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"content": "\u003cp>The average musical biopic—and most of them are pretty average—follows a predictable arc: the troubled childhood marked by flashes of genius; the record deals and hit album montages; the marriages torn apart by affairs, addiction and the ravages of fame. Even when these clichés are drawn from real life, it’s disappointing to see great artists reduced to formulas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> was one of our greatest artists, and \u003cem>Respect\u003c/em>, the new movie about her early years, doesn’t entirely avoid those biopic conventions. But there’s real intelligence and feeling in it all the same.\u003c/p>\n\u003cp>[aside postid='arts_13867229']This is the first feature from director Liesl Tommy and screenwriter Tracey Scott Wilson, both of whom have worked for many years in theater and television, and they seem to know that even well-worn notes can sound newly resonant in the right hands. That’s one of the lessons of Franklin’s own career: \u003cem>Respect\u003c/em> of course draws its title from an Otis Redding song that Franklin brilliantly made her own.\u003c/p>\n\u003cp>Like Diana Ross as Billie Holiday in \u003cem>Lady Sings the Blues—\u003c/em>or more recently, \u003ca href=\"https://www.npr.org/2019/09/26/764746668/ren-e-zellweger-on-playing-late-judy-garland-a-different-kind-of-triumph\" target=\"_blank\" rel=\"noopener noreferrer\">Renée Zellweger\u003c/a> as Judy Garland in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judy\u003c/em>\u003c/a>—star \u003ca href=\"https://www.npr.org/artists/100407553/jennifer-hudson\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Hudson\u003c/a> doesn’t try to mimic her real-life subject so much as channel her spirit. The illusion doesn’t always take hold; notably, the actor seems less evocative of Franklin than Cynthia Erivo was in the recent miniseries \u003ca href=\"https://www.npr.org/2021/03/19/979056315/national-geographic-honors-aretha-franklin-in-new-miniseries\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Genius: Aretha\u003c/em>\u003c/a>\u003cem>. \u003c/em>But Hudson is a vocal powerhouse, and her musical performances are frequently electrifying in what’s easily her most significant role since her Oscar-winning debut 15 years ago in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6631528\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dreamgirls\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qTtxoz3OIlU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hudson and the filmmakers mean to show us a still-unformed Aretha, who doesn’t yet possess the strong artistic identity and business savvy that will define her reign as the Queen of Soul. We first meet her in 1952 Detroit as a 10-year-old nicely played by Skye Dakota Turner, already wowing churches and house parties with her singing talent. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7030749\" target=\"_blank\" rel=\"noopener noreferrer\">Forest Whitaker\u003c/a> is her father, the influential Baptist minister and civil rights activist C.L. Franklin, who exercises a heavy hand over his daughter’s future music career. But Aretha is even more profoundly shaped by her mother, the gospel singer Barbara Franklin, warmly played by \u003ca href=\"https://www.npr.org/artists/15396807/audra-mcdonald\" target=\"_blank\" rel=\"noopener noreferrer\">Audra McDonald\u003c/a>. Barbara dies soon after we meet her, but not before warning the young Aretha never to let her father or any other man exploit her talent, which is a gift from God.\u003c/p>\n\u003cp>\u003cem>Respect\u003c/em> has a good grasp of the tightly interwoven forces—family, religion, activism and music—that shaped Aretha and sometimes threatened to tear her apart. Aretha tries to flee her father’s control by marrying Ted White, played by Marlon Wayans, who becomes her manager. But it soon becomes clear that she’s merely exchanged one domineering man for another. Meanwhile, her musical versatility—there’s nothing she can’t sing — ironically proves something of an obstacle at first. She’s not certain what kind of artist she wants to be.\u003c/p>\n\u003cp>[aside postid='arts_13858541']That changes when she signs with Atlantic Records and joins forces with the legendary producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93625915\" target=\"_blank\" rel=\"noopener noreferrer\">Jerry Wexler\u003c/a>—a terrific \u003ca href=\"https://www.kqed.org/arts/13886679/watch-marc-maron-having-the-same-existential-crises-as-you-only-funnier\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Maron\u003c/a>—who in 1966 sends her to record with a scrappy but first-rate band in Muscle Shoals, Ala. \u003cem>Respect\u003c/em> surges to life in these sequences: It’s a thrill to watch the often soft-spoken, deferential Aretha seize control of her recording sessions, tweaking the arrangement on her first big hit, “I Never Loved a Man (the Way I Love You),” and building a strong rapport with her collaborators. We recognize her brilliance as not just a singer but also an impromptu songwriter.\u003c/p>\n\u003cp>By the time Aretha is singing immortal tunes like “(You Make Me Feel like a) Natural Woman,” she’s also mustered the courage to leave her abusive husband. From there, the movie becomes more uneven and overwrought, as Aretha’s alcoholism threatens to torpedo her career and family life.\u003c/p>\n\u003cp>Some of these scenes feel rushed, and they expose other cracks in the storytelling: We spend a lot of time with Aretha’s sisters, both also singers, but her four sons are only partly glimpsed. The movie is also vague in its sense of Aretha as a political figure, apart from brief scenes in which we see her singing at the funeral of the Rev. Martin Luther King Jr. and defending Angela Davis after her arrest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The road is bumpy, but the film’s final destination is moving. \u003cem>Respect\u003c/em> climaxes with perhaps Franklin’s finest achievement, her landmark 1972 album, \u003cem>Amazing Grace, \u003c/em>presented here as not just her return to her gospel roots but also her recommitment to God. It’s a lovely sequence that made me want to revisit the electrifying documentary \u003ca href=\"https://www.npr.org/2019/04/07/710247560/aretha-franklins-amazing-grace-gets-la-premiere-in-the-church-where-it-took-plac\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which was filmed during those recording sessions, and which is easily the greatest Aretha Franklin movie ever. As even decent musical biopics remind us, there ain’t nothing like the real thing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Aretha+Franklin+Biopic+Pays+Proper+%27Respect%27+To+The+Queen+Of+Soul+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the first feature from director Liesl Tommy and screenwriter Tracey Scott Wilson, both of whom have worked for many years in theater and television, and they seem to know that even well-worn notes can sound newly resonant in the right hands. That’s one of the lessons of Franklin’s own career: \u003cem>Respect\u003c/em> of course draws its title from an Otis Redding song that Franklin brilliantly made her own.\u003c/p>\n\u003cp>Like Diana Ross as Billie Holiday in \u003cem>Lady Sings the Blues—\u003c/em>or more recently, \u003ca href=\"https://www.npr.org/2019/09/26/764746668/ren-e-zellweger-on-playing-late-judy-garland-a-different-kind-of-triumph\" target=\"_blank\" rel=\"noopener noreferrer\">Renée Zellweger\u003c/a> as Judy Garland in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judy\u003c/em>\u003c/a>—star \u003ca href=\"https://www.npr.org/artists/100407553/jennifer-hudson\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Hudson\u003c/a> doesn’t try to mimic her real-life subject so much as channel her spirit. The illusion doesn’t always take hold; notably, the actor seems less evocative of Franklin than Cynthia Erivo was in the recent miniseries \u003ca href=\"https://www.npr.org/2021/03/19/979056315/national-geographic-honors-aretha-franklin-in-new-miniseries\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Genius: Aretha\u003c/em>\u003c/a>\u003cem>. \u003c/em>But Hudson is a vocal powerhouse, and her musical performances are frequently electrifying in what’s easily her most significant role since her Oscar-winning debut 15 years ago in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6631528\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dreamgirls\u003c/em>\u003c/a>.\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/qTtxoz3OIlU'\n title='//www.youtube.com/embed/qTtxoz3OIlU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hudson and the filmmakers mean to show us a still-unformed Aretha, who doesn’t yet possess the strong artistic identity and business savvy that will define her reign as the Queen of Soul. We first meet her in 1952 Detroit as a 10-year-old nicely played by Skye Dakota Turner, already wowing churches and house parties with her singing talent. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7030749\" target=\"_blank\" rel=\"noopener noreferrer\">Forest Whitaker\u003c/a> is her father, the influential Baptist minister and civil rights activist C.L. Franklin, who exercises a heavy hand over his daughter’s future music career. But Aretha is even more profoundly shaped by her mother, the gospel singer Barbara Franklin, warmly played by \u003ca href=\"https://www.npr.org/artists/15396807/audra-mcdonald\" target=\"_blank\" rel=\"noopener noreferrer\">Audra McDonald\u003c/a>. Barbara dies soon after we meet her, but not before warning the young Aretha never to let her father or any other man exploit her talent, which is a gift from God.\u003c/p>\n\u003cp>\u003cem>Respect\u003c/em> has a good grasp of the tightly interwoven forces—family, religion, activism and music—that shaped Aretha and sometimes threatened to tear her apart. Aretha tries to flee her father’s control by marrying Ted White, played by Marlon Wayans, who becomes her manager. But it soon becomes clear that she’s merely exchanged one domineering man for another. Meanwhile, her musical versatility—there’s nothing she can’t sing — ironically proves something of an obstacle at first. She’s not certain what kind of artist she wants to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That changes when she signs with Atlantic Records and joins forces with the legendary producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93625915\" target=\"_blank\" rel=\"noopener noreferrer\">Jerry Wexler\u003c/a>—a terrific \u003ca href=\"https://www.kqed.org/arts/13886679/watch-marc-maron-having-the-same-existential-crises-as-you-only-funnier\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Maron\u003c/a>—who in 1966 sends her to record with a scrappy but first-rate band in Muscle Shoals, Ala. \u003cem>Respect\u003c/em> surges to life in these sequences: It’s a thrill to watch the often soft-spoken, deferential Aretha seize control of her recording sessions, tweaking the arrangement on her first big hit, “I Never Loved a Man (the Way I Love You),” and building a strong rapport with her collaborators. We recognize her brilliance as not just a singer but also an impromptu songwriter.