’re trying to do is to tell a reasonably truthful story about a group of people. I mean, this modern thing, present thing that nothing is valid that isn’t about misery—I don’t agree with that. I think misery is fine to investigate and to dramatize and all the rest of it, but I don’t think it’s compulsory.\u003c/p>\n\u003cp>\u003cstrong>On the longevity of the \u003c/strong>\u003cem>\u003cstrong>Downton Abbey\u003c/strong>\u003c/em>\u003cstrong> franchise\u003c/strong>\u003c/p>\n\u003cp>I’m not going to go on forever. So I think there would be a real difficulty getting Downton to go on forever. Whether it’s come to an end or not, I couldn’t tell you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the other things is that during the lifetime of Downton, the whole nature of showbiz, of how you make films, of how they’re released, the platforms—all of this is different from what it was 15 years ago—I mean, quite different. Now, of course, people complain about it one way. But I think it also is constantly throwing up new opportunities, new chances, new ways of doing things. And, you know, I like that. I think that’s interesting. And I like being part of it. So if \u003cem>Downton\u003c/em> is to be reborn in a different shape or size, then, you know, I hope I’m part of that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=The+new+Downton+Abbey+film+is+here%2C+and+its+creator+says+misery+isn%27t+compulsory&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It might be because Fellowes is the executive producer and creator of \u003cem>Downton Abbey\u003c/em>, the smash hit television series that spanned six seasons and one movie spin-off, focusing on the lives and legacies of fading nobility in the Yorkshire countryside. This, of course, includes plenty of drama, betrayal and lies; think \u003cem>The Kardashians\u003c/em> with British accents and a lot less spray tan.\u003c/p>\n\u003cp>Despite many plot lines seeing resolution in the eponymous 2019 film adaptation, Fellowes and the Crawley family are back with \u003cem>Downton Abbey: A New Era\u003c/em> set for release in theaters this week.\u003c/p>\n\u003cp>Fellowes spoke with \u003cem>All Things Considered\u003c/em> about what lies ahead in this new chapter, the relatability of aristocrats in our modern age, and the excess of misery in modern media.\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/wN0Spmq610Q'\n title='//www.youtube.com/embed/wN0Spmq610Q'\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>I think in the end, you know, when you’re going to make any film, any TV show and write a book, what you’re trying to do is to tell a reasonably truthful story about a group of people. I mean, this modern thing, present thing that nothing is valid that isn’t about misery—I don’t agree with that. I think misery is fine to investigate and to dramatize and all the rest of it, but I don’t think it’s compulsory.\u003c/p>\n\u003cp>\u003cstrong>On the longevity of the \u003c/strong>\u003cem>\u003cstrong>Downton Abbey\u003c/strong>\u003c/em>\u003cstrong> franchise\u003c/strong>\u003c/p>\n\u003cp>I’m not going to go on forever. So I think there would be a real difficulty getting Downton to go on forever. Whether it’s come to an end or not, I couldn’t tell you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the other things is that during the lifetime of Downton, the whole nature of showbiz, of how you make films, of how they’re released, the platforms—all of this is different from what it was 15 years ago—I mean, quite different. Now, of course, people complain about it one way. But I think it also is constantly throwing up new opportunities, new chances, new ways of doing things. And, you know, I like that. I think that’s interesting. And I like being part of it. So if \u003cem>Downton\u003c/em> is to be reborn in a different shape or size, then, you know, I hope I’m part of that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=The+new+Downton+Abbey+film+is+here%2C+and+its+creator+says+misery+isn%27t+compulsory&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Some are Calling the Buffalo Suspect a 'Teenager.' Is That a Privilege of His Race?",
"headTitle": "Some are Calling the Buffalo Suspect a ‘Teenager.’ Is That a Privilege of His Race? | KQED",
"content": "\u003cp>When news broke of the white supremacist 18-year-old suspect behind the mass shooting in Buffalo, N.Y., Saturday in which 10 people died and three others were injured, certain news organizations and commentators have variously described the suspect as a \u003ca href=\"https://www.nytimes.com/live/2022/05/14/nyregion/buffalo-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">man\u003c/a>, as a \u003ca href=\"https://www.theguardian.com/us-news/2022/may/14/buffalo-shooting-supermarket-new-york\" target=\"_blank\" rel=\"noopener noreferrer\">teenager\u003c/a> and as a \u003ca href=\"https://twitter.com/DaveSFoley/status/1525860224732741633?s=20&t=KUXbLj4ogQwUGcENNItYXQ\" target=\"_blank\" rel=\"noopener noreferrer\">child\u003c/a>.\u003c/p>\n\u003cp>Critics are asking: If the suspect had been Black, would he have been described and treated similarly?\u003c/p>\n\u003cp>\u003ca href=\"https://www.apa.org/news/press/releases/2014/03/black-boys-older\" target=\"_blank\" rel=\"noopener noreferrer\">Study\u003c/a> after \u003ca href=\"https://genderjusticeandopportunity.georgetown.edu/wp-content/uploads/2020/06/girlhood-interrupted.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> shows that Black children—from those as young as 5 to the end of their teens—are often perceived to be and are treated as older than their actual physical and developmental age. As a result, these children are frequently judged to be more adult-like and less innocent than white peers.\u003c/p>\n\u003cp>[aside postID='arts_13862605,arts_13881199,arts_13913116']That difference in perception is reflected repeatedly in the media. When Michael Brown, Black and 18 years old, was shot by a white police officer in Ferguson, Mo. in 2014, the AP referred to Brown as a \u003ca href=\"https://pbs.twimg.com/media/FSzpeXeXoAABr7W.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">“man”\u003c/a>; after the Buffalo shooting Saturday, the same news organization referred to the suspect as a \u003ca href=\"https://twitter.com/thrasherxy/status/1525851085461766144/photo/2\" target=\"_blank\" rel=\"noopener noreferrer\">“white teenager,”\u003c/a> as scholar and journalist Steven Thrasher pointed out on Twitter.\u003c/p>\n\u003cp>At least certain people who are vaguely college-aged often enjoy the benefits of being perceived as young and in need of adult protection—not just by the media, but also by law enforcement. After Dylann Roof—a white 21-year-old—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/01/10/509166866/jury-sentences-dylann-roof-to-die\" target=\"_blank\" rel=\"noopener noreferrer\">murdered\u003c/a> nine Black churchgoers in Charleston, S.C. in 2015, police bought him a \u003ca href=\"https://abc7.com/dylann-roof-south-carolina-church-shooting-emanuel-african-methodist-episcopal/801013/\" target=\"_blank\" rel=\"noopener noreferrer\">Burger King meal\u003c/a> after he was taken into custody. When Kyle Rittenhouse—white and 17 years old—\u003ca href=\"https://www.google.com/search?q=kyle+rittenhouse+npr&rlz=1C1GCEJ_enUS883US883&sxsrf=ALiCzsZv6TJB52IkizY7WN5HV05ElO0ZVg%3A1652711137575&ei=4V6CYtjeIrq4ytMP-N6C-Aw&ved=0ahUKEwiY05XinOT3AhU6nHIEHXivAM8Q4dUDCA4&uact=5&oq=kyle+rittenhouse+npr&gs_lcp=Cgdnd3Mtd2l6EAM6CggAELEDEIMBEEM6CwgAEIAEELEDEIMBOggIABCABBCxAzoFCAAQgARKBAhBGAFKBAhGGABQ5gJYtAVgzAZoAXAAeACAAUqIAfYBkgEBNJgBAKABAcABAQ&sclient=gws-wiz\" target=\"_blank\" rel=\"noopener noreferrer\">fatally shot\u003c/a> two people in Kenosha, Wisc. in 2020, he was taken into police custody without incident or injury. In Buffalo, some in the Black community are \u003ca href=\"https://buffalonews.com/news/local/buffalo-police-credited-with-saving-lives-but-gunmans-surrender-is-questioned/article_62d1ccf0-d482-11ec-8318-1fb2a0621b4c.html\" target=\"_blank\" rel=\"noopener noreferrer\">already asking\u003c/a> how the suspect in Saturday’s shooting was able to surrender to police peacefully.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By contrast, critics are naming well-known younger Black victims killed by police—like 12-year-old \u003ca href=\"https://www.npr.org/2020/12/29/951277146/justice-department-declines-to-prosecute-cleveland-officers-who-killed-tamir-ric\" target=\"_blank\" rel=\"noopener noreferrer\">Tamir Rice\u003c/a> and 23-year-old \u003ca href=\"https://www.npr.org/2021/09/01/1033289263/elijah-mcclain-death-officers-paramedics-charged\" target=\"_blank\" rel=\"noopener noreferrer\">Eljah McClain\u003c/a>—who did not enjoy such consideration.\u003c/p>\n\u003cp>The Buffalo suspect straddles both life stages, in that liminal time of young adulthood. When he was still legally a child, there were concerns about the suspect in the Buffalo shooting—enough that state police \u003ca href=\"https://www.npr.org/2022/05/15/1099009422/buffalo-shooting-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">referred\u003c/a> him for a mental health evaluation last year, when police say he made a shooting threat against his high school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a community vigil held Sunday, the Rev. Tim Brown underscored that the racist views of the Buffalo suspect were shaped when he was still a child, NPR’s Quil Lawrence \u003ca href=\"https://www.npr.org/2022/05/16/1099070372/black-buffalo-community-is-tired-of-hearing-promises-when-the-killings-dont-stop\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>. “The indoctrination of a boy to kill people that don’t look like him is only because somebody is having a conversation that divides our people as a race and as humanity,” Brown said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/2022/05/16/1099137936/some-are-calling-the-buffalo-suspect-a-teenager-is-that-a-privilege-of-his-race\" 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=Some+are+calling+the+Buffalo+suspect+a+%27teenager.%27+Is+that+a+privilege+of+his+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When news broke of the white supremacist 18-year-old suspect behind the mass shooting in Buffalo, N.Y., Saturday in which 10 people died and three others were injured, certain news organizations and commentators have variously described the suspect as a \u003ca href=\"https://www.nytimes.com/live/2022/05/14/nyregion/buffalo-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">man\u003c/a>, as a \u003ca href=\"https://www.theguardian.com/us-news/2022/may/14/buffalo-shooting-supermarket-new-york\" target=\"_blank\" rel=\"noopener noreferrer\">teenager\u003c/a> and as a \u003ca href=\"https://twitter.com/DaveSFoley/status/1525860224732741633?s=20&t=KUXbLj4ogQwUGcENNItYXQ\" target=\"_blank\" rel=\"noopener noreferrer\">child\u003c/a>.\u003c/p>\n\u003cp>Critics are asking: If the suspect had been Black, would he have been described and treated similarly?\u003c/p>\n\u003cp>\u003ca href=\"https://www.apa.org/news/press/releases/2014/03/black-boys-older\" target=\"_blank\" rel=\"noopener noreferrer\">Study\u003c/a> after \u003ca href=\"https://genderjusticeandopportunity.georgetown.edu/wp-content/uploads/2020/06/girlhood-interrupted.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> shows that Black children—from those as young as 5 to the end of their teens—are often perceived to be and are treated as older than their actual physical and developmental age. As a result, these children are frequently judged to be more adult-like and less innocent than white peers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That difference in perception is reflected repeatedly in the media. When Michael Brown, Black and 18 years old, was shot by a white police officer in Ferguson, Mo. in 2014, the AP referred to Brown as a \u003ca href=\"https://pbs.twimg.com/media/FSzpeXeXoAABr7W.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">“man”\u003c/a>; after the Buffalo shooting Saturday, the same news organization referred to the suspect as a \u003ca href=\"https://twitter.com/thrasherxy/status/1525851085461766144/photo/2\" target=\"_blank\" rel=\"noopener noreferrer\">“white teenager,”\u003c/a> as scholar and journalist Steven Thrasher pointed out on Twitter.\u003c/p>\n\u003cp>At least certain people who are vaguely college-aged often enjoy the benefits of being perceived as young and in need of adult protection—not just by the media, but also by law enforcement. After Dylann Roof—a white 21-year-old—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/01/10/509166866/jury-sentences-dylann-roof-to-die\" target=\"_blank\" rel=\"noopener noreferrer\">murdered\u003c/a> nine Black churchgoers in Charleston, S.C. in 2015, police bought him a \u003ca href=\"https://abc7.com/dylann-roof-south-carolina-church-shooting-emanuel-african-methodist-episcopal/801013/\" target=\"_blank\" rel=\"noopener noreferrer\">Burger King meal\u003c/a> after he was taken into custody. When Kyle Rittenhouse—white and 17 years old—\u003ca href=\"https://www.google.com/search?q=kyle+rittenhouse+npr&rlz=1C1GCEJ_enUS883US883&sxsrf=ALiCzsZv6TJB52IkizY7WN5HV05ElO0ZVg%3A1652711137575&ei=4V6CYtjeIrq4ytMP-N6C-Aw&ved=0ahUKEwiY05XinOT3AhU6nHIEHXivAM8Q4dUDCA4&uact=5&oq=kyle+rittenhouse+npr&gs_lcp=Cgdnd3Mtd2l6EAM6CggAELEDEIMBEEM6CwgAEIAEELEDEIMBOggIABCABBCxAzoFCAAQgARKBAhBGAFKBAhGGABQ5gJYtAVgzAZoAXAAeACAAUqIAfYBkgEBNJgBAKABAcABAQ&sclient=gws-wiz\" target=\"_blank\" rel=\"noopener noreferrer\">fatally shot\u003c/a> two people in Kenosha, Wisc. in 2020, he was taken into police custody without incident or injury. In Buffalo, some in the Black community are \u003ca href=\"https://buffalonews.com/news/local/buffalo-police-credited-with-saving-lives-but-gunmans-surrender-is-questioned/article_62d1ccf0-d482-11ec-8318-1fb2a0621b4c.html\" target=\"_blank\" rel=\"noopener noreferrer\">already asking\u003c/a> how the suspect in Saturday’s shooting was able to surrender to police peacefully.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By contrast, critics are naming well-known younger Black victims killed by police—like 12-year-old \u003ca href=\"https://www.npr.org/2020/12/29/951277146/justice-department-declines-to-prosecute-cleveland-officers-who-killed-tamir-ric\" target=\"_blank\" rel=\"noopener noreferrer\">Tamir Rice\u003c/a> and 23-year-old \u003ca href=\"https://www.npr.org/2021/09/01/1033289263/elijah-mcclain-death-officers-paramedics-charged\" target=\"_blank\" rel=\"noopener noreferrer\">Eljah McClain\u003c/a>—who did not enjoy such consideration.\u003c/p>\n\u003cp>The Buffalo suspect straddles both life stages, in that liminal time of young adulthood. When he was still legally a child, there were concerns about the suspect in the Buffalo shooting—enough that state police \u003ca href=\"https://www.npr.org/2022/05/15/1099009422/buffalo-shooting-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">referred\u003c/a> him for a mental health evaluation last year, when police say he made a shooting threat against his high school.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a community vigil held Sunday, the Rev. Tim Brown underscored that the racist views of the Buffalo suspect were shaped when he was still a child, NPR’s Quil Lawrence \u003ca href=\"https://www.npr.org/2022/05/16/1099070372/black-buffalo-community-is-tired-of-hearing-promises-when-the-killings-dont-stop\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>. “The indoctrination of a boy to kill people that don’t look like him is only because somebody is having a conversation that divides our people as a race and as humanity,” Brown said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/2022/05/16/1099137936/some-are-calling-the-buffalo-suspect-a-teenager-is-that-a-privilege-of-his-race\" 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=Some+are+calling+the+Buffalo+suspect+a+%27teenager.%27+Is+that+a+privilege+of+his+race%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ashley Judd Talks Trauma and Mental Health Following Naomi Judd's Suicide",
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"content": "\u003cp>Ashley Judd revealed a number of details about the death of her mother, country star Naomi Judd, in an interview with Diane Sawyer on \u003ca href=\"https://www.goodmorningamerica.com/culture/video/ashley-judd-speaks-mothers-passing-84666410\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Good Morning America\u003c/em>\u003c/a>\u003cem>. \u003c/em>Judd said that her mother struggled with mental health. “Her brain hurt,” Judd said. “It physically hurt.”\u003c/p>\n\u003cp>[aside postID='pop_104126,arts_13893843']Judd revealed that her mother killed herself, saying the family was very uncomfortable sharing the information, “but understand that we’re in a position that if we don’t say it someone else is going to.”\u003c/p>\n\u003cp>Naomi Judd was part of the famed duo The Judds, with her daughter Wynonna. They dominated the country charts in the 1980s until Naomi Judd was diagnosed with hepatitis C in 1991. Her death was announced in April, a day before she was inducted in to the Country Music Hall of Fame.\u003c/p>\n\u003cp>Ashley Judd said that the praise and accolades of her peers couldn’t penetrate her mother’s mental illness.\u003c/p>\n\u003cp>Judd also revealed that she was the one who found her mother the day she died. “I have both grief and trauma from discovering her,” said Judd.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8X9sfjOA51k\u003c/p>\n\u003cp>There are other details that the family is hoping to keep private, but Judd encouraged anyone else struggling with mental illness to reach out and talk to someone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the \u003c/em>\u003ca href=\"http://suicidepreventionlifeline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>National Suicide Prevention Lifeline\u003c/em>\u003c/a>\u003cem> at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the \u003c/em>\u003ca href=\"http://www.crisistextline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crisis Text Line\u003c/em>\u003c/a>\u003cem> by texting HOME to 741741.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Ashley+Judd+reveals+details+about+Naomi+Judd%27s+suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Judd revealed that her mother killed herself, saying the family was very uncomfortable sharing the information, “but understand that we’re in a position that if we don’t say it someone else is going to.”\u003c/p>\n\u003cp>Naomi Judd was part of the famed duo The Judds, with her daughter Wynonna. They dominated the country charts in the 1980s until Naomi Judd was diagnosed with hepatitis C in 1991. Her death was announced in April, a day before she was inducted in to the Country Music Hall of Fame.\u003c/p>\n\u003cp>Ashley Judd said that the praise and accolades of her peers couldn’t penetrate her mother’s mental illness.\u003c/p>\n\u003cp>Judd also revealed that she was the one who found her mother the day she died. “I have both grief and trauma from discovering her,” said Judd.\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/8X9sfjOA51k'\n title='//www.youtube.com/embed/8X9sfjOA51k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are other details that the family is hoping to keep private, but Judd encouraged anyone else struggling with mental illness to reach out and talk to someone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the \u003c/em>\u003ca href=\"http://suicidepreventionlifeline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>National Suicide Prevention Lifeline\u003c/em>\u003c/a>\u003cem> at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the \u003c/em>\u003ca href=\"http://www.crisistextline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crisis Text Line\u003c/em>\u003c/a>\u003cem> by texting HOME to 741741.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Ashley+Judd+reveals+details+about+Naomi+Judd%27s+suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "what-would-overturning-roe-mean-for-birth-control",
"title": "What Would Overturning Roe Mean for Birth Control?",
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"content": "\u003cp>Overturning \u003cem>Roe v. Wade\u003c/em> could have implications for more than access to abortion; medical and legal experts say it could open the door to restrictions on other types of reproductive health care.\u003c/p>\n\u003cp>“To say that we are incredibly concerned would, I think, actually be putting it mildly,” said Dr. Kavita Arora, chair of the ethics committee at the \u003ca href=\"https://www.acog.org/womens-health/healthy-living/birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">American College of Obstetricians & Gynecologists\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13911818']Arora said the decision could have far-reaching implications for other types of care including birth control, emergency contraception known as Plan B, trans-affirming healthcare, and fertility treatments such as \u003ca href=\"https://www.mayoclinic.org/tests-procedures/in-vitro-fertilization/about/pac-20384716\" target=\"_blank\" rel=\"noopener noreferrer\">in vitro fertilization\u003c/a>, which can produce leftover embryos.\u003c/p>\n\u003cp>“This threatens our ability to take care of patients on a daily basis,” Arora said.\u003c/p>\n\u003cp>Most types of contraception prevent a sperm from fertilizing an egg. But as a second line of defense, she said some can stop an already-fertilized egg from implanting in the uterus—considered the beginning of a pregnancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In changing definition of when pregnancy starts to just at fertilization, it would compromise our ability to provide access to really highly effective methods of contraception such as the copper IUD,” Arora said.\u003c/p>\n\u003cp>Some abortion rights opponents regard such devices as quote “life-ending” because of the possibility that implantation can be disrupted.\u003c/p>\n\u003cp>[aside postid='arts_13913100']Kristan Hawkins is president of the anti-abortion rights groups Students for Life of America, which is pushing for state and federal legislation to recognize human life as beginning “\u003ca href=\"https://studentsforlife.org/2022/02/02/why-every-state-needs-a-life-at-conception-bill/\" target=\"_blank\" rel=\"noopener noreferrer\">at conception\u003c/a>.” Her group takes the position that some devices and pills that can prevent implantation of a fertilized egg are “mislabeled” as contraception—a position at odds with the American College of Obstetricians & Gynecologists, which defines pregnancy as beginning at implantation.\u003c/p>\n\u003cp>“I think legislators should be able to have the right to decide and to investigate if there are devices, if there’s chemicals that are ending the lives of their citizens in their state,” Hawkins said.