\u003c/p>\n\u003cp>By the time Aretha is singing immortal tunes like “(You Make Me Feel like a) Natural Woman,” she’s also mustered the courage to leave her abusive husband. From there, the movie becomes more uneven and overwrought, as Aretha’s alcoholism threatens to torpedo her career and family life.\u003c/p>\n\u003cp>Some of these scenes feel rushed, and they expose other cracks in the storytelling: We spend a lot of time with Aretha’s sisters, both also singers, but her four sons are only partly glimpsed. The movie is also vague in its sense of Aretha as a political figure, apart from brief scenes in which we see her singing at the funeral of the Rev. Martin Luther King Jr. and defending Angela Davis after her arrest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The road is bumpy, but the film’s final destination is moving. \u003cem>Respect\u003c/em> climaxes with perhaps Franklin’s finest achievement, her landmark 1972 album, \u003cem>Amazing Grace, \u003c/em>presented here as not just her return to her gospel roots but also her recommitment to God. It’s a lovely sequence that made me want to revisit the electrifying documentary \u003ca href=\"https://www.npr.org/2019/04/07/710247560/aretha-franklins-amazing-grace-gets-la-premiere-in-the-church-where-it-took-plac\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which was filmed during those recording sessions, and which is easily the greatest Aretha Franklin movie ever. As even decent musical biopics remind us, there ain’t nothing like the real thing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Aretha+Franklin+Biopic+Pays+Proper+%27Respect%27+To+The+Queen+Of+Soul+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Call it fate or an unfortunate coincidence that Dr. Seuss’ \u003cem>The Lorax\u003c/em> celebrates its 50th anniversary the same week the United Nations releases an urgent report on the \u003ca href=\"https://www.npr.org/2021/08/09/1025898341/major-report-warns-climate-change-is-accelerating-and-humans-must-cut-emissions-\" target=\"_blank\" rel=\"noopener noreferrer\">dire consequences of human-induced climate change.\u003c/a> The conflict between the industrious, polluting Once-ler and the feisty Lorax, who “speaks for the trees,” feels more prescient than ever.\u003c/p>\n\u003cblockquote>\u003cp>“Once-ler!” he cried with a cruffulous croak.\u003cbr>\n“Once-ler! You’re making such smogulous smoke!\u003cbr>\nMy poor Swomee-Swans… why, they can’t sing a note!\u003cbr>\nNo one can sing who has smog in his throat.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13865507']“He wanted a book that captured the effects of pollution on ecosystems and I would say it was really ahead of its time,” says anthropologist and evolutionary biologist Nathaniel Dominy, who teaches at Dartmouth. “The different species disappear from the narrative in succession,” he notes. “The Bar-ba-loots leave because they run out of food. The Swomee-Swans leave because the air is polluted. The humming fish leave because the water’s polluted. He’s describing what we would now call a ‘\u003ca href=\"https://www.nature.com/scitable/knowledge/library/trophic-cascades-across-diverse-plant-ecosystems-80060347/\" target=\"_blank\" rel=\"noopener noreferrer\">trophic cascade\u003c/a>,’ and for me, as a scientist, I just find that genius that he anticipated that concept by a decade or more.”\u003c/p>\n\u003cp>While it might be a children’s book, \u003cem>The Lorax\u003c/em>‘s ominous message of what happens when you harvest nature to death made it an icon of the environmental movement, spawning \u003ca href=\"https://www.npr.org/2009/07/29/111287573/the-next-dr-seuss-movie-the-lorax\" target=\"_blank\" rel=\"noopener noreferrer\">movie\u003c/a> and stage adaptations not to mention a gazillion school \u003ca href=\"https://www.sustainabilitysuperheroes.org/meet-the-lorax.html\" target=\"_blank\" rel=\"noopener noreferrer\">projects\u003c/a>.\u003c/p>\n\u003cp>With its mostly gray, scrappy, barren images, the story stood in sharp contrast to other books by Theodor Geisel (aka Dr. Seuss) such as \u003cem>The Cat in the Hat \u003c/em>and \u003cem>Green Eggs and Ham\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13901164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg\" alt=\"'The Lorax' by Dr. Seuss.\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1020x1383.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-768x1041.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1133x1536.jpg 1133w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1511x2048.jpg 1511w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1920x2603.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-scaled.jpg 1888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lorax’ by Dr. Seuss. \u003ccite>(Random House Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The environmental movement takes root\u003c/h3>\n\u003cp>Geisel began writing \u003cem>The Lorax\u003c/em> at a time of growing concern about the environment. \u003ca href=\"https://www.smithsonianmag.com/history/cuyahoga-river-caught-fire-least-dozen-times-no-one-cared-until-1969-180972444/\" target=\"_blank\" rel=\"noopener noreferrer\">Images\u003c/a> of an oil-slicked river in Cleveland catching fire in 1969, the first \u003ca href=\"https://www.npr.org/2020/04/22/840542049/earth-day-at-50-climate-activists-go-digital-amid-pandemic-shutdown\" target=\"_blank\" rel=\"noopener noreferrer\">Earth Day\u003c/a> in 1970 and other events helped build the movement and put it front and center. According to Geisel biographer Donald Pease, the author believed in the movement but didn’t care for its rhetoric. He thought it was “preachy and bossy,” says Pease.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Geisel was also furious about construction going on in his La Jolla, Calif., neighborhood. “They were destroying quite beautiful eucalyptus trees, and he wanted to do something about this, and he had to find a way to transform what he understood to be a propaganda-oriented perspective on these matters into a fable that even children could understand.” But, Pease explains, “he also was confronted with writer’s block.”\u003c/p>\n\u003ch3>Inspiration strikes during a trip to Kenya\u003c/h3>\n\u003cp>His wife, Audrey Geisel, suggested they go on a trip to the \u003ca href=\"https://www.fairmont.com/mount-kenya-safari/?goto=fiche_hotel&code_hotel=A5F4&merchantid=seo-maps-KE-A5F4&sourceid=aw-cen&utm_medium=seo+maps&utm_source=google+Maps&utm_campaign=seo+maps&y_source=1_MTIzNjE0MzUtNzE1LWxvY2F0aW9uLmdvb2dsZV93ZWJzaXRlX292ZXJyaWRl\" target=\"_blank\" rel=\"noopener noreferrer\">Mount Kenya Safari Club\u003c/a>. While they were there, “he caught a view in the mountains of elephants crossing,” says Pease. “He said afterward ‘the logjam broke’ and he was able to write 90% of \u003cem>The Lorax\u003c/em> that afternoon.”\u003c/p>\n\u003cp>“It is built on one of the most beautiful landscapes with a spectacular view of Mount Kenya so I’m not surprised Dr. Seuss was inspired by that,” says Wanjira Mathai, vice president and regional director for Africa at The World Resources Institute.\u003c/p>\n\u003cp>What can happen to that beauty is made vividly clear by the end of the story. The greedy Once-ler ravages the land by chopping down Truffula Trees. He needs them to make his “thneed” garment.\u003c/p>\n\u003cp>The Lorax is apoplectic.\u003c/p>\n\u003cblockquote>\u003cp>“I speak for the trees, for the trees have no tongues.\u003cbr>\nAnd I’m asking you, sir, at the top of my lungs” —\u003cbr>\nhe was very upset as he shouted and puffed —\u003cbr>\n\u003cem>“What’s that THING you’ve made out of my Truffula tuft?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Spoiler alert: the land where once upon a time, “the grass was still green and the pond was still wet and the clouds were still clean” is destroyed by the Once-ler’s insatiable appetite to sell more “thneeds.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8V06ZOQuo0k\u003c/p>\n\u003ch3>“Unless someone like you cares a whole awful lot …”\u003c/h3>\n\u003cp>The parallels with this week’s U.N. climate report are stark. “The report paints a very sobering picture of the unforgiving, unimaginable world we have in store if our addiction to burning fossil fuels and destroying forests continues,” says Mathai. She says Dr. Seuss’ eco-parable is a “powerful depiction” of this point, despite being written so many years ago. “The Thneed—read fossil fuels—is something ‘everyone needs.’ And sadly with the Lorax, the damage was done and the environment that was bustling with life, destroyed.”\u003c/p>\n\u003cp>\u003cem>The Lorax\u003c/em> ends with a kind of challenge.\u003c/p>\n\u003cblockquote>\u003cp>UNLESS someone like you\u003cbr>\ncares a whole awful lot,\u003cbr>\nnothing’s going to get better.\u003cbr>\nIt’s not.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13893468']“He kind of says ‘I told you so,’ like, I told you this was going to be bad and now it’s bad,” says Mark Gozonsky, a writer and high school English teacher in Los Angeles whose students have \u003ca href=\"https://lithub.com/teaching-climate-change-with-the-lorax-and-the-jungle/\" target=\"_blank\" rel=\"noopener noreferrer\">analyzed\u003c/a> \u003cem>The Lorax\u003c/em> in the context of global warming. Like Mathai, Gozonsky is struck by the parallels with this week’s report. “The book ends on a question mark … ‘Well, what are you going to do about it?’ And that’s the very question mark that we land on today,” he says. So many years later scientists are still warning, “You’ve got … a couple of years to make a difference … Time, as we all know, is ticking away.”\u003c/p>\n\u003ch3>Finding hope in the last seed left\u003c/h3>\n\u003cp>Mathai still believes it’s important to be hopeful. Her mother was a little like the Lorax of Kenya, the very place that so inspired Geisel’s story. Nobel Peace Prize winner \u003ca href=\"https://www.npr.org/sections/thetwo-way/2011/09/26/140808866/nobel-laureate-wangari-maathai-a-global-icon-of-conservation\" target=\"_blank\" rel=\"noopener noreferrer\">Wangari Maathai\u003c/a> founded The Green Belt movement, which is credited with planting more than 51 million trees across the country, part of a campaign to end poverty.\u003c/p>\n\u003cp>“My mother … always talked about trees as a symbol of hope and so \u003cem>The Lorax\u003c/em> in many ways was that and remains that for me. That each of us can be such a potent agent of change. We can be custodians of hope.”\u003c/p>\n\u003cp>Just as she read \u003cem>The Lorax\u003c/em> when she was a girl, Mathai reads it to her two daughters today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The Once-ler saved that one seed and waited for someone who cared to come along. It will take each of us doing our part to reverse what is coming. The latest report indicates we have even less time to turn things around,” she says. Mathai takes heart that “we have a number of ‘Loraxes’ spreading the word and sounding the alarm.