\u003c/p>\n\u003cp>In an interview last week, Hawkins denied that birth control is a focus of her movement—and called that notion a “scare tactic.”\u003c/p>\n\u003cp>Some Republican leaders, including a state lawmaker \u003ca href=\"https://www.vice.com/en/article/g5qam9/roe-v-wade-birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">in Idaho\u003c/a>, have expressed an openness to entertaining questions about the safety of contraceptives, which are tested by federal regulators before they are put on the market.\u003c/p>\n\u003cp>Last week, a Louisiana state lawmaker proposed a bill that would classify \u003ca href=\"https://www.wwno.org/2022-05-05/louisiana-bill-would-allow-murder-charges-for-abortions-opponents-call-it-barbaric\" target=\"_blank\" rel=\"noopener noreferrer\">abortion as a homicide\u003c/a>—beginning at the moment of fertilization.\u003c/p>\n\u003cp>On CNN’s “State of the Union” on Sunday, when host Jake Tapper asked Mississippi’s Republican Gov. Tate Reeves about the bill in his neighboring state, Reeves \u003ca href=\"https://www.cnn.com/videos/politics/2022/05/08/mississippi-abortion-law-roe-wade-governor-tate-reeves-sotu-vpx.cnn\" target=\"_blank\" rel=\"noopener noreferrer\">declined to rule out\u003c/a> support for similar legislation, saying only, “That is not what we are focused on at this time.”\u003c/p>\n\u003cp>[aside postid='arts_13912860']Under Roe, the right to an abortion is guaranteed under the right to privacy. That’s also part of the rationale for the \u003ca href=\"https://www.npr.org/2022/05/05/1096732347/roe-v-wade-implications-beyond-abortion\" target=\"_blank\" rel=\"noopener noreferrer\">Griswold v. Connecticut\u003c/a> decision in 1965, which recognized a right to contraception for married people—and eventually, everyone else.\u003c/p>\n\u003cp>In his draft opinion in the major abortion case, Dobbs v. Jackson Women’s Health Organization, which was leaked to \u003cem>Politico\u003c/em> last week, Justice Samuel Alito argued that abortion is different from other rights, like contraception and marriage, because he said it destroys fetal life.\u003c/p>\n\u003cp>But \u003ca href=\"https://www.law.berkeley.edu/our-faculty/faculty-profiles/khiara-bridges/\" target=\"_blank\" rel=\"noopener noreferrer\">Khiara M. Bridges\u003c/a>, a law professor at the UC Berkeley, said Alito’s originalist view of the Constitution offers no guarantees that women’s rights will be protected.\u003c/p>\n\u003cp>“Because women were not part of the body politic, the rights that are important to people who can get pregnant are just not contemplated by the Constitution,” Bridges said. “The drafters of the Constitution could care less about what women’s concerns were, what they needed in order to be fully human in society.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the court is willing to do away with longstanding precedent like Roe, Bridges said, it’s impossible to predict what other rights also could be in question.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=What+would+overturning+Roe+mean+for+birth+control%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Overturning \u003cem>Roe v. Wade\u003c/em> could have implications for more than access to abortion; medical and legal experts say it could open the door to restrictions on other types of reproductive health care.\u003c/p>\n\u003cp>“To say that we are incredibly concerned would, I think, actually be putting it mildly,” said Dr. Kavita Arora, chair of the ethics committee at the \u003ca href=\"https://www.acog.org/womens-health/healthy-living/birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">American College of Obstetricians & Gynecologists\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Arora said the decision could have far-reaching implications for other types of care including birth control, emergency contraception known as Plan B, trans-affirming healthcare, and fertility treatments such as \u003ca href=\"https://www.mayoclinic.org/tests-procedures/in-vitro-fertilization/about/pac-20384716\" target=\"_blank\" rel=\"noopener noreferrer\">in vitro fertilization\u003c/a>, which can produce leftover embryos.\u003c/p>\n\u003cp>“This threatens our ability to take care of patients on a daily basis,” Arora said.\u003c/p>\n\u003cp>Most types of contraception prevent a sperm from fertilizing an egg. But as a second line of defense, she said some can stop an already-fertilized egg from implanting in the uterus—considered the beginning of a pregnancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In changing definition of when pregnancy starts to just at fertilization, it would compromise our ability to provide access to really highly effective methods of contraception such as the copper IUD,” Arora said.\u003c/p>\n\u003cp>Some abortion rights opponents regard such devices as quote “life-ending” because of the possibility that implantation can be disrupted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kristan Hawkins is president of the anti-abortion rights groups Students for Life of America, which is pushing for state and federal legislation to recognize human life as beginning “\u003ca href=\"https://studentsforlife.org/2022/02/02/why-every-state-needs-a-life-at-conception-bill/\" target=\"_blank\" rel=\"noopener noreferrer\">at conception\u003c/a>.” Her group takes the position that some devices and pills that can prevent implantation of a fertilized egg are “mislabeled” as contraception—a position at odds with the American College of Obstetricians & Gynecologists, which defines pregnancy as beginning at implantation.\u003c/p>\n\u003cp>“I think legislators should be able to have the right to decide and to investigate if there are devices, if there’s chemicals that are ending the lives of their citizens in their state,” Hawkins said.\u003c/p>\n\u003cp>In an interview last week, Hawkins denied that birth control is a focus of her movement—and called that notion a “scare tactic.”\u003c/p>\n\u003cp>Some Republican leaders, including a state lawmaker \u003ca href=\"https://www.vice.com/en/article/g5qam9/roe-v-wade-birth-control\" target=\"_blank\" rel=\"noopener noreferrer\">in Idaho\u003c/a>, have expressed an openness to entertaining questions about the safety of contraceptives, which are tested by federal regulators before they are put on the market.\u003c/p>\n\u003cp>Last week, a Louisiana state lawmaker proposed a bill that would classify \u003ca href=\"https://www.wwno.org/2022-05-05/louisiana-bill-would-allow-murder-charges-for-abortions-opponents-call-it-barbaric\" target=\"_blank\" rel=\"noopener noreferrer\">abortion as a homicide\u003c/a>—beginning at the moment of fertilization.\u003c/p>\n\u003cp>On CNN’s “State of the Union” on Sunday, when host Jake Tapper asked Mississippi’s Republican Gov. Tate Reeves about the bill in his neighboring state, Reeves \u003ca href=\"https://www.cnn.com/videos/politics/2022/05/08/mississippi-abortion-law-roe-wade-governor-tate-reeves-sotu-vpx.cnn\" target=\"_blank\" rel=\"noopener noreferrer\">declined to rule out\u003c/a> support for similar legislation, saying only, “That is not what we are focused on at this time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Under Roe, the right to an abortion is guaranteed under the right to privacy. That’s also part of the rationale for the \u003ca href=\"https://www.npr.org/2022/05/05/1096732347/roe-v-wade-implications-beyond-abortion\" target=\"_blank\" rel=\"noopener noreferrer\">Griswold v. Connecticut\u003c/a> decision in 1965, which recognized a right to contraception for married people—and eventually, everyone else.\u003c/p>\n\u003cp>In his draft opinion in the major abortion case, Dobbs v. Jackson Women’s Health Organization, which was leaked to \u003cem>Politico\u003c/em> last week, Justice Samuel Alito argued that abortion is different from other rights, like contraception and marriage, because he said it destroys fetal life.\u003c/p>\n\u003cp>But \u003ca href=\"https://www.law.berkeley.edu/our-faculty/faculty-profiles/khiara-bridges/\" target=\"_blank\" rel=\"noopener noreferrer\">Khiara M. Bridges\u003c/a>, a law professor at the UC Berkeley, said Alito’s originalist view of the Constitution offers no guarantees that women’s rights will be protected.\u003c/p>\n\u003cp>“Because women were not part of the body politic, the rights that are important to people who can get pregnant are just not contemplated by the Constitution,” Bridges said. “The drafters of the Constitution could care less about what women’s concerns were, what they needed in order to be fully human in society.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the court is willing to do away with longstanding precedent like Roe, Bridges said, it’s impossible to predict what other rights also could be in question.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=What+would+overturning+Roe+mean+for+birth+control%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem> Shot Sage Blue Marilyn\u003c/em> has set a record as stunning as the actress it depicts.\u003c/p>\n\u003cp>[aside postID='arts_13904697,arts_13906250,news_11864704']One of Andy Warhol’s many silkscreened representations of Marilyn Monroe was \u003ca href=\"https://twitter.com/ChristiesInc/status/1523833792959553536\" target=\"_blank\" rel=\"noopener noreferrer\">auctioned by Christie’s in New York\u003c/a> for $195 million. The price, which includes fees, is the highest for a 20th century artwork sold at auction and the highest for an American artwork, topping the $179.4 million mark in 2015 for Pablo Picasso’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/11/406036959/photos-sculpture-sells-for-141m-picasso-painting-for-179m-both-records\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Les Femmes d’Alger (Version O)\u003c/em>\u003c/a> and $110.5 million in 2017 for a 1982 painting by Jean-Michel Basquiat.\u003c/p>\n\u003cp>The name of the buyer of \u003cem>Shot Sage Blue Marilyn\u003c/em> was not announced.\u003c/p>\n\u003cp>Warhol’s works have long been among the most coveted by collectors of American art, along with\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/19/529096175/at-110-5-million-basquiat-painting-becomes-priciest-work-ever-sold-by-a-u-s-arti\" target=\"_blank\" rel=\"noopener noreferrer\"> Basquiat\u003c/a>, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/12/532597956/art-collector-sells-lichtenstein-for-165-million-to-fund-criminal-justice-reform\" target=\"_blank\" rel=\"noopener noreferrer\">Roy Lichtenstein\u003c/a> and \u003ca href=\"https://www.npr.org/1998/05/01/1025672/rothkos-abstract-art\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Rothko\u003c/a>. But Warhol’s \u003cem>Marilyn\u003c/em> series carries a singular cultural mystique. Starting in 1964, Warhol churned out more than a dozen portraits of the actress, all based on an image from taken from one of Monroe’s more forgettable films, \u003cem>Niagara, \u003c/em>from 1953.\u003c/p>\n\u003cp>“Once you see the image, you will recognize that you’re actually much more familiar with Warhol’s vision of Marilyn than with the old movie shots from Marilyn herself,” said Alex Rotter, chairman of 20th and 21st Century Art at Christie’s,\u003ca href=\"https://www.npr.org/2022/03/31/1089885285/one-of-andy-warhols-most-famous-paintings-is-going-up-for-auction\" target=\"_blank\" rel=\"noopener noreferrer\"> to \u003cem>Morning Edition \u003c/em>last week.