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27The+Lorax%27+Warned+Us+50+Years+Ago%2C+But+We+Didn%27t+Listen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Call it fate or an unfortunate coincidence that Dr. Seuss’ \u003cem>The Lorax\u003c/em> celebrates its 50th anniversary the same week the United Nations releases an urgent report on the \u003ca href=\"https://www.npr.org/2021/08/09/1025898341/major-report-warns-climate-change-is-accelerating-and-humans-must-cut-emissions-\" target=\"_blank\" rel=\"noopener noreferrer\">dire consequences of human-induced climate change.\u003c/a> The conflict between the industrious, polluting Once-ler and the feisty Lorax, who “speaks for the trees,” feels more prescient than ever.\u003c/p>\n\u003cblockquote>\u003cp>“Once-ler!” he cried with a cruffulous croak.\u003cbr>\n“Once-ler! You’re making such smogulous smoke!\u003cbr>\nMy poor Swomee-Swans… why, they can’t sing a note!\u003cbr>\nNo one can sing who has smog in his throat.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He wanted a book that captured the effects of pollution on ecosystems and I would say it was really ahead of its time,” says anthropologist and evolutionary biologist Nathaniel Dominy, who teaches at Dartmouth. “The different species disappear from the narrative in succession,” he notes. “The Bar-ba-loots leave because they run out of food. The Swomee-Swans leave because the air is polluted. The humming fish leave because the water’s polluted. He’s describing what we would now call a ‘\u003ca href=\"https://www.nature.com/scitable/knowledge/library/trophic-cascades-across-diverse-plant-ecosystems-80060347/\" target=\"_blank\" rel=\"noopener noreferrer\">trophic cascade\u003c/a>,’ and for me, as a scientist, I just find that genius that he anticipated that concept by a decade or more.”\u003c/p>\n\u003cp>While it might be a children’s book, \u003cem>The Lorax\u003c/em>‘s ominous message of what happens when you harvest nature to death made it an icon of the environmental movement, spawning \u003ca href=\"https://www.npr.org/2009/07/29/111287573/the-next-dr-seuss-movie-the-lorax\" target=\"_blank\" rel=\"noopener noreferrer\">movie\u003c/a> and stage adaptations not to mention a gazillion school \u003ca href=\"https://www.sustainabilitysuperheroes.org/meet-the-lorax.html\" target=\"_blank\" rel=\"noopener noreferrer\">projects\u003c/a>.\u003c/p>\n\u003cp>With its mostly gray, scrappy, barren images, the story stood in sharp contrast to other books by Theodor Geisel (aka Dr. Seuss) such as \u003cem>The Cat in the Hat \u003c/em>and \u003cem>Green Eggs and Ham\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13901164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg\" alt=\"'The Lorax' by Dr. Seuss.\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1020x1383.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-768x1041.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1133x1536.jpg 1133w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1511x2048.jpg 1511w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-1920x2603.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/9780394823379-fullsize-rgb-1-_custom-ce2dbe7c595191743a0244f1d5b9e48193102611-scaled.jpg 1888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Lorax’ by Dr. Seuss. \u003ccite>(Random House Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The environmental movement takes root\u003c/h3>\n\u003cp>Geisel began writing \u003cem>The Lorax\u003c/em> at a time of growing concern about the environment. \u003ca href=\"https://www.smithsonianmag.com/history/cuyahoga-river-caught-fire-least-dozen-times-no-one-cared-until-1969-180972444/\" target=\"_blank\" rel=\"noopener noreferrer\">Images\u003c/a> of an oil-slicked river in Cleveland catching fire in 1969, the first \u003ca href=\"https://www.npr.org/2020/04/22/840542049/earth-day-at-50-climate-activists-go-digital-amid-pandemic-shutdown\" target=\"_blank\" rel=\"noopener noreferrer\">Earth Day\u003c/a> in 1970 and other events helped build the movement and put it front and center. According to Geisel biographer Donald Pease, the author believed in the movement but didn’t care for its rhetoric. He thought it was “preachy and bossy,” says Pease.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Geisel was also furious about construction going on in his La Jolla, Calif., neighborhood. “They were destroying quite beautiful eucalyptus trees, and he wanted to do something about this, and he had to find a way to transform what he understood to be a propaganda-oriented perspective on these matters into a fable that even children could understand.” But, Pease explains, “he also was confronted with writer’s block.”\u003c/p>\n\u003ch3>Inspiration strikes during a trip to Kenya\u003c/h3>\n\u003cp>His wife, Audrey Geisel, suggested they go on a trip to the \u003ca href=\"https://www.fairmont.com/mount-kenya-safari/?goto=fiche_hotel&code_hotel=A5F4&merchantid=seo-maps-KE-A5F4&sourceid=aw-cen&utm_medium=seo+maps&utm_source=google+Maps&utm_campaign=seo+maps&y_source=1_MTIzNjE0MzUtNzE1LWxvY2F0aW9uLmdvb2dsZV93ZWJzaXRlX292ZXJyaWRl\" target=\"_blank\" rel=\"noopener noreferrer\">Mount Kenya Safari Club\u003c/a>. While they were there, “he caught a view in the mountains of elephants crossing,” says Pease. “He said afterward ‘the logjam broke’ and he was able to write 90% of \u003cem>The Lorax\u003c/em> that afternoon.”\u003c/p>\n\u003cp>“It is built on one of the most beautiful landscapes with a spectacular view of Mount Kenya so I’m not surprised Dr. Seuss was inspired by that,” says Wanjira Mathai, vice president and regional director for Africa at The World Resources Institute.\u003c/p>\n\u003cp>What can happen to that beauty is made vividly clear by the end of the story. The greedy Once-ler ravages the land by chopping down Truffula Trees. He needs them to make his “thneed” garment.\u003c/p>\n\u003cp>The Lorax is apoplectic.\u003c/p>\n\u003cblockquote>\u003cp>“I speak for the trees, for the trees have no tongues.\u003cbr>\nAnd I’m asking you, sir, at the top of my lungs” —\u003cbr>\nhe was very upset as he shouted and puffed —\u003cbr>\n\u003cem>“What’s that THING you’ve made out of my Truffula tuft?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Spoiler alert: the land where once upon a time, “the grass was still green and the pond was still wet and the clouds were still clean” is destroyed by the Once-ler’s insatiable appetite to sell more “thneeds.”\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/8V06ZOQuo0k'\n title='//www.youtube.com/embed/8V06ZOQuo0k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>“Unless someone like you cares a whole awful lot …”\u003c/h3>\n\u003cp>The parallels with this week’s U.N. climate report are stark. “The report paints a very sobering picture of the unforgiving, unimaginable world we have in store if our addiction to burning fossil fuels and destroying forests continues,” says Mathai. She says Dr. Seuss’ eco-parable is a “powerful depiction” of this point, despite being written so many years ago. “The Thneed—read fossil fuels—is something ‘everyone needs.’ And sadly with the Lorax, the damage was done and the environment that was bustling with life, destroyed.”\u003c/p>\n\u003cp>\u003cem>The Lorax\u003c/em> ends with a kind of challenge.\u003c/p>\n\u003cblockquote>\u003cp>UNLESS someone like you\u003cbr>\ncares a whole awful lot,\u003cbr>\nnothing’s going to get better.\u003cbr>\nIt’s not.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He kind of says ‘I told you so,’ like, I told you this was going to be bad and now it’s bad,” says Mark Gozonsky, a writer and high school English teacher in Los Angeles whose students have \u003ca href=\"https://lithub.com/teaching-climate-change-with-the-lorax-and-the-jungle/\" target=\"_blank\" rel=\"noopener noreferrer\">analyzed\u003c/a> \u003cem>The Lorax\u003c/em> in the context of global warming. Like Mathai, Gozonsky is struck by the parallels with this week’s report. “The book ends on a question mark … ‘Well, what are you going to do about it?’ And that’s the very question mark that we land on today,” he says. So many years later scientists are still warning, “You’ve got … a couple of years to make a difference … Time, as we all know, is ticking away.”\u003c/p>\n\u003ch3>Finding hope in the last seed left\u003c/h3>\n\u003cp>Mathai still believes it’s important to be hopeful. Her mother was a little like the Lorax of Kenya, the very place that so inspired Geisel’s story. Nobel Peace Prize winner \u003ca href=\"https://www.npr.org/sections/thetwo-way/2011/09/26/140808866/nobel-laureate-wangari-maathai-a-global-icon-of-conservation\" target=\"_blank\" rel=\"noopener noreferrer\">Wangari Maathai\u003c/a> founded The Green Belt movement, which is credited with planting more than 51 million trees across the country, part of a campaign to end poverty.\u003c/p>\n\u003cp>“My mother … always talked about trees as a symbol of hope and so \u003cem>The Lorax\u003c/em> in many ways was that and remains that for me. That each of us can be such a potent agent of change. We can be custodians of hope.”\u003c/p>\n\u003cp>Just as she read \u003cem>The Lorax\u003c/em> when she was a girl, Mathai reads it to her two daughters today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Once-ler saved that one seed and waited for someone who cared to come along. It will take each of us doing our part to reverse what is coming. The latest report indicates we have even less time to turn things around,” she says. Mathai takes heart that “we have a number of ‘Loraxes’ spreading the word and sounding the alarm.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27The+Lorax%27+Warned+Us+50+Years+Ago%2C+But+We+Didn%27t+Listen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "PBS and Ken Burns Vow to Do Better on Diversity, But Critics Aren't Convinced",