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final price may be as eyepopping as Warhol’s candy-colored palette. But \u003cem>Shot Sage Blue Marilyn\u003c/em> is not even the most expensive 20th century painting ever sold. A Willem De Kooning piece called \u003cem>Interchange\u003c/em> \u003ca href=\"https://www.nytimes.com/2016/02/19/business/dealbook/kenneth-griffin-joins-elite-rank-of-hedge-fund-art-patrons-with-500-million-deal.html?ref=dealbook&_r=0\">sold for $300 million in 2015 to a hedge fund manager\u003c/a> who also picked up a nice Jackson Pollock for $200 million.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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+Warhol+%27Marilyn%27+brings+a+record+auction+price%2C+%24195+million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of Andy Warhol’s many silkscreened representations of Marilyn Monroe was \u003ca href=\"https://twitter.com/ChristiesInc/status/1523833792959553536\" target=\"_blank\" rel=\"noopener noreferrer\">auctioned by Christie’s in New York\u003c/a> for $195 million. The price, which includes fees, is the highest for a 20th century artwork sold at auction and the highest for an American artwork, topping the $179.4 million mark in 2015 for Pablo Picasso’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/11/406036959/photos-sculpture-sells-for-141m-picasso-painting-for-179m-both-records\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Les Femmes d’Alger (Version O)\u003c/em>\u003c/a> and $110.5 million in 2017 for a 1982 painting by Jean-Michel Basquiat.\u003c/p>\n\u003cp>The name of the buyer of \u003cem>Shot Sage Blue Marilyn\u003c/em> was not announced.\u003c/p>\n\u003cp>Warhol’s works have long been among the most coveted by collectors of American art, along with\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/19/529096175/at-110-5-million-basquiat-painting-becomes-priciest-work-ever-sold-by-a-u-s-arti\" target=\"_blank\" rel=\"noopener noreferrer\"> Basquiat\u003c/a>, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/06/12/532597956/art-collector-sells-lichtenstein-for-165-million-to-fund-criminal-justice-reform\" target=\"_blank\" rel=\"noopener noreferrer\">Roy Lichtenstein\u003c/a> and \u003ca href=\"https://www.npr.org/1998/05/01/1025672/rothkos-abstract-art\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Rothko\u003c/a>. But Warhol’s \u003cem>Marilyn\u003c/em> series carries a singular cultural mystique. Starting in 1964, Warhol churned out more than a dozen portraits of the actress, all based on an image from taken from one of Monroe’s more forgettable films, \u003cem>Niagara, \u003c/em>from 1953.\u003c/p>\n\u003cp>“Once you see the image, you will recognize that you’re actually much more familiar with Warhol’s vision of Marilyn than with the old movie shots from Marilyn herself,” said Alex Rotter, chairman of 20th and 21st Century Art at Christie’s,\u003ca href=\"https://www.npr.org/2022/03/31/1089885285/one-of-andy-warhols-most-famous-paintings-is-going-up-for-auction\" target=\"_blank\" rel=\"noopener noreferrer\"> to \u003cem>Morning Edition \u003c/em>last week.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Period Tracking Apps Fit Into a Post-Roe v. Wade Climate",
"headTitle": "How Period Tracking Apps Fit Into a Post-Roe v. Wade Climate | KQED",
"content": "\u003cp>In the wake of the leaked draft Supreme Court opinion that would overturn \u003cem>Roe v. Wade\u003c/em>, privacy experts are increasingly concerned about how data collected from period-tracking apps, among other applications, could potentially be used to penalize anyone seeking or considering an abortion.\u003c/p>\n\u003cp>Millions of people use apps to help track their menstrual cycles. Flo, which bills itself as the most popular period and cycle tracking app, has amassed 43 million active users. Another app, Clue, claims 12 million monthly active users.\u003c/p>\n\u003cp>The personal health data stored in these apps is among the most intimate types of information a person can share. And it can also be telling. The apps can show when their period stops and starts and when a pregnancy stops and starts.\u003c/p>\n\u003cp>That has privacy experts on edge, because if abortion is ever criminalized, this data—whether subpoenaed or sold to a third party—could be used to suggest that someone has had or is considering an abortion.\u003c/p>\n\u003cp>“We’re very concerned in a lot of advocacy spaces about what happens when private corporations or the government can gain access to deeply sensitive data about people’s lives and activities,” says Lydia X. Z. Brown, a policy counsel with the Privacy and Data Project at the Center for Democracy and Technology. “Especially when that data could put people in vulnerable and marginalized communities at risk for actual harm.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At least 26 states are \u003ca href=\"https://www.guttmacher.org/article/2021/10/26-states-are-certain-or-likely-ban-abortion-without-roe-heres-which-ones-and-why\" target=\"_blank\" rel=\"noopener noreferrer\">“certain or likely” to ban abortions\u003c/a> if the Supreme Court overturns \u003cem>Roe v. Wade\u003c/em>, according to the Guttmacher Institute, a research group that supports abortion rights.\u003c/p>\n\u003cp>But some states have signaled an interest to go further. Two days after the leaked Supreme Court opinion was first reported by \u003cem>\u003ca href=\"https://www.politico.com/news/2022/05/02/supreme-court-abortion-draft-opinion-00029473\" target=\"_blank\" rel=\"noopener noreferrer\">Politico\u003c/a>\u003c/em>, lawmakers in Louisiana \u003ca href=\"https://www.reuters.com/world/us/louisiana-legislators-advance-bill-classifying-abortion-homicide-2022-05-05/\" target=\"_blank\" rel=\"noopener noreferrer\">advanced a bill\u003c/a> that would classify abortion as a homicide.\u003c/p>\n\u003ch3>It’s more than just period apps\u003c/h3>\n\u003cp>Evan Greer, director of the digital rights advocacy group Fight for the Future, says period apps aren’t the only ways technology can be used to connect someone to an abortion. If someone is sitting in the waiting room of a clinic that offers abortion services and is playing a game on their phone, that app might be collecting location data, she says.\u003c/p>\n\u003cp>“Any app that is collecting sensitive information about your health or your body should be given an additional level of scrutiny,” Greer says.\u003c/p>\n\u003cp>Search histories could also be identifying, says Brown. Activist groups—regardless of what they’re advocating for—might try to purchase a dataset that would show where people have been searching for information related to abortion.\u003c/p>\n\u003cp>That information could be used for predatory advertising, according to Brown, but it could also offer a way for private citizens to report another person for seeking an abortion. This could be especially risky in Texas, they added, given the state’s controversial new abortion law \u003ca href=\"https://www.npr.org/2021/09/01/1033202132/texas-abortion-ban-what-happens-next\" target=\"_blank\" rel=\"noopener noreferrer\">known as SB 8\u003c/a>.\u003c/p>\n\u003cp>The law bans abortion as soon as cardiac activity is detectable—typically around six weeks. It also empowers private citizens to enforce the ban through payments of at least $10,000 for anyone who successfully sues an abortion provider.\u003c/p>\n\u003cp>“Anybody could get their hands on this data by simply purchasing it from a company that is already collecting it,” Brown says.\u003c/p>\n\u003ch3>Sharing data from apps isn’t unprecedented\u003c/h3>\n\u003cp>It’s not uncommon for apps to cooperate with law enforcement during criminal investigations—oftentimes around child exploitative imagery in particular. If abortion is criminalized, experts say period-tracking data could become a target for investigators.\u003c/p>\n\u003cp>[aside postID='arts_13912860,arts_13902723,news_11913160,arts_13911818,news_11913295']All of which makes an app’s privacy policies especially important, but when it comes to privacy, these policies can be vague and in flux, according to Andrea Ford, a research fellow at the University of Edinburgh.\u003c/p>\n\u003cp>“It becomes really muddy when you get into abortion,” Ford says. “If that [were to become] illegal in certain places, does that transcend the right to privacy that is written into the contracts in the way that child trafficking would?”\u003c/p>\n\u003cp>The Flo app has come under fire for sharing data before.\u003c/p>\n\u003cp>Last year, the Federal Trade Commission \u003ca href=\"https://www.ftc.gov/news-events/news/press-releases/2021/01/developer-popular-womens-fertility-tracking-app-settles-ftc-allegations-it-misled-consumers-about\" target=\"_blank\" rel=\"noopener noreferrer\">reached a settlement\u003c/a> with the popular fertility and period-tracking app amid allegations that it misled users about the disclosure of their personal health data. The settlement followed a 2019 \u003cem>Wall Street Journal\u003c/em> \u003ca href=\"https://www.wsj.com/articles/you-give-apps-sensitive-personal-information-then-they-tell-facebook-11550851636\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> that found the app informed Facebook when a user was having their period or if they informed the app that they intended to get pregnant.\u003c/p>\n\u003cp>Under the settlement, the FTC said Flo must undergo an independent review of its privacy policy and obtain user permissions before sharing personal health information. Flo \u003ca href=\"https://flo.health/flo-health-inc/news/flo-response-ftc-settlement\" target=\"_blank\" rel=\"noopener noreferrer\">did not admit any wrongdoing\u003c/a> as part of the settlement.\u003c/p>\n\u003cp>In a statement to NPR, the company said it “firmly believes women’s health data should be held with the utmost privacy and care at all times, which is why we do not share health data with any third party.”\u003c/p>\n\u003cp>The company added that an external, independent privacy audit completed in March “confirmed there are no gaps or weaknesses in our privacy practices.”\u003c/p>\n\u003cp>In a statement to NPR, period-tracking app Clue said “any data you track in Clue about pregnancies, pregnancy loss or abortion, is kept private and safe.” As a European company, the company said it is obligated to apply “special protections” to reproductive health data, per European law.\u003c/p>\n\u003cp>Despite such pledges, Jason Hong, a professor at Carnegie Mellon University’s School of Computer Science, cautions that the data a user inputs into a period-tracking app could reach far beyond the phone or the app they’re using.\u003c/p>\n\u003cp>“It’s really hard to understand how your data is being used and where it’s being shared because it could be many many third parties, and those third parties can also resell to other third parties,” Hong says. “Your data could actually be all over the network at this point. And it’s really hard to track what’s going on.”\u003c/p>\n\u003ch3>OK, but should I delete the app?\u003c/h3>\n\u003cp>For those second-guessing their period-tracking app, Ford says there’s a risk vs. convenience calculation that’s different for each user. It depends in large part on where you live and what the laws are.\u003c/p>\n\u003cp>“If I lived in a state where abortion was actively being criminalized, I would not use a period tracker—that’s for sure,” she says.\u003c/p>\n\u003cp>But for those who choose to log their data online, there might be some options that aren’t as risky. Ford says that apps built with a nonprofit model could offer more privacy.\u003c/p>\n\u003cp>Hong says paid apps could be better because they’re less likely to track users, since they don’t need to collect advertising data. Hong also advised users to read Apple’s privacy nutrition labels, which are designed to show users how their data is used in simpler terms.\u003c/p>\n\u003cp>Apps that store data locally are also preferable, Greer explained, because when data is stored locally, the user owns it—not the company.\u003c/p>\n\u003cp>If police are interested in data stored on a user’s device, they would need a warrant, which has a “much higher legal bar” than a subpoena, Greer says. But if the data is in the cloud and owned by a company, a subpoena would be necessary to access the data.\u003c/p>\n\u003cp>Ford says the most secure option might just be the most old-fashioned: tracking your cycle on paper.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If you want to be safe, use a paper calendar.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+period+tracking+apps+and+data+privacy+fit+into+a+post-Roe+v.+Wade+climate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of the leaked draft Supreme Court opinion that would overturn \u003cem>Roe v. Wade\u003c/em>, privacy experts are increasingly concerned about how data collected from period-tracking apps, among other applications, could potentially be used to penalize anyone seeking or considering an abortion.\u003c/p>\n\u003cp>Millions of people use apps to help track their menstrual cycles. Flo, which bills itself as the most popular period and cycle tracking app, has amassed 43 million active users. Another app, Clue, claims 12 million monthly active users.\u003c/p>\n\u003cp>The personal health data stored in these apps is among the most intimate types of information a person can share. And it can also be telling. The apps can show when their period stops and starts and when a pregnancy stops and starts.\u003c/p>\n\u003cp>That has privacy experts on edge, because if abortion is ever criminalized, this data—whether subpoenaed or sold to a third party—could be used to suggest that someone has had or is considering an abortion.\u003c/p>\n\u003cp>“We’re very concerned in a lot of advocacy spaces about what happens when private corporations or the government can gain access to deeply sensitive data about people’s lives and activities,” says Lydia X. Z. Brown, a policy counsel with the Privacy and Data Project at the Center for Democracy and Technology. “Especially when that data could put people in vulnerable and marginalized communities at risk for actual harm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At least 26 states are \u003ca href=\"https://www.guttmacher.org/article/2021/10/26-states-are-certain-or-likely-ban-abortion-without-roe-heres-which-ones-and-why\" target=\"_blank\" rel=\"noopener noreferrer\">“certain or likely” to ban abortions\u003c/a> if the Supreme Court overturns \u003cem>Roe v. Wade\u003c/em>, according to the Guttmacher Institute, a research group that supports abortion rights.\u003c/p>\n\u003cp>But some states have signaled an interest to go further. Two days after the leaked Supreme Court opinion was first reported by \u003cem>\u003ca href=\"https://www.politico.com/news/2022/05/02/supreme-court-abortion-draft-opinion-00029473\" target=\"_blank\" rel=\"noopener noreferrer\">Politico\u003c/a>\u003c/em>, lawmakers in Louisiana \u003ca href=\"https://www.reuters.com/world/us/louisiana-legislators-advance-bill-classifying-abortion-homicide-2022-05-05/\" target=\"_blank\" rel=\"noopener noreferrer\">advanced a bill\u003c/a> that would classify abortion as a homicide.\u003c/p>\n\u003ch3>It’s more than just period apps\u003c/h3>\n\u003cp>Evan Greer, director of the digital rights advocacy group Fight for the Future, says period apps aren’t the only ways technology can be used to connect someone to an abortion. If someone is sitting in the waiting room of a clinic that offers abortion services and is playing a game on their phone, that app might be collecting location data, she says.\u003c/p>\n\u003cp>“Any app that is collecting sensitive information about your health or your body should be given an additional level of scrutiny,” Greer says.\u003c/p>\n\u003cp>Search histories could also be identifying, says Brown. Activist groups—regardless of what they’re advocating for—might try to purchase a dataset that would show where people have been searching for information related to abortion.\u003c/p>\n\u003cp>That information could be used for predatory advertising, according to Brown, but it could also offer a way for private citizens to report another person for seeking an abortion. This could be especially risky in Texas, they added, given the state’s controversial new abortion law \u003ca href=\"https://www.npr.org/2021/09/01/1033202132/texas-abortion-ban-what-happens-next\" target=\"_blank\" rel=\"noopener noreferrer\">known as SB 8\u003c/a>.\u003c/p>\n\u003cp>The law bans abortion as soon as cardiac activity is detectable—typically around six weeks. It also empowers private citizens to enforce the ban through payments of at least $10,000 for anyone who successfully sues an abortion provider.\u003c/p>\n\u003cp>“Anybody could get their hands on this data by simply purchasing it from a company that is already collecting it,” Brown says.\u003c/p>\n\u003ch3>Sharing data from apps isn’t unprecedented\u003c/h3>\n\u003cp>It’s not uncommon for apps to cooperate with law enforcement during criminal investigations—oftentimes around child exploitative imagery in particular. If abortion is criminalized, experts say period-tracking data could become a target for investigators.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of which makes an app’s privacy policies especially important, but when it comes to privacy, these policies can be vague and in flux, according to Andrea Ford, a research fellow at the University of Edinburgh.\u003c/p>\n\u003cp>“It becomes really muddy when you get into abortion,” Ford says. “If that [were to become] illegal in certain places, does that transcend the right to privacy that is written into the contracts in the way that child trafficking would?”\u003c/p>\n\u003cp>The Flo app has come under fire for sharing data before.\u003c/p>\n\u003cp>Last year, the Federal Trade Commission \u003ca href=\"https://www.ftc.gov/news-events/news/press-releases/2021/01/developer-popular-womens-fertility-tracking-app-settles-ftc-allegations-it-misled-consumers-about\" target=\"_blank\" rel=\"noopener noreferrer\">reached a settlement\u003c/a> with the popular fertility and period-tracking app amid allegations that it misled users about the disclosure of their personal health data. The settlement followed a 2019 \u003cem>Wall Street Journal\u003c/em> \u003ca href=\"https://www.wsj.com/articles/you-give-apps-sensitive-personal-information-then-they-tell-facebook-11550851636\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> that found the app informed Facebook when a user was having their period or if they informed the app that they intended to get pregnant.\u003c/p>\n\u003cp>Under the settlement, the FTC said Flo must undergo an independent review of its privacy policy and obtain user permissions before sharing personal health information. Flo \u003ca href=\"https://flo.health/flo-health-inc/news/flo-response-ftc-settlement\" target=\"_blank\" rel=\"noopener noreferrer\">did not admit any wrongdoing\u003c/a> as part of the settlement.\u003c/p>\n\u003cp>In a statement to NPR, the company said it “firmly believes women’s health data should be held with the utmost privacy and care at all times, which is why we do not share health data with any third party.”\u003c/p>\n\u003cp>The company added that an external, independent privacy audit completed in March “confirmed there are no gaps or weaknesses in our privacy practices.”\u003c/p>\n\u003cp>In a statement to NPR, period-tracking app Clue said “any data you track in Clue about pregnancies, pregnancy loss or abortion, is kept private and safe.” As a European company, the company said it is obligated to apply “special protections” to reproductive health data, per European law.\u003c/p>\n\u003cp>Despite such pledges, Jason Hong, a professor at Carnegie Mellon University’s School of Computer Science, cautions that the data a user inputs into a period-tracking app could reach far beyond the phone or the app they’re using.\u003c/p>\n\u003cp>“It’s really hard to understand how your data is being used and where it’s being shared because it could be many many third parties, and those third parties can also resell to other third parties,” Hong says. “Your data could actually be all over the network at this point. And it’s really hard to track what’s going on.”\u003c/p>\n\u003ch3>OK, but should I delete the app?\u003c/h3>\n\u003cp>For those second-guessing their period-tracking app, Ford says there’s a risk vs. convenience calculation that’s different for each user. It depends in large part on where you live and what the laws are.\u003c/p>\n\u003cp>“If I lived in a state where abortion was actively being criminalized, I would not use a period tracker—that’s for sure,” she says.\u003c/p>\n\u003cp>But for those who choose to log their data online, there might be some options that aren’t as risky. Ford says that apps built with a nonprofit model could offer more privacy.\u003c/p>\n\u003cp>Hong says paid apps could be better because they’re less likely to track users, since they don’t need to collect advertising data. Hong also advised users to read Apple’s privacy nutrition labels, which are designed to show users how their data is used in simpler terms.\u003c/p>\n\u003cp>Apps that store data locally are also preferable, Greer explained, because when data is stored locally, the user owns it—not the company.\u003c/p>\n\u003cp>If police are interested in data stored on a user’s device, they would need a warrant, which has a “much higher legal bar” than a subpoena, Greer says. But if the data is in the cloud and owned by a company, a subpoena would be necessary to access the data.\u003c/p>\n\u003cp>Ford says the most secure option might just be the most old-fashioned: tracking your cycle on paper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you want to be safe, use a paper calendar.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+period+tracking+apps+and+data+privacy+fit+into+a+post-Roe+v.+Wade+climate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'A Strange Loop' Garners 11 Tony Nominations, Including Best Musical",
"headTitle": "‘A Strange Loop’ Garners 11 Tony Nominations, Including Best Musical | KQED",