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"content": "\u003cp>As the creator of popular documentaries for public television like \u003cem>Baseball\u003c/em> and \u003cem>The Civil War,\u003c/em> Ken Burns often seems like the face of documentary filmmaking at PBS.\u003c/p>\n\u003cp>So, when Burns faced journalists at a virtual press conference Wednesday, he was asked a probing question: Does he “take umbrage” at being considered an example of “white producer privilege” after more than \u003ca href=\"https://www.kqed.org/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns\" target=\"_blank\" rel=\"noopener noreferrer\">140 filmmakers signed an open letter\u003c/a> to PBS citing him as an example of how the service unfairly highlights white creators?\u003c/p>\n\u003cp>[aside postid='arts_13894917']“I didn’t take it personally at all,” said Burns, speaking during PBS’ portion of the Television Critics Association’s summer press tour, touting his upcoming four-part series on boxing champion Muhammad Ali. “We will take this on and we will figure out how to make it right and do a better job. I personally commit to that. … How could you possible take umbrage at the idea there could be more empowerment, there could be more representation, there could be more stories told?”\u003c/p>\n\u003cp>His response—saying, essentially, we do a good job, but we’ll work hard to do better—mirrors the reaction at the Public Broadcasting Service.\u003c/p>\n\u003cp>On Tuesday, PBS revealed $11 million in grants for diversity initiatives, including funding for mentoring programs, a series of short-form videos on science and technology issues featuring Black and Hispanic communicators and several new digital series featuring a diversity of creators. The service also hired a new senior vice president of diversity, equity and inclusion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But at least one of the filmmakers who signed the open letter, released in March, remained skeptical—saying the initiatives announced so far don’t set specific goals for diversity levels or reveal detailed information about the diversity of major projects on PBS.\u003c/p>\n\u003cp>Citing data from Burns’ website, \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the open letter\u003c/a> noted he has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022.\u003c/p>\n\u003cp>A PBS spokesman countered by saying, over the past five years, PBS aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, producer Grace Lee expressed concerns PBS hasn’t revealed the kind of data needed to judge its progress on systemic changes.\u003c/p>\n\u003cp>[aside postid='arts_13894863']“We asked PBS for transparency and accountability around the data, and these announcements sort of missed the point of the questions we posed,” said Lee, a producer on the PBS documentary \u003cem>Asian Americans\u003c/em>. She’s also a member of \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond Inclusion\u003c/a>, the group which drafted the open letter; a non-profit collective of non-fiction filmmakers and executives led by individuals who are Black Indigenous and People of Color (BIPOC).\u003c/p>\n\u003cp>“We don’t see answers to how this will lead to structural change,” Lee added. “You can’t fix deep rooted structural concerns with a few months of thinking from the same folks who created the system in the first place.”\u003c/p>\n\u003cp>At issue is the question of who controls the non-fiction stories told on PBS, and which stories—or filmmakers—get the most financial support.\u003c/p>\n\u003ch3>PBS president says she “did not fully appreciate” the problem\u003c/h3>\n\u003cp>PBS President and CEO Paula Kerger said she convened a diversity council within the service to consider diversity, equity and inclusion issues last year, not long after the murder of George Floyd by a police officer kicked off a worldwide civil rights reckoning.\u003c/p>\n\u003cp>But the letter from Beyond Inclusion convinced Kerger that even mid-career filmmakers of color with some success felt disenfranchised. And the problems with inclusion reached beyond PBS to the producers and companies which funnel programming to the service.\u003c/p>\n\u003cp>“When that letter landed, it really made me stop and think, let’s dig a little deeper,” she added. “Let’s really look at the organization. Let’s consider whether there are more ways that we can be the kind of organization that brings all stories forward.”\u003c/p>\n\u003cp>[aside postid='arts_13898108']Kerger announced a raft of diversity initiatives Tuesday during a virtual press conference at the Television Critics Association’s summer press tour. Among them: partnering with the Corporation for Public Broadcasting to give $5.5 million to \u003ca href=\"https://www.firelightmedia.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Firelight Media\u003c/a>, a non-profit founded by Black filmmakers Stanley Nelson and Marcia Smith, to fund fellowships and mentoring programs supporting filmmakers from underrepresented groups.\u003c/p>\n\u003cp>The CPB will also provide a $3 million grant to \u003ca href=\"https://www.pbs.org/digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Digital Studios\u003c/a> for up to 15 new digital series featuring a diversity of content creators on platforms like YouTube, Facebook and TikTok. The National Science Foundation will provide a $2.5 million grant to PBS Digital Studios for creation of short form YouTube videos on science, technology, engineering and math with a focus on Black and Hispanic communicators.\u003c/p>\n\u003cp>PBS will require producers to \u003ca href=\"https://www.pbs.org/about/producing-pbs/pbs-dei-criteria/general-audience-programming-digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">outline their own diversity and inclusion plans\u003c/a> for projects, setting goals and eventually explaining whether they were met. And PBS hired a new senior vice president of diversity and inclusion, Cecilia Loving.\u003c/p>\n\u003cp>When asked about PBS’ current diversity figures, Kerger cited an \u003ca href=\"https://www.pbs.org/about/about-pbs/inclusion/\" target=\"_blank\" rel=\"noopener noreferrer\">area of the service’s website\u003c/a> that lists some numbers, including: 35% of its primetime schedule for 2021 was produced by BIPOC creators and 41% featured BIPOC talent. Among its staff, 40% identify as BIPOC—compared to 35% in 2016—and 28% of its managers.\u003c/p>\n\u003ch3>Seeking diversity data with context\u003c/h3>\n\u003cp>The open letter from Beyond Inclusion asked for different figures: the hours of PBS programming over the past 10 years created by BIPOC filmmakers vs. white people; the percentage of spending on PBS programs over the last 10 years which went to projects led by BIPOC filmmakers and a list of which production companies, among the top 25 organizations that produce the most programming for PBS, are led by BIPOC creators.\u003c/p>\n\u003cp>Lee noted that none of the initiatives announced by PBS Tuesday outlined specific diversity goals or provided details on how—or if—any of the data gathered from producers would be made public (Kerger said the data would likely show up in a more general report similar to the figures already posted on its website).\u003c/p>\n\u003cp>[aside postid='arts_13899758']“One of the reasons data is important is because we need to know the benchmarks to measure success or failure,” said Lee. “We’ll take [the recent announcements] as a sign that the pressure we’re applying is effective. And it’s encouraging us to keep asking these questions until we’re satisfied with the answers.”\u003c/p>\n\u003cp>Burns noted that the staff which assembled his four-part docuseries \u003cem>Muhammad Ali\u003c/em> was 40 percent people of color and 53 percent female. When asked whether PBS should have hired a non-white storyteller to lead a major documentary project on one of America’s most significant Black sports stars/civil rights activists, the filmmaker resisted that notion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I have, throughout my professional life, tried to tell the story of this country in an inclusive way,” Burns added. “That means talking about race and trying to tell stories from multiple perspectives… But I do not accept that only people of a particular background can tell certain stories about our past, particularly in the United States of America.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=PBS+And+Ken+Burns+Vow+To+Do+Better+On+Diversity+But+Critics+Aren%27t+Convinced&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the creator of popular documentaries for public television like \u003cem>Baseball\u003c/em> and \u003cem>The Civil War,\u003c/em> Ken Burns often seems like the face of documentary filmmaking at PBS.\u003c/p>\n\u003cp>So, when Burns faced journalists at a virtual press conference Wednesday, he was asked a probing question: Does he “take umbrage” at being considered an example of “white producer privilege” after more than \u003ca href=\"https://www.kqed.org/arts/13894917/filmmakers-call-out-pbs-for-a-lack-of-diversity-over-reliance-on-ken-burns\" target=\"_blank\" rel=\"noopener noreferrer\">140 filmmakers signed an open letter\u003c/a> to PBS citing him as an example of how the service unfairly highlights white creators?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I didn’t take it personally at all,” said Burns, speaking during PBS’ portion of the Television Critics Association’s summer press tour, touting his upcoming four-part series on boxing champion Muhammad Ali. “We will take this on and we will figure out how to make it right and do a better job. I personally commit to that. … How could you possible take umbrage at the idea there could be more empowerment, there could be more representation, there could be more stories told?”\u003c/p>\n\u003cp>His response—saying, essentially, we do a good job, but we’ll work hard to do better—mirrors the reaction at the Public Broadcasting Service.\u003c/p>\n\u003cp>On Tuesday, PBS revealed $11 million in grants for diversity initiatives, including funding for mentoring programs, a series of short-form videos on science and technology issues featuring Black and Hispanic communicators and several new digital series featuring a diversity of creators. The service also hired a new senior vice president of diversity, equity and inclusion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But at least one of the filmmakers who signed the open letter, released in March, remained skeptical—saying the initiatives announced so far don’t set specific goals for diversity levels or reveal detailed information about the diversity of major projects on PBS.\u003c/p>\n\u003cp>Citing data from Burns’ website, \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the open letter\u003c/a> noted he has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022.\u003c/p>\n\u003cp>A PBS spokesman countered by saying, over the past five years, PBS aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, producer Grace Lee expressed concerns PBS hasn’t revealed the kind of data needed to judge its progress on systemic changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We asked PBS for transparency and accountability around the data, and these announcements sort of missed the point of the questions we posed,” said Lee, a producer on the PBS documentary \u003cem>Asian Americans\u003c/em>. She’s also a member of \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beyond Inclusion\u003c/a>, the group which drafted the open letter; a non-profit collective of non-fiction filmmakers and executives led by individuals who are Black Indigenous and People of Color (BIPOC).\u003c/p>\n\u003cp>“We don’t see answers to how this will lead to structural change,” Lee added. “You can’t fix deep rooted structural concerns with a few months of thinking from the same folks who created the system in the first place.”\u003c/p>\n\u003cp>At issue is the question of who controls the non-fiction stories told on PBS, and which stories—or filmmakers—get the most financial support.\u003c/p>\n\u003ch3>PBS president says she “did not fully appreciate” the problem\u003c/h3>\n\u003cp>PBS President and CEO Paula Kerger said she convened a diversity council within the service to consider diversity, equity and inclusion issues last year, not long after the murder of George Floyd by a police officer kicked off a worldwide civil rights reckoning.\u003c/p>\n\u003cp>But the letter from Beyond Inclusion convinced Kerger that even mid-career filmmakers of color with some success felt disenfranchised. And the problems with inclusion reached beyond PBS to the producers and companies which funnel programming to the service.