"content": "\u003cp>Monday morning, nominations for the 75\u003csup>th\u003c/sup> Annual Tony Awards were announced online. For the first time since the pandemic, Broadway presented a complete season—albeit one with many postponements and hiatuses, due to the Delta and Omicron variants of COVID-19—and 34 shows were in contention for Broadway’s highest honors.\u003c/p>\n\u003cp>[aside postid='arts_13910810']Leading the pack is Michael R. Jackson’s Pulitzer Prize-winning \u003cem>A Strange Loop\u003c/em>. The show, about a Black, queer, Broadway usher writing a musical about a Black, queer, Broadway usher, received 11 nominations, including best musical and best score and book for Mr. Jackson.\u003c/p>\n\u003cp>A different Michael Jackson—the king of pop—is another big contender. \u003cem>MJ\u003c/em>, the biographical musical about superstar Michael Jackson, has 10 nominations, including best musical. Lynn Nottage, who wrote the book for the show, is also nominated for best play, for \u003cem>Clyde’s\u003c/em>.\u003c/p>\n\u003cp>Rounding out the best musical category is \u003cem>Paradise Square\u003c/em>, a look at the Black and Irish communities in New York during the Civil War, with 10 nominations; \u003cem>SIX: The Musical\u003c/em>, a pop concert about Henry VIII’s wives, with eight nominations; \u003cem>Girl from the North Country\u003c/em>, a Bob Dylan jukebox show set during the Depression, with seven nominations; and \u003cem>Mr. Saturday Night\u003c/em>, Billy Crystal’s adaptation of his own film about an older comic trying to make a comeback, with five nominations. Crystal himself is up for two awards: best actor in a musical and best book of a musical. (Click for a \u003ca href=\"https://www.npr.org/2022/05/09/1097564500/list-of-the-2022-tony-nominations\" target=\"_blank\" rel=\"noopener noreferrer\">full list of the nominations\u003c/a>.)\u003c/p>\n\u003ch3>The best play leader is a tale of a financial empire\u003c/h3>\n\u003cfigure id=\"attachment_13913063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/211_adam-godley-simon-russell-beale-adrian-lester_photo-by-julieta-cervantes_custom-e12aed8cc1717889ed76134a84ef5f344cd13005-800x530.jpg\" alt=\"A plump white man in suit and top hat sits on filing boxes, looking satisfied. To his right a thinner, concerned looking white man sits, also wearing a top hat and suit. To his left, a Black man in smart black suit stands, hands clasped together in front of him, gazing off into the distance.\" width=\"800\" height=\"530\">\u003cfigcaption class=\"wp-caption-text\">(l) Adam Godley, Simon Russell Beale and Adrian Lester in ‘The Lehman Trilogy.’ \u003ccite>(Julieta Cervantes/The Lehman Trilogy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The front-runner for best play is Stefano Massimi’s \u003cem>The Lehman Trilogy\u003c/em>, adapted by Ben Power, which received eight nominations. The story of the Lehman Brothers, immigrants from 19\u003csup>th\u003c/sup> century Germany who built a financial empire, was a mini-epic, with three actors in a rotating glass box. It’s up for best play, and all three performers are up for best actor in a play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13911728']Other best play nominees include \u003cem>Clyde’s\u003c/em>, Lynn Nottage’s look at five formerly incarcerated people working in a sandwich shop, with five nominations; \u003cem>Hangmen\u003c/em>, Martin McDonagh’s black comedy about the last executioner in England, also with five; \u003cem>Skeleton Crew\u003c/em>, Dominique Morriseau’s look at auto workers in Detroit facing cutbacks, with three nominations; and Tracy Letts’ \u003cem>The Minutes\u003c/em>, a play about a contentious city council meeting, revealing some dark secrets.\u003c/p>\n\u003cp>Although four musicals were eligible to be nominated for best revival, only three got the nod. A revival of \u003cem>Funny Girl\u003c/em>, starring Beanie Feldstein was ignored, save for a featured actor nominee.\u003c/p>\n\u003cfigure id=\"attachment_13913064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/katrina-lenk-as-bobbie-in-company.-photo-by-matthew-murphy-scaled-1-_custom-f9ef03401085ecb0bbf45d9339420d807c82e891-800x526.jpg\" alt=\"A young woman wearing a red dress and red party hat sits behind a large birthday cake, looking quietly happy.\" width=\"800\" height=\"526\">\u003cfigcaption class=\"wp-caption-text\">Katrina Lenk in ‘Company.’ \u003ccite>(Matthew Murphy/Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gender-reversed revival of Stephen Sondheim and George Furth’s \u003cem>Company,\u003c/em> a groundbreaking 1970 musical about marriage and a 35-year-old singleton, received 9 nominations. The crowd-pleasing, sold-out revival of \u003cem>The Music Man\u003c/em>, starring Hugh Jackman and Sutton Foster, received six nominations, including for the two leads. Tony Kushner and Jeanine Tesori’s \u003cem>Caroline, or Change\u003c/em> is up for three awards.\u003c/p>\n\u003cp>Five plays are nominated for best revival. Ntozake Shange’s \u003cem>for colored girls who have considered suicide/when the rainbow is enuf \u003c/em>received seven nominations. Despite rave reviews, the 1975 choreopoem has struggled to find audiences and announced an early closing date.\u003c/p>\n\u003cfigure id=\"attachment_13913065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/68_for_colored_girls_broadway_production_photos_2022_hr_credit_marc_j_franklin_final_custom-3f50e2d8b80b250fe2aa53d697a451e16fd819c3-800x530.jpg\" alt=\"Seven women of color stands together in two rows, gesturing while singing. All are wearing brightly colored clothes.\" width=\"800\" height=\"530\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf.’ \u003ccite>(Marc J. Franklin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Greenberg’s \u003cem>Take Me Out\u003c/em>, about a baseball superstar who announces he’s gay, has four nominations, the same number as Alice Childress’ 1955 play \u003cem>Trouble in\u003c/em> \u003cem>Mind\u003c/em>, about racism in Broadway theater and David Mamet’s \u003cem>American Buffalo\u003c/em>, about three would-be thieves. Paula Vogel’s 1998 Pulitzer Prize-winning play about a girl who is sexually molested by her uncle, \u003cem>How I Learned to Drive\u003c/em>, received three nominations. Mary-Louise Parker and David Morse, reprising their roles from the original production, are both up for best acting awards.\u003c/p>\n\u003ch3>Several shows were overlooked entirely\u003c/h3>\n\u003cp>[aside postid='arts_13910614']Every year, shows and actors are snubbed. In addition to \u003cem>Funny Girl\u003c/em>, several other productions didn’t receive much love from the nominators. The musical adaptation of the film \u003cem>Mrs. Doubtfire\u003c/em> only received one nomination, for lead actor Rob McClure, while \u003cem>Flying Over Sunset\u003c/em>, the original musical about three 1950s celebrities experimenting with LSD, received four nominations but wasn’t up for best musical. Daniel Craig, who headlines a revival of \u003cem>Macbeth\u003c/em> didn’t receive a nod, though co-star Ruth Negga did. The sold-out revival of Neil Simon’s \u003cem>Plaza Suite\u003c/em> got a costume design nomination, but neither of its stars, Sarah Jessica Parker or Matthew Broderick, are up for an award. And several shows were overlooked entirely: the new plays \u003cem>Chicken & Biscuits\u003c/em>, \u003cem>Thoughts of a Colored Man\u003c/em>, \u003cem>Is This a Room\u003c/em>, \u003cem>Birthday Candles\u003c/em> and \u003cem>Pass Over\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a sign that things are returning somewhat to normal, The Tony Awards ceremony will be held at Radio City Music Hall on June 12. Ariana DeBose, the Oscar-winning actress from West Side Story, and a veteran of several Broadway shows, will be the host. At 7 p.m. ET, exclusive content will be streamed on Paramount +. From 8 to 11 p.m. ET, the awards ceremony will be broadcast on CBS.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27A+Strange+Loop%27+garners+11+Tony+nominations%2C+including+Best+Musical&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Monday morning, nominations for the 75\u003csup>th\u003c/sup> Annual Tony Awards were announced online. For the first time since the pandemic, Broadway presented a complete season—albeit one with many postponements and hiatuses, due to the Delta and Omicron variants of COVID-19—and 34 shows were in contention for Broadway’s highest honors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Leading the pack is Michael R. Jackson’s Pulitzer Prize-winning \u003cem>A Strange Loop\u003c/em>. The show, about a Black, queer, Broadway usher writing a musical about a Black, queer, Broadway usher, received 11 nominations, including best musical and best score and book for Mr. Jackson.\u003c/p>\n\u003cp>A different Michael Jackson—the king of pop—is another big contender. \u003cem>MJ\u003c/em>, the biographical musical about superstar Michael Jackson, has 10 nominations, including best musical. Lynn Nottage, who wrote the book for the show, is also nominated for best play, for \u003cem>Clyde’s\u003c/em>.\u003c/p>\n\u003cp>Rounding out the best musical category is \u003cem>Paradise Square\u003c/em>, a look at the Black and Irish communities in New York during the Civil War, with 10 nominations; \u003cem>SIX: The Musical\u003c/em>, a pop concert about Henry VIII’s wives, with eight nominations; \u003cem>Girl from the North Country\u003c/em>, a Bob Dylan jukebox show set during the Depression, with seven nominations; and \u003cem>Mr. Saturday Night\u003c/em>, Billy Crystal’s adaptation of his own film about an older comic trying to make a comeback, with five nominations. Crystal himself is up for two awards: best actor in a musical and best book of a musical. (Click for a \u003ca href=\"https://www.npr.org/2022/05/09/1097564500/list-of-the-2022-tony-nominations\" target=\"_blank\" rel=\"noopener noreferrer\">full list of the nominations\u003c/a>.)\u003c/p>\n\u003ch3>The best play leader is a tale of a financial empire\u003c/h3>\n\u003cfigure id=\"attachment_13913063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/211_adam-godley-simon-russell-beale-adrian-lester_photo-by-julieta-cervantes_custom-e12aed8cc1717889ed76134a84ef5f344cd13005-800x530.jpg\" alt=\"A plump white man in suit and top hat sits on filing boxes, looking satisfied. To his right a thinner, concerned looking white man sits, also wearing a top hat and suit. To his left, a Black man in smart black suit stands, hands clasped together in front of him, gazing off into the distance.\" width=\"800\" height=\"530\">\u003cfigcaption class=\"wp-caption-text\">(l) Adam Godley, Simon Russell Beale and Adrian Lester in ‘The Lehman Trilogy.’ \u003ccite>(Julieta Cervantes/The Lehman Trilogy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The front-runner for best play is Stefano Massimi’s \u003cem>The Lehman Trilogy\u003c/em>, adapted by Ben Power, which received eight nominations. The story of the Lehman Brothers, immigrants from 19\u003csup>th\u003c/sup> century Germany who built a financial empire, was a mini-epic, with three actors in a rotating glass box. It’s up for best play, and all three performers are up for best actor in a play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other best play nominees include \u003cem>Clyde’s\u003c/em>, Lynn Nottage’s look at five formerly incarcerated people working in a sandwich shop, with five nominations; \u003cem>Hangmen\u003c/em>, Martin McDonagh’s black comedy about the last executioner in England, also with five; \u003cem>Skeleton Crew\u003c/em>, Dominique Morriseau’s look at auto workers in Detroit facing cutbacks, with three nominations; and Tracy Letts’ \u003cem>The Minutes\u003c/em>, a play about a contentious city council meeting, revealing some dark secrets.\u003c/p>\n\u003cp>Although four musicals were eligible to be nominated for best revival, only three got the nod. A revival of \u003cem>Funny Girl\u003c/em>, starring Beanie Feldstein was ignored, save for a featured actor nominee.\u003c/p>\n\u003cfigure id=\"attachment_13913064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/katrina-lenk-as-bobbie-in-company.-photo-by-matthew-murphy-scaled-1-_custom-f9ef03401085ecb0bbf45d9339420d807c82e891-800x526.jpg\" alt=\"A young woman wearing a red dress and red party hat sits behind a large birthday cake, looking quietly happy.\" width=\"800\" height=\"526\">\u003cfigcaption class=\"wp-caption-text\">Katrina Lenk in ‘Company.’ \u003ccite>(Matthew Murphy/Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gender-reversed revival of Stephen Sondheim and George Furth’s \u003cem>Company,\u003c/em> a groundbreaking 1970 musical about marriage and a 35-year-old singleton, received 9 nominations. The crowd-pleasing, sold-out revival of \u003cem>The Music Man\u003c/em>, starring Hugh Jackman and Sutton Foster, received six nominations, including for the two leads. Tony Kushner and Jeanine Tesori’s \u003cem>Caroline, or Change\u003c/em> is up for three awards.\u003c/p>\n\u003cp>Five plays are nominated for best revival. Ntozake Shange’s \u003cem>for colored girls who have considered suicide/when the rainbow is enuf \u003c/em>received seven nominations. Despite rave reviews, the 1975 choreopoem has struggled to find audiences and announced an early closing date.\u003c/p>\n\u003cfigure id=\"attachment_13913065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/68_for_colored_girls_broadway_production_photos_2022_hr_credit_marc_j_franklin_final_custom-3f50e2d8b80b250fe2aa53d697a451e16fd819c3-800x530.jpg\" alt=\"Seven women of color stands together in two rows, gesturing while singing. All are wearing brightly colored clothes.\" width=\"800\" height=\"530\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf.’ \u003ccite>(Marc J. Franklin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Greenberg’s \u003cem>Take Me Out\u003c/em>, about a baseball superstar who announces he’s gay, has four nominations, the same number as Alice Childress’ 1955 play \u003cem>Trouble in\u003c/em> \u003cem>Mind\u003c/em>, about racism in Broadway theater and David Mamet’s \u003cem>American Buffalo\u003c/em>, about three would-be thieves. Paula Vogel’s 1998 Pulitzer Prize-winning play about a girl who is sexually molested by her uncle, \u003cem>How I Learned to Drive\u003c/em>, received three nominations. Mary-Louise Parker and David Morse, reprising their roles from the original production, are both up for best acting awards.\u003c/p>\n\u003ch3>Several shows were overlooked entirely\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Every year, shows and actors are snubbed. In addition to \u003cem>Funny Girl\u003c/em>, several other productions didn’t receive much love from the nominators. The musical adaptation of the film \u003cem>Mrs. Doubtfire\u003c/em> only received one nomination, for lead actor Rob McClure, while \u003cem>Flying Over Sunset\u003c/em>, the original musical about three 1950s celebrities experimenting with LSD, received four nominations but wasn’t up for best musical. Daniel Craig, who headlines a revival of \u003cem>Macbeth\u003c/em> didn’t receive a nod, though co-star Ruth Negga did. The sold-out revival of Neil Simon’s \u003cem>Plaza Suite\u003c/em> got a costume design nomination, but neither of its stars, Sarah Jessica Parker or Matthew Broderick, are up for an award. And several shows were overlooked entirely: the new plays \u003cem>Chicken & Biscuits\u003c/em>, \u003cem>Thoughts of a Colored Man\u003c/em>, \u003cem>Is This a Room\u003c/em>, \u003cem>Birthday Candles\u003c/em> and \u003cem>Pass Over\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a sign that things are returning somewhat to normal, The Tony Awards ceremony will be held at Radio City Music Hall on June 12. Ariana DeBose, the Oscar-winning actress from West Side Story, and a veteran of several Broadway shows, will be the host. At 7 p.m. ET, exclusive content will be streamed on Paramount +. From 8 to 11 p.m. ET, the awards ceremony will be broadcast on CBS.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27A+Strange+Loop%27+garners+11+Tony+nominations%2C+including+Best+Musical&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Staircase': A Drama About a Docuseries About a 20-year-old Murder Case",
"headTitle": "‘The Staircase’: A Drama About a Docuseries About a 20-year-old Murder Case | KQED",
"content": "\u003cp>It’s always interesting when you find yourself at odds with other critics. I used to observe a strict rule of not reading anybody else’s opinions about anything until I was sure I was done writing or saying everything I was going to write or say, just to make sure I wasn’t influenced. But more recently, I’ve learned that expectations and track records and a variety of other factors can make it hard to feel like a blank slate when it comes to a piece of art. And sometimes, seeing what someone else has said clarifies my own thinking—sometimes because I think they’re right, and sometimes because I think they’re wrong. So while I don’t seek out reviews of things I’m not finished talking about yet, I don’t avoid them either.\u003c/p>\n\u003cp>I bring this up because I found myself impatient with the well-reviewed HBO Max series \u003cem>The Staircase\u003c/em>, created by Antonio Campos. (See the positive reviews in \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-reviews/the-staircase-review-1235139509/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a> and \u003ca href=\"https://www.vanityfair.com/hollywood/2022/05/hbo-the-staircase-may-be-the-truest-crime-series-weve-got\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a>, for instance.) It stars Colin Firth as Michael Peterson, the Durham, NC writer who was convicted of the murder of his wife, Kathleen, and became the subject of a popular 2004 documentary series also called \u003cem>The Staircase\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Bvv97sCcruY\u003c/p>\n\u003cp>Many years after Peterson’s conviction, after a judge concluded that some of the expert testimony in his trial was false, Peterson was granted a new trial. Rather than try him again, the state allowed him to make an “Alford plea”—essentially a guilty plea where you maintain your innocence but admit the state has enough evidence to convict you. He was sentenced to the time he had already served and was released. (Alford pleas were also the final resolution of the cases behind the \u003ca href=\"https://www.reuters.com/article/us-crime-westmemphis3-arkansas/after-18-years-west-memphis-3-go-free-on-plea-deal-idUSTRE77I54A20110819\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paradise Lost \u003c/em>documentaries\u003c/a>.)\u003c/p>\n\u003cp>For a while after its release, the original series of \u003cem>The Staircase \u003c/em>was hard to find for U.S. audiences. But as the case continued to twist, additional episodes were added in 2013 and 2018, and the whole thing wound up on Netflix. Particularly with that added exposure, it’s probably one of the most influential true-crime works of the 21st century. It even inspired \u003cem>Trial & Error\u003c/em>, an \u003ca href=\"https://deadline.com/2017/01/john-lithgow-nick-dagosto-trial-error-mockumentary-series-new-case-each-season-tca-1201888960/\" target=\"_blank\" rel=\"noopener noreferrer\">NBC parody series\u003c/a> starring John Lithgow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps its ubiquity is why my initial reaction to hearing that there was to be a scripted series, even one with a cast that includes Firth, Toni Collette (as Kathleen in flashbacks), Michael Stuhlbarg (as Michael’s lawyer) and Parker Posey (as one of the DAs), was exhaustion. There are an awful lot of stories right now that receive some exhaustive documentary treatment—in this case, more than a decade of it—that seems like it has to have pulled just about every interesting thread, until you wonder what can possibly be left.\u003c/p>\n\u003cp>[aside postID='pop_97139,arts_13910084,arts_13912145']Five episodes of \u003cem>The Staircase\u003c/em>, out of what will eventually be eight, were given to critics. In those five episodes, the show does two interesting things to try to get around some of the limitations of these shows. The first is the danger of duplicating the documentary, which it escapes in part by incorporating its making. Vincent Vermignon and Frank Feys play the documentary director Jean-Xavier de Lestrade and producer Denis Poncet, who connect with Peterson to begin filming him and his team shortly after his case begins, and whose work ultimately becomes critical to the notoriety and maybe even the resolution of his case.\u003c/p>\n\u003cp>The other problem is specific to the case at hand here: that there’s not an agreed-upon conclusion to this story. Michael ultimately pled guilty without admitting guilt, and despite his conviction, there remains some debate about whether he is actually guilty or not. This is particularly relevant to flashbacks to Michael’s marriage to Kathleen, including an examination of what role his bisexuality played in their relationship. The prosecution claimed at trial that Kathleen discovered he was in contact with male sex workers and that this led to an argument during which Michael killed her; he claimed she knew about it and wasn’t bothered.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TftAFQflBy8\u003c/p>\n\u003cp>The series (at least through five episodes) is resolute about not taking a position about whether Michael killed Kathleen or not. In fact, it will show you both a speculative scene where it was an accident and a speculative scene where it was murder. This means trying to truthfully tell the story of a marriage without committing to whether it does or does not end in a homicide. Firth and Collette are gifted actors when it comes to emotional nuance, but ambiguity about this fundamental question (and about the claimed motive), justified by the available evidence as it may be, requires them to play scenes so as to make them plausible chapters in two wildly different stories. As good as they are, it’s an awful lot to ask of actors, and it makes Kathleen feel half-developed, since you can’t know to what degree she is fully informed about her own relationship.\u003c/p>\n\u003cp>The most successful part of the series is the part that turns the least on whether Michael is in fact guilty, which is the shifting allegiances of his kids (the kids, after all, don’t know for sure what happened either). The members of the cast involved in this story—including Sophie Turner and Odessa Young as the young women Michael took in after the death of their mother, a friend, Dane DeHaan and Patrick Schwarzenegger as the sons Michael had before he and Kathleen married, and Olivia deJonge as the daughter Kathleen had—are very good.\u003c/p>\n\u003cfigure id=\"attachment_13913030\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913030\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-800x538.jpg\" alt=\"A white man wearing a suit walks through a tight crowd of reporters and media crews.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b.jpg 1869w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colin Firth in ‘The Staircase.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there’s an awful lot going on. That story about the documentarians tries to delve into their ethics and their power squabbles over recognition and control and credit. There’s a story about how prison affects Michael between his conviction and his release and how he gets by in the meantime. There’s a whole story featuring Juliette Binoche that doesn’t kick in until the fourth episode. And at the very end of that fifth episode, you learn that yes, they’ll be covering the so-called “owl theory,” which posits that Kathleen neither fell (as Michael claimed) nor was murdered (as the prosecution claimed) but was attacked by an owl and died from her injuries.