\u003c/p>\n\u003cp>“When that letter landed, it really made me stop and think, let’s dig a little deeper,” she added. “Let’s really look at the organization. Let’s consider whether there are more ways that we can be the kind of organization that brings all stories forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kerger announced a raft of diversity initiatives Tuesday during a virtual press conference at the Television Critics Association’s summer press tour. Among them: partnering with the Corporation for Public Broadcasting to give $5.5 million to \u003ca href=\"https://www.firelightmedia.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Firelight Media\u003c/a>, a non-profit founded by Black filmmakers Stanley Nelson and Marcia Smith, to fund fellowships and mentoring programs supporting filmmakers from underrepresented groups.\u003c/p>\n\u003cp>The CPB will also provide a $3 million grant to \u003ca href=\"https://www.pbs.org/digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS Digital Studios\u003c/a> for up to 15 new digital series featuring a diversity of content creators on platforms like YouTube, Facebook and TikTok. The National Science Foundation will provide a $2.5 million grant to PBS Digital Studios for creation of short form YouTube videos on science, technology, engineering and math with a focus on Black and Hispanic communicators.\u003c/p>\n\u003cp>PBS will require producers to \u003ca href=\"https://www.pbs.org/about/producing-pbs/pbs-dei-criteria/general-audience-programming-digital-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">outline their own diversity and inclusion plans\u003c/a> for projects, setting goals and eventually explaining whether they were met. And PBS hired a new senior vice president of diversity and inclusion, Cecilia Loving.\u003c/p>\n\u003cp>When asked about PBS’ current diversity figures, Kerger cited an \u003ca href=\"https://www.pbs.org/about/about-pbs/inclusion/\" target=\"_blank\" rel=\"noopener noreferrer\">area of the service’s website\u003c/a> that lists some numbers, including: 35% of its primetime schedule for 2021 was produced by BIPOC creators and 41% featured BIPOC talent. Among its staff, 40% identify as BIPOC—compared to 35% in 2016—and 28% of its managers.\u003c/p>\n\u003ch3>Seeking diversity data with context\u003c/h3>\n\u003cp>The open letter from Beyond Inclusion asked for different figures: the hours of PBS programming over the past 10 years created by BIPOC filmmakers vs. white people; the percentage of spending on PBS programs over the last 10 years which went to projects led by BIPOC filmmakers and a list of which production companies, among the top 25 organizations that produce the most programming for PBS, are led by BIPOC creators.\u003c/p>\n\u003cp>Lee noted that none of the initiatives announced by PBS Tuesday outlined specific diversity goals or provided details on how—or if—any of the data gathered from producers would be made public (Kerger said the data would likely show up in a more general report similar to the figures already posted on its website).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“One of the reasons data is important is because we need to know the benchmarks to measure success or failure,” said Lee. “We’ll take [the recent announcements] as a sign that the pressure we’re applying is effective. And it’s encouraging us to keep asking these questions until we’re satisfied with the answers.”\u003c/p>\n\u003cp>Burns noted that the staff which assembled his four-part docuseries \u003cem>Muhammad Ali\u003c/em> was 40 percent people of color and 53 percent female. When asked whether PBS should have hired a non-white storyteller to lead a major documentary project on one of America’s most significant Black sports stars/civil rights activists, the filmmaker resisted that notion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have, throughout my professional life, tried to tell the story of this country in an inclusive way,” Burns added. “That means talking about race and trying to tell stories from multiple perspectives… But I do not accept that only people of a particular background can tell certain stories about our past, particularly in the United States of America.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=PBS+And+Ken+Burns+Vow+To+Do+Better+On+Diversity+But+Critics+Aren%27t+Convinced&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'What If...?' Gives the Marvel Universe an Animated Remix for Disney+",
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"content": "\u003cp>The Marvel anthology comic \u003cem>What If…?\u003c/em> ran off-and-on from 1977 through 1998; mostly, it was narrated by the mysterious Uatu the Watcher, an alien who’d kick-off each issue by picking an established and familiar event (the formation of a super-team, say, or the death of a beloved side character) and introduce the reader to an alternate universe in which things were utterly changed in ways large and small (a different hero joined that team, or that character didn’t die).\u003c/p>\n\u003cp>If that all sounds to you like a dry, insular, hopelessly wonky engine for storytelling, you are not a reader of superhero comics. \u003cem>What If…?\u003c/em> spoke directly and bracingly to fans by taking the Marvel Universe’s central tenet—that all these characters and stories exist alongside each other, with events in one book sending ripples through others—and briefly permitting even the most ravenous Marvel zombie to relax, and enjoy a story outside of that sometimes oppressive continuity.\u003c/p>\n\u003cp>[aside postid='arts_13896604']Said stories could depict thought-experiments that appealed to very casual readers (“What If … \u003cem>Spider-Man\u003c/em> Had Joined the Fantastic Four?”) or pose far more specialized alternatives that rewarded the hardcore obsessive’s AP-level knowledge of some of the Marvel Universe’s less frequented narrative cul-de-sacs (“What If … The War Machine Had \u003cem>Not \u003c/em>Destroyed the Living Laser?”).\u003c/p>\n\u003cp>It functioned as a kind of release valve, providing both creators and fans with a place to chronicle endless alt-histories of the Marvel Universe free of the gravid portent that “real” storylines often imposed. The best issues represented exercises is imagination that revealed new sides to well-established characters by placing them in situations they could never experience in the pages of their own comic.\u003c/p>\n\u003cp>The new Disney+ animated anthology \u003cem>What If…? \u003c/em>does for the Marvel Cinematic Universe precisely what the original \u003cem>What If…?\u003c/em> series did for the Marvel Comics Universe. It’s bright, bold, cleverly written and fluidly animated—and it features over 50 of the actors who portrayed various MCU characters on the big screen returning to voice them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x9D0uUKJ5KI\u003c/p>\n\u003cp>The series’ character designs are closely based on those original actors, and there is often a rotoscopic, motion-captured quality to the animation, which occasionally locates the series in the darkest depths of the uncanny valley. But the series takes full advantage of its status as an animated property in which the special effects budget is unlimited, and employs those effects in deft, stylized flourishes.\u003c/p>\n\u003cp>[aside postid='arts_13891309']It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is perfectly natural to want to go into any given episode knowing precisely which MCU storyline is about to get tweaked, and how. Smartly, however, none of the three episodes made available to critics gave away the game upfront in the episode title, say. I’d recommend going into each episode knowing as little as possible, as the creators have deliberately structured them with built-in red herrings and minor misdirects; the reveals of these twists are a big part of this show’s appeal.\u003c/p>\n\u003cp>Jeffrey Wright voices the shadowy, mysterious Uatu the Watcher, introducing each episode with the required all-knowing detachment. It has been widely publicized that the second episode features the late Chadwick Boseman’s final performance, reprising the role of T’Challa with all the warmth and conviction he embodied onscreen. And while it can be puzzling for MCU actors’ voices to show up as briefly as many do here (credit Disney+ money for getting Stanley Tucci to schlep into a studio to deliver two lousy lines into a microphone), it does lend the whole affair a familiarity that firmly grounds each episode.\u003c/p>\n\u003cfigure id=\"attachment_13901048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/101_aga0230_comp_v904_20201218_r709_775055d0_wide-dbffd1b6db7bf070be4718d316d7e01dafa01adf-800x449.jpe\" alt=\"Peggy Carter (voiced by Hayley Atwell) takes up the shield in 'What If...?'\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">Peggy Carter (voiced by Hayley Atwell) takes up the shield in ‘What If…?’ \u003ccite>(Disney+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the run-up to this series’ debut, there’s been widespread speculation that it might somehow advance or at least acknowledge the events of Disney+’s previous MCU show \u003cem>Loki , \u003c/em>which made a lot of hay out of the creation of a Marvel multiverse, and the looming threat to all existence that came with it. Here, though, the existence of a multiverse teeming with alternate \u003cem>worlds \u003c/em>(NOTE: the word “timeline,” so essential to the \u003cem>Loki \u003c/em>series, never comes up) seems a long-established fact, and a pretty mundane one at that. Uatu, certainly, doesn’t seem worried overmuch—but then, anyone with that guy’s fashion sense (a high, Ming-the-Merciless collar, really? \u003cem>Before \u003c/em>Labor Day?) is probably pretty unflappable.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27What+If...%3F%27+Gives+The+Marvel+Cinematic+Universe+An+Animated+Banger+Of+A+Remix&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NBC Touts a Silver Lining in Historically Low Viewership for the Tokyo Olympics",