\u003c/p>\n\u003cp>The filmmaking itself is exceptional. The whole show looks great, and the editing (particularly given the complicated structure) is quite brilliant: There is a sequence in which an elevator door closes, and the editing alone tells the story of an entire family in about five seconds. The weaving in of footage that’s been altered to look like similar scenes from the documentary is a technical marvel; they’ve gotten the lighting and the picture to look just like the grainy, cheap-video feel of the real doc. That technique is used sparingly and wisely, as a reminder of how moments that are now famous (among true crime types) are part of a much larger picture.\u003c/p>\n\u003cp>There’s a lot to like about this series. Firth (with his generally British and stoic air) is much more convincing than I expected as the fidgety Peterson. And who doesn’t like Juliette Binoche? But there was something about this that held me at a distance, because of the very restlessness—the trial, the marriage, the kids, the investigation, the filmmaking, all swirling faster and faster—that seems to be Campos’s intent. It leaves me wondering whether this feeling is fatigue, and thus, whether it is about this series at all. If I hadn’t seen so many documentary-to-scripted series, would I be as weary when I see an on-screen indication that we are flashing back to The Happy Times before The Bad Thing happened? I don’t know.\u003c/p>\n\u003cp>Just another entry in the big long list of mysteries without resolutions.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This essay first appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations on what’s making us happy. Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27The+Staircase%27%3A+A+drama+about+a+docuseries+about+a+20-year-old+murder+case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s always interesting when you find yourself at odds with other critics. I used to observe a strict rule of not reading anybody else’s opinions about anything until I was sure I was done writing or saying everything I was going to write or say, just to make sure I wasn’t influenced. But more recently, I’ve learned that expectations and track records and a variety of other factors can make it hard to feel like a blank slate when it comes to a piece of art. And sometimes, seeing what someone else has said clarifies my own thinking—sometimes because I think they’re right, and sometimes because I think they’re wrong. So while I don’t seek out reviews of things I’m not finished talking about yet, I don’t avoid them either.\u003c/p>\n\u003cp>I bring this up because I found myself impatient with the well-reviewed HBO Max series \u003cem>The Staircase\u003c/em>, created by Antonio Campos. (See the positive reviews in \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-reviews/the-staircase-review-1235139509/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a> and \u003ca href=\"https://www.vanityfair.com/hollywood/2022/05/hbo-the-staircase-may-be-the-truest-crime-series-weve-got\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a>, for instance.) It stars Colin Firth as Michael Peterson, the Durham, NC writer who was convicted of the murder of his wife, Kathleen, and became the subject of a popular 2004 documentary series also called \u003cem>The Staircase\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Bvv97sCcruY'\n title='//www.youtube.com/embed/Bvv97sCcruY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many years after Peterson’s conviction, after a judge concluded that some of the expert testimony in his trial was false, Peterson was granted a new trial. Rather than try him again, the state allowed him to make an “Alford plea”—essentially a guilty plea where you maintain your innocence but admit the state has enough evidence to convict you. He was sentenced to the time he had already served and was released. (Alford pleas were also the final resolution of the cases behind the \u003ca href=\"https://www.reuters.com/article/us-crime-westmemphis3-arkansas/after-18-years-west-memphis-3-go-free-on-plea-deal-idUSTRE77I54A20110819\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paradise Lost \u003c/em>documentaries\u003c/a>.)\u003c/p>\n\u003cp>For a while after its release, the original series of \u003cem>The Staircase \u003c/em>was hard to find for U.S. audiences. But as the case continued to twist, additional episodes were added in 2013 and 2018, and the whole thing wound up on Netflix. Particularly with that added exposure, it’s probably one of the most influential true-crime works of the 21st century. It even inspired \u003cem>Trial & Error\u003c/em>, an \u003ca href=\"https://deadline.com/2017/01/john-lithgow-nick-dagosto-trial-error-mockumentary-series-new-case-each-season-tca-1201888960/\" target=\"_blank\" rel=\"noopener noreferrer\">NBC parody series\u003c/a> starring John Lithgow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps its ubiquity is why my initial reaction to hearing that there was to be a scripted series, even one with a cast that includes Firth, Toni Collette (as Kathleen in flashbacks), Michael Stuhlbarg (as Michael’s lawyer) and Parker Posey (as one of the DAs), was exhaustion. There are an awful lot of stories right now that receive some exhaustive documentary treatment—in this case, more than a decade of it—that seems like it has to have pulled just about every interesting thread, until you wonder what can possibly be left.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Five episodes of \u003cem>The Staircase\u003c/em>, out of what will eventually be eight, were given to critics. In those five episodes, the show does two interesting things to try to get around some of the limitations of these shows. The first is the danger of duplicating the documentary, which it escapes in part by incorporating its making. Vincent Vermignon and Frank Feys play the documentary director Jean-Xavier de Lestrade and producer Denis Poncet, who connect with Peterson to begin filming him and his team shortly after his case begins, and whose work ultimately becomes critical to the notoriety and maybe even the resolution of his case.\u003c/p>\n\u003cp>The other problem is specific to the case at hand here: that there’s not an agreed-upon conclusion to this story. Michael ultimately pled guilty without admitting guilt, and despite his conviction, there remains some debate about whether he is actually guilty or not. This is particularly relevant to flashbacks to Michael’s marriage to Kathleen, including an examination of what role his bisexuality played in their relationship. The prosecution claimed at trial that Kathleen discovered he was in contact with male sex workers and that this led to an argument during which Michael killed her; he claimed she knew about it and wasn’t bothered.\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/TftAFQflBy8'\n title='//www.youtube.com/embed/TftAFQflBy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series (at least through five episodes) is resolute about not taking a position about whether Michael killed Kathleen or not. In fact, it will show you both a speculative scene where it was an accident and a speculative scene where it was murder. This means trying to truthfully tell the story of a marriage without committing to whether it does or does not end in a homicide. Firth and Collette are gifted actors when it comes to emotional nuance, but ambiguity about this fundamental question (and about the claimed motive), justified by the available evidence as it may be, requires them to play scenes so as to make them plausible chapters in two wildly different stories. As good as they are, it’s an awful lot to ask of actors, and it makes Kathleen feel half-developed, since you can’t know to what degree she is fully informed about her own relationship.\u003c/p>\n\u003cp>The most successful part of the series is the part that turns the least on whether Michael is in fact guilty, which is the shifting allegiances of his kids (the kids, after all, don’t know for sure what happened either). The members of the cast involved in this story—including Sophie Turner and Odessa Young as the young women Michael took in after the death of their mother, a friend, Dane DeHaan and Patrick Schwarzenegger as the sons Michael had before he and Kathleen married, and Olivia deJonge as the daughter Kathleen had—are very good.\u003c/p>\n\u003cfigure id=\"attachment_13913030\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913030\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-800x538.jpg\" alt=\"A white man wearing a suit walks through a tight crowd of reporters and media crews.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/colin-firth_5_custom-8177d40e9b30d0a8d34e49de8e8d5ff8c67dfd8b.jpg 1869w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colin Firth in ‘The Staircase.’ \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But there’s an awful lot going on. That story about the documentarians tries to delve into their ethics and their power squabbles over recognition and control and credit. There’s a story about how prison affects Michael between his conviction and his release and how he gets by in the meantime. There’s a whole story featuring Juliette Binoche that doesn’t kick in until the fourth episode. And at the very end of that fifth episode, you learn that yes, they’ll be covering the so-called “owl theory,” which posits that Kathleen neither fell (as Michael claimed) nor was murdered (as the prosecution claimed) but was attacked by an owl and died from her injuries.\u003c/p>\n\u003cp>The filmmaking itself is exceptional. The whole show looks great, and the editing (particularly given the complicated structure) is quite brilliant: There is a sequence in which an elevator door closes, and the editing alone tells the story of an entire family in about five seconds. The weaving in of footage that’s been altered to look like similar scenes from the documentary is a technical marvel; they’ve gotten the lighting and the picture to look just like the grainy, cheap-video feel of the real doc. That technique is used sparingly and wisely, as a reminder of how moments that are now famous (among true crime types) are part of a much larger picture.\u003c/p>\n\u003cp>There’s a lot to like about this series. Firth (with his generally British and stoic air) is much more convincing than I expected as the fidgety Peterson. And who doesn’t like Juliette Binoche? But there was something about this that held me at a distance, because of the very restlessness—the trial, the marriage, the kids, the investigation, the filmmaking, all swirling faster and faster—that seems to be Campos’s intent. It leaves me wondering whether this feeling is fatigue, and thus, whether it is about this series at all. If I hadn’t seen so many documentary-to-scripted series, would I be as weary when I see an on-screen indication that we are flashing back to The Happy Times before The Bad Thing happened? I don’t know.\u003c/p>\n\u003cp>Just another entry in the big long list of mysteries without resolutions.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This essay first appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations on what’s making us happy. Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=%27The+Staircase%27%3A+A+drama+about+a+docuseries+about+a+20-year-old+murder+case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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