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"content": "\u003cp>Like so many things connected to this year’s often-troubled Tokyo Olympics, NBCUniversal’s final viewership figures for its TV and streaming coverage have a definite good news/bad news quality.\u003c/p>\n\u003cp>The good news trumpeted by NBC: 17 nights of prime time coverage on the broadcast network ranked just behind \u003cem>Sunday Night Football\u003c/em> as the second-most-watched show of the 2020-21 TV season. Viewers streamed a record 5.5 billion minutes of events across social media and online platforms such as NBCOlympics.com, the NBC Sports app and the streaming service Peacock. Those figures make the Tokyo Games the most-streamed Olympics ever, giving Peacock its best two weeks of use since it debuted in April 2020.\u003c/p>\n\u003cp>[aside postid='arts_13900276']But there’s also bad news. The average prime time viewership each night across all of its platforms—online, cable and network—was just 15.5 million people, down from an average 26.7 million viewers for the Rio Games in 2016. That’s a 42% plunge. Similarly, just 150 million Americans watched the Games, compared with 198 million \u003ca href=\"https://www.npr.org/sections/thetorch/2016/08/23/491024790/nbc-declares-rio-a-media-success-though-tv-ratings-were-down\" target=\"_blank\" rel=\"noopener noreferrer\">who saw the events in Rio\u003c/a>. It was the lowest average primetime viewership for the Games on NBC, which began broadcasting the Summer Olympics in 1988.\u003c/p>\n\u003cp>Figures show the uptick in viewing online doesn’t match the loss in audience on more traditional outlets such as cable TV and the broadcast network, though it does mirror the overall ratings drop for broadcast and cable TV in general over the past five years.\u003c/p>\n\u003cp>Still, NBC insists in its press materials that the Tokyo Olympics represent the largest media event in history. That’s largely due to the amount of material NBCUniversal presented across its assorted platforms—a record 7,000 hours of coverage across the broadcast network, cable channels like USA and Telemundo Deportes, and online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No single property has a greater positive effect on our company,” says Mark Lazarus, chairman of NBCUniversal television and streaming, in a statement. “Our Olympic presentation has provided unmatched promotion.”\u003c/p>\n\u003ch3>Historic amount of coverage leads to confusion\u003c/h3>\n\u003cp>But \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2021-08-06/tokyo-olympics-2021-nbc-peacock-how-to-fix\" target=\"_blank\" rel=\"noopener noreferrer\">critics complained\u003c/a> that the company didn’t do a great job helping viewers sort through the sometimes-overwhelming amount of coverage, especially regarding live events. The streaming service Peacock, in particular, took a lot of barbs for a confusing design and coverage of men’s basketball that was placed behind a paywall.\u003c/p>\n\u003cp>And one of the most attention-getting elements of NBC’s coverage—an irreverent, \u003ca href=\"https://www.youtube.com/watch?v=NDqDMLtF10U\" target=\"_blank\" rel=\"noopener noreferrer\">sometimes-profane stream of commentary\u003c/a> on Olympics highlights offered by comic Kevin Hart and rapper Snoop Dogg—was also based on Peacock, where the wider audience likely didn’t see it. (Be warned: The YouTube clip below does not bleep the salty language.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uK5AIJQ2tlA\u003c/p>\n\u003cp>NBC was already facing an uphill battle, negotiating a 13-hour time difference that ensured many sports fans would already know the outcome of key contests before they were shown in prime time on the network. Several competitors NBC had hyped for months leading into the Games, from tennis star Naomi Osaka to gymnastics legend Simone Biles and the U.S. women’s soccer team, struggled in competition.\u003c/p>\n\u003cp>And there was the biggest challenge: presenting the Games during a pandemic. Besides the decision to ban most spectators and some athletes dropping out after positive coronavirus tests, the world’s ongoing struggles with COVID-19 dampened an event that could have been a triumphant showcase of the globe’s emergence from lockdown.\u003c/p>\n\u003cp>[aside postid='pop_112542']Instead, the Olympics too often felt burdened by the long shadow of the coronavirus threat, from finding camera angles that didn’t emphasize the rows of empty stands to providing footage of family and friends celebrating star athletes’ accomplishments from their stateside hometowns instead of in Tokyo.\u003c/p>\n\u003cp>NBC says its coverage of the Games boosted everything from podcasts to broadcast programs such as the \u003cem>Today \u003c/em>show and \u003cem>NBC Nightly News\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the days when the Olympics were appointment television for most TV viewers seem to be ending. The pressing question for NBC—which has spent billions for rights to air the Games until at least 2032—is how to handle a media world where the hours of coverage are increasing while audience numbers are heading in the opposite direction.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=NBC+Touts+A+Silver+Lining+In+Historically+Low+Viewership+For+The+Tokyo+Olympics+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like so many things connected to this year’s often-troubled Tokyo Olympics, NBCUniversal’s final viewership figures for its TV and streaming coverage have a definite good news/bad news quality.\u003c/p>\n\u003cp>The good news trumpeted by NBC: 17 nights of prime time coverage on the broadcast network ranked just behind \u003cem>Sunday Night Football\u003c/em> as the second-most-watched show of the 2020-21 TV season. Viewers streamed a record 5.5 billion minutes of events across social media and online platforms such as NBCOlympics.com, the NBC Sports app and the streaming service Peacock. Those figures make the Tokyo Games the most-streamed Olympics ever, giving Peacock its best two weeks of use since it debuted in April 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there’s also bad news. The average prime time viewership each night across all of its platforms—online, cable and network—was just 15.5 million people, down from an average 26.7 million viewers for the Rio Games in 2016. That’s a 42% plunge. Similarly, just 150 million Americans watched the Games, compared with 198 million \u003ca href=\"https://www.npr.org/sections/thetorch/2016/08/23/491024790/nbc-declares-rio-a-media-success-though-tv-ratings-were-down\" target=\"_blank\" rel=\"noopener noreferrer\">who saw the events in Rio\u003c/a>. It was the lowest average primetime viewership for the Games on NBC, which began broadcasting the Summer Olympics in 1988.\u003c/p>\n\u003cp>Figures show the uptick in viewing online doesn’t match the loss in audience on more traditional outlets such as cable TV and the broadcast network, though it does mirror the overall ratings drop for broadcast and cable TV in general over the past five years.\u003c/p>\n\u003cp>Still, NBC insists in its press materials that the Tokyo Olympics represent the largest media event in history. That’s largely due to the amount of material NBCUniversal presented across its assorted platforms—a record 7,000 hours of coverage across the broadcast network, cable channels like USA and Telemundo Deportes, and online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No single property has a greater positive effect on our company,” says Mark Lazarus, chairman of NBCUniversal television and streaming, in a statement. “Our Olympic presentation has provided unmatched promotion.”\u003c/p>\n\u003ch3>Historic amount of coverage leads to confusion\u003c/h3>\n\u003cp>But \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2021-08-06/tokyo-olympics-2021-nbc-peacock-how-to-fix\" target=\"_blank\" rel=\"noopener noreferrer\">critics complained\u003c/a> that the company didn’t do a great job helping viewers sort through the sometimes-overwhelming amount of coverage, especially regarding live events. The streaming service Peacock, in particular, took a lot of barbs for a confusing design and coverage of men’s basketball that was placed behind a paywall.\u003c/p>\n\u003cp>And one of the most attention-getting elements of NBC’s coverage—an irreverent, \u003ca href=\"https://www.youtube.com/watch?v=NDqDMLtF10U\" target=\"_blank\" rel=\"noopener noreferrer\">sometimes-profane stream of commentary\u003c/a> on Olympics highlights offered by comic Kevin Hart and rapper Snoop Dogg—was also based on Peacock, where the wider audience likely didn’t see it. (Be warned: The YouTube clip below does not bleep the salty language.)\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/uK5AIJQ2tlA'\n title='//www.youtube.com/embed/uK5AIJQ2tlA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>NBC was already facing an uphill battle, negotiating a 13-hour time difference that ensured many sports fans would already know the outcome of key contests before they were shown in prime time on the network. Several competitors NBC had hyped for months leading into the Games, from tennis star Naomi Osaka to gymnastics legend Simone Biles and the U.S. women’s soccer team, struggled in competition.\u003c/p>\n\u003cp>And there was the biggest challenge: presenting the Games during a pandemic. Besides the decision to ban most spectators and some athletes dropping out after positive coronavirus tests, the world’s ongoing struggles with COVID-19 dampened an event that could have been a triumphant showcase of the globe’s emergence from lockdown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, the Olympics too often felt burdened by the long shadow of the coronavirus threat, from finding camera angles that didn’t emphasize the rows of empty stands to providing footage of family and friends celebrating star athletes’ accomplishments from their stateside hometowns instead of in Tokyo.\u003c/p>\n\u003cp>NBC says its coverage of the Games boosted everything from podcasts to broadcast programs such as the \u003cem>Today \u003c/em>show and \u003cem>NBC Nightly News\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the days when the Olympics were appointment television for most TV viewers seem to be ending. The pressing question for NBC—which has spent billions for rights to air the Games until at least 2032—is how to handle a media world where the hours of coverage are increasing while audience numbers are heading in the opposite direction.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=NBC+Touts+A+Silver+Lining+In+Historically+Low+Viewership+For+The+Tokyo+Olympics+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Amanda Knox: 'Stillwater' Movie Repeats 'Fiction' Pushed By Italian Prosecutor",
"headTitle": "Amanda Knox: ‘Stillwater’ Movie Repeats ‘Fiction’ Pushed By Italian Prosecutor | KQED",
"content": "\u003cp>Amanda Knox—who once spent almost four years in an Italian prison for murder—was long ago exonerated by Italy’s highest court, which ruled that “\u003ca href=\"https://www.theguardian.com/us-news/2015/sep/07/amanda-knox-acquitted-because-of-stunning-flaws-in-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">stunning flaws\u003c/a>” in the police investigation had inappropriately led to Knox’s conviction for the murder of her roommate, British exchange student Meredith Kercher.\u003c/p>\n\u003cp>It’s been 10 years since Knox was freed from that Italian prison. But, despite attempts to move on with her life, the \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">“Amanda Knox saga”\u003c/a> continues to follow her. The new film \u003cem>Stillwater\u003c/em>, which fictionalizes elements of her story, has prompted Knox to speak out about how it feels to lose control of her own narrative.\u003c/p>\n\u003cp>“Whenever I encounter the world, I am constantly in conversation with a horrendous thing that happened, that I had no control over, that I had no agency,” Knox told NPR’s Sarah McCammon in an interview on \u003cem>All Things Considered\u003c/em>. “And the identity of Amanda Knox is always, always, always viewed through that lens.”\u003c/p>\n\u003cp>[aside postid='pop_103508']In the case of \u003cem>Stillwater\u003c/em>, directed by Tom McCarthy and starring Matt Damon, the Knox-inspired character is reimagined as Allison, a college student abroad who is convicted of murdering—and indirectly responsible for the death of—her roommate who is also her lover. The choices made to establish Allison’s character are reminiscent of how Italian prosecutors had \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/03/26/175336714/italian-court-orders-retrial-for-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">presented their case against Knox\u003c/a> when they called Kercher a victim of a drug-fueled sex game gone wrong.\u003c/p>\n\u003cp>“As a storyteller, I firmly believe that art is very much entitled to take from reality, and in fact it always does,” Knox said. “That doesn’t excuse the kinds of ethical considerations in choosing what stories we tell and how we tell them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McCarthy told \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a> that he was directly inspired by the Knox story, and couldn’t help but imagine what it would be like to be in Knox’s shoes.\u003c/p>\n\u003cp>Knox’s story, the director and co-writer said, ultimately became a jumping off point for the movie.\u003c/p>\n\u003cp>“We decided, ‘Hey, let’s leave the Amanda Knox case behind,'” McCarthy told the magazine. “But let me take this piece of the story—an American woman studying abroad involved in some kind of sensational crime and she ends up in jail—and fictionalize everything around it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9cq1lPPeMUY\u003c/p>\n\u003cp>But Knox says that McCarthy didn’t completely fictionalize everything; he simply “chose to explicitly repeat the fiction that was invented by my prosecutor.”\u003c/p>\n\u003cp>Nor did McCarthy “do the empathy and effort to reach out” to understand how his re-telling might impact her, she said.\u003c/p>\n\u003cp>“My story is not the sordid trial and saga and the murder, but it is the experience of a person who is swept up in something way bigger than herself that she had nothing to do with, who survives a very harsh prison environment and then who enters into a world that has pre-defined her based on a false premise,” Knox said. “That’s an interesting story. And it’s not the story that \u003cem>Stillwater\u003c/em> told.”\u003c/p>\n\u003cp>After the publication of the \u003cem>Vanity Fair\u003c/em> story last week, Knox criticized the film, \u003ca href=\"https://twitter.com/amandaknox/status/1420871392266911746?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">in a Twitter thread \u003c/a>and in an \u003ca href=\"https://www.theatlantic.com/ideas/archive/2021/07/amanda-knox-stillwater-matt-damon/619628/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Atlantic \u003c/em>essay\u003c/a>, for profiting off of her name and likeness without her permission.\u003c/p>\n\u003cp>https://twitter.com/amandaknox/status/1420871392266911746?s=20\u003c/p>\n\u003cp>Representatives for McCarthy have yet to respond to NPR’s request for comment. In an interview with \u003ca href=\"https://variety.com/2021/film/features/stillwater-tom-mccarthy-matt-damon-amanda-knox-1235036649/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a>, McCarthy said he empathizes with Knox and what she went through. “She has platforms to speak her truth and engage with the media and she is exercising her absolute right to do so,” McCarthy said. “But, by her own account, she has not seen \u003cem>Stillwater\u003c/em> and what she seems to be raising feels very removed from the film we actually made. \u003cem>Stillwater\u003c/em> is a work of fiction and not about her life experience.”\u003c/p>\n\u003cp>In 2008, the Perugia resident Rudy Guede was sentenced to 16 years in prison for Kercher’s murder. Last year, \u003ca href=\"https://www.theguardian.com/world/2020/dec/04/meredith-kerchers-killer-to-complete-sentence-doing-community-service\" target=\"_blank\" rel=\"noopener noreferrer\">a court said\u003c/a> he could finish the rest of his sentence by doing community service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tyler Bartlam and Natalie Friedman Winston produced and edited the audio version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Amanda+Knox%3A+%27Stillwater%27+Movie+Repeats+%27Fiction%27+Pushed+By+Italian+Prosecutor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amanda Knox—who once spent almost four years in an Italian prison for murder—was long ago exonerated by Italy’s highest court, which ruled that “\u003ca href=\"https://www.theguardian.com/us-news/2015/sep/07/amanda-knox-acquitted-because-of-stunning-flaws-in-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">stunning flaws\u003c/a>” in the police investigation had inappropriately led to Knox’s conviction for the murder of her roommate, British exchange student Meredith Kercher.\u003c/p>\n\u003cp>It’s been 10 years since Knox was freed from that Italian prison. But, despite attempts to move on with her life, the \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">“Amanda Knox saga”\u003c/a> continues to follow her. The new film \u003cem>Stillwater\u003c/em>, which fictionalizes elements of her story, has prompted Knox to speak out about how it feels to lose control of her own narrative.\u003c/p>\n\u003cp>“Whenever I encounter the world, I am constantly in conversation with a horrendous thing that happened, that I had no control over, that I had no agency,” Knox told NPR’s Sarah McCammon in an interview on \u003cem>All Things Considered\u003c/em>. “And the identity of Amanda Knox is always, always, always viewed through that lens.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the case of \u003cem>Stillwater\u003c/em>, directed by Tom McCarthy and starring Matt Damon, the Knox-inspired character is reimagined as Allison, a college student abroad who is convicted of murdering—and indirectly responsible for the death of—her roommate who is also her lover. The choices made to establish Allison’s character are reminiscent of how Italian prosecutors had \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/03/26/175336714/italian-court-orders-retrial-for-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">presented their case against Knox\u003c/a> when they called Kercher a victim of a drug-fueled sex game gone wrong.\u003c/p>\n\u003cp>“As a storyteller, I firmly believe that art is very much entitled to take from reality, and in fact it always does,” Knox said. “That doesn’t excuse the kinds of ethical considerations in choosing what stories we tell and how we tell them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McCarthy told \u003ca href=\"https://www.vanityfair.com/hollywood/2021/07/stillwater-movie-matt-damon-amanda-knox\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Vanity Fair\u003c/em>\u003c/a> that he was directly inspired by the Knox story, and couldn’t help but imagine what it would be like to be in Knox’s shoes.\u003c/p>\n\u003cp>Knox’s story, the director and co-writer said, ultimately became a jumping off point for the movie.\u003c/p>\n\u003cp>“We decided, ‘Hey, let’s leave the Amanda Knox case behind,'” McCarthy told the magazine. “But let me take this piece of the story—an American woman studying abroad involved in some kind of sensational crime and she ends up in jail—and fictionalize everything around it.”\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/9cq1lPPeMUY'\n title='//www.youtube.com/embed/9cq1lPPeMUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Knox says that McCarthy didn’t completely fictionalize everything; he simply “chose to explicitly repeat the fiction that was invented by my prosecutor.”\u003c/p>\n\u003cp>Nor did McCarthy “do the empathy and effort to reach out” to understand how his re-telling might impact her, she said.\u003c/p>\n\u003cp>“My story is not the sordid trial and saga and the murder, but it is the experience of a person who is swept up in something way bigger than herself that she had nothing to do with, who survives a very harsh prison environment and then who enters into a world that has pre-defined her based on a false premise,” Knox said. “That’s an interesting story. And it’s not the story that \u003cem>Stillwater\u003c/em> told.”\u003c/p>\n\u003cp>After the publication of the \u003cem>Vanity Fair\u003c/em> story last week, Knox criticized the film, \u003ca href=\"https://twitter.com/amandaknox/status/1420871392266911746?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">in a Twitter thread \u003c/a>and in an \u003ca href=\"https://www.theatlantic.com/ideas/archive/2021/07/amanda-knox-stillwater-matt-damon/619628/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Atlantic \u003c/em>essay\u003c/a>, for profiting off of her name and likeness without her permission.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Representatives for McCarthy have yet to respond to NPR’s request for comment. In an interview with \u003ca href=\"https://variety.com/2021/film/features/stillwater-tom-mccarthy-matt-damon-amanda-knox-1235036649/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a>, McCarthy said he empathizes with Knox and what she went through. “She has platforms to speak her truth and engage with the media and she is exercising her absolute right to do so,” McCarthy said. “But, by her own account, she has not seen \u003cem>Stillwater\u003c/em> and what she seems to be raising feels very removed from the film we actually made. \u003cem>Stillwater\u003c/em> is a work of fiction and not about her life experience.”\u003c/p>\n\u003cp>In 2008, the Perugia resident Rudy Guede was sentenced to 16 years in prison for Kercher’s murder. Last year, \u003ca href=\"https://www.theguardian.com/world/2020/dec/04/meredith-kerchers-killer-to-complete-sentence-doing-community-service\" target=\"_blank\" rel=\"noopener noreferrer\">a court said\u003c/a> he could finish the rest of his sentence by doing community service.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tyler Bartlam and Natalie Friedman Winston produced and edited the audio version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Amanda+Knox%3A+%27Stillwater%27+Movie+Repeats+%27Fiction%27+Pushed+By+Italian+Prosecutor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How a Composer Puts a Horse's Movements to Music For the Tokyo Olympics",
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"content": "\u003cp>TOKYO — In equestrian dressage, horses maneuver through complicated, dance-like choreography. The animals pirouette, step high, extend their legs long, and side step to music, signaled by an expert rider.\u003c/p>\n\u003cp>Olympic teams are turning to special composers to put together music tailored to highlight the best qualities of the horse and the routine.\u003c/p>\n\u003cp>“The music side of it really brought our sport to life,” said Winnie Murphy, a spokesperson for British Equestrian. That’s particularly true for spectators who aren’t already attuned to the highly technical aspects of equestrian.\u003c/p>\n\u003cp>The Grand Prix Freestyle event, where riders can choose their own music and moves rather than go through a pre-set test, is the blockbuster event of Olympic dressage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8V5RVZa-cbo\u003c/p>\n\u003ch3>Horses move to electronic music, disco and classical\u003c/h3>\n\u003cp>On a hot night last week, a huge range of tunes blasted through the nearly empty arena.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>U.S. rider Steffen Peters rode Suppenkasper, nicknamed Mopsi, to a bumping electronic mix. That earned him the nickname “rave horse.” Germany’s Isabell Werth looked to the majesty of Beethoven’s Ode to Joy for her performance.\u003c/p>\n\u003cp>Norway’s Carina Cassoe Kruth went for an 80s medley including “I Want To Know What Love Is” by Foreigner and “Footloose” by Kenny Loggins.\u003c/p>\n\u003cp>Kruth said she wanted to bring out her girly and fun qualities of her horse, nicknamed “Dancer,” and get the judges to tap their toes to the beat. “It’s fun to ride, and yeah, I’m actually singing a bit along in my head when I ride it.”\u003c/p>\n\u003cp>The U.K.’s Carl Hester rode his horse, En Vogue, to groovy disco music that channeled the Bee Gees.\u003c/p>\n\u003cp>“That’s a funky beat,” Hester said of the composition. “He’s got such a good rhythm himself”\u003c/p>\n\u003cp>“I didn’t want any background stuff. I wanted a beat that I could really ride to because he’s so powerful,” he added. “I loved all of that music, actually. I thought it was really, really suited to him.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K-7eyINuPD8\u003c/p>\n\u003ch3>A composer matches a horse’s routine and personality to music\u003c/h3>\n\u003cp>Tom Hunt, who composes the music for the U.K. team, is in charge of making sure the tunes suit the horses. He wrote that funky beat that Hester rode to.\u003c/p>\n\u003cp>Hunt said that years ago, music used to be more of an afterthought in dressage. “In some cases that I used to listen to, the music would just stop and something else would kick in.”\u003c/p>\n\u003cp>Now, it’s highly customized and carefully thought out.\u003c/p>\n\u003cp>The riders figure out what moves they’ll do—and then Hunt will put together a composition to fit.\u003c/p>\n\u003cp>[aside postid='arts_13900276']“The music is orchestrated and produced specifically to the transitions that the horse is doing and the tempos that the horse has,” he said. “Every horse has highlights that the rider wants to show off, and you can use the music to really enforce that. So if you have a really good extended trot, you want the extended trot music to really kick in and emphasize what’s going on.”\u003c/p>\n\u003cp>There are also things he tries to avoid—like putting really powerful music with a small, delicate horse. “It would overpower the movement of the horse,” he explained.\u003c/p>\n\u003cp>The music is especially important because it goes into a rider’s artistic score at the freestyle event.\u003c/p>\n\u003cp>Besides Hester, Hunt composed for U.K. riders Charlotte Fry (upbeat, and inspired by tropical dance music) and Charlotte Dujardin (orchestral, fun and emotive). Dujardin took the bronze medal in individual dressage in Tokyo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k2V87VPzgQg\u003c/p>\n\u003ch3>The range of acceptable music is expanding\u003c/h3>\n\u003cp>Hunt said that dressage riders have traditionally gravitated to classical and orchestral music—but that’s changing.\u003c/p>\n\u003cp>“I think there’s no question that the music that was probably preferred or considered to be dressage music has definitely evolved in the last 10, 11 years,” Hunt said. “We’re doing tropical house music and disco and all these different styles of music.”\u003c/p>\n\u003cp>Music is also becoming more tailored in other dressage competitions. For the \u003ca href=\"https://inside.fei.org/system/files/EQUESTRIAN%20MEDIA%20TOOL%20KIT_TOKYO2020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">first time\u003c/a> at the Olympics, riders could also choose their own music during the Grand Prix Special, where all athletes go through the same movements.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Riders want to push the limits of what is accepted in their sport, Hunt said—and “the sport has had to adapt to modern times.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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+A+Composer+Puts+A+Horse%27s+Movements+To+Music+For+The+Tokyo+Olympics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>U.S. rider Steffen Peters rode Suppenkasper, nicknamed Mopsi, to a bumping electronic mix. That earned him the nickname “rave horse.” Germany’s Isabell Werth looked to the majesty of Beethoven’s Ode to Joy for her performance.\u003c/p>\n\u003cp>Norway’s Carina Cassoe Kruth went for an 80s medley including “I Want To Know What Love Is” by Foreigner and “Footloose” by Kenny Loggins.\u003c/p>\n\u003cp>Kruth said she wanted to bring out her girly and fun qualities of her horse, nicknamed “Dancer,” and get the judges to tap their toes to the beat. “It’s fun to ride, and yeah, I’m actually singing a bit along in my head when I ride it.”\u003c/p>\n\u003cp>The U.K.’s Carl Hester rode his horse, En Vogue, to groovy disco music that channeled the Bee Gees.\u003c/p>\n\u003cp>“That’s a funky beat,” Hester said of the composition. “He’s got such a good rhythm himself”\u003c/p>\n\u003cp>“I didn’t want any background stuff. I wanted a beat that I could really ride to because he’s so powerful,” he added. “I loved all of that music, actually. I thought it was really, really suited to him.”\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/K-7eyINuPD8'\n title='//www.youtube.com/embed/K-7eyINuPD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A composer matches a horse’s routine and personality to music\u003c/h3>\n\u003cp>Tom Hunt, who composes the music for the U.K. team, is in charge of making sure the tunes suit the horses. He wrote that funky beat that Hester rode to.\u003c/p>\n\u003cp>Hunt said that years ago, music used to be more of an afterthought in dressage. “In some cases that I used to listen to, the music would just stop and something else would kick in.”\u003c/p>\n\u003cp>Now, it’s highly customized and carefully thought out.\u003c/p>\n\u003cp>The riders figure out what moves they’ll do—and then Hunt will put together a composition to fit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The music is orchestrated and produced specifically to the transitions that the horse is doing and the tempos that the horse has,” he said. “Every horse has highlights that the rider wants to show off, and you can use the music to really enforce that. So if you have a really good extended trot, you want the extended trot music to really kick in and emphasize what’s going on.”\u003c/p>\n\u003cp>There are also things he tries to avoid—like putting really powerful music with a small, delicate horse. “It would overpower the movement of the horse,” he explained.\u003c/p>\n\u003cp>The music is especially important because it goes into a rider’s artistic score at the freestyle event.\u003c/p>\n\u003cp>Besides Hester, Hunt composed for U.K. riders Charlotte Fry (upbeat, and inspired by tropical dance music) and Charlotte Dujardin (orchestral, fun and emotive). Dujardin took the bronze medal in individual dressage in Tokyo.\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/k2V87VPzgQg'\n title='//www.youtube.com/embed/k2V87VPzgQg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The range of acceptable music is expanding\u003c/h3>\n\u003cp>Hunt said that dressage riders have traditionally gravitated to classical and orchestral music—but that’s changing.\u003c/p>\n\u003cp>“I think there’s no question that the music that was probably preferred or considered to be dressage music has definitely evolved in the last 10, 11 years,” Hunt said. “We’re doing tropical house music and disco and all these different styles of music.”\u003c/p>\n\u003cp>Music is also becoming more tailored in other dressage competitions. For the \u003ca href=\"https://inside.fei.org/system/files/EQUESTRIAN%20MEDIA%20TOOL%20KIT_TOKYO2020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">first time\u003c/a> at the Olympics, riders could also choose their own music during the Grand Prix Special, where all athletes go through the same movements.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Riders want to push the limits of what is accepted in their sport, Hunt said—and “the sport has had to adapt to modern times.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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+A+Composer+Puts+A+Horse%27s+Movements+To+Music+For+The+Tokyo+Olympics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The second week of the Olympics had us \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/05/1024994162/equestrian-dressage-composer-music-dancing-charlotte-dujardin\" target=\"_blank\" rel=\"noopener noreferrer\">watching horses\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/03/1024169459/greece-olympic-synchronized-swimming-team-out-positive-covid-tests\" target=\"_blank\" rel=\"noopener noreferrer\">swimmers\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/04/1024774505/olympic-runners-are-fast-on-tokyos-fast-track-theyre-shattering-world-records\" target=\"_blank\" rel=\"noopener noreferrer\">runners,\u003c/a> and we wouldn’t trade them for anything. But as we head into \u003ca href=\"https://www.npr.org/sections/live-updates-the-tokyo-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">the final weekend of all that,\u003c/a> we’ve got plenty of other entertainment on tap for the first weekend of August.\u003c/p>\n\u003ch3>What to watch\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Making The Cut,\u003c/strong>\u003c/em> \u003ca href=\"https://www.amazon.com/gp/video/detail/B096MZ26GY/ref=atv_dp_season_select_s2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Amazon Prime\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wHmdfVjAYnQ\u003c/p>\n\u003cp>This is \u003cem>Project Runway\u003c/em> without the stuff you fast forward through. This is much more a show about design than simply assembly. The designers, most of whom already have their own clothing lines, get teams of seamstresses to do the actual assembling. But the designers never get to meet their teams and have to leave incredibly detailed instructions on how to finish their garments overnight. When they come back into the workroom the next day, they see how well they’ve communicated their intent. It’s a very clever way of showcasing the designers’ management skills or lack of the same. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>RuPaul’s Drag Race All Stars, \u003c/strong>\u003c/em>\u003ca href=\"https://www.paramountplus.com/shows/rupauls-drag-race-all-stars/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Paramount+\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5SbGFdhVwZo\u003c/p>\n\u003cp>\u003cem>All Stars\u003c/em> is always fun because people are coming back with a knowledge of having been a part of it and having grown. When the cast for season six of \u003cem>All Stars\u003c/em> was announced, there were a lot of mixed reactions. Half the cast is true fan favorites and the other half are former contestants that people were less aware off. But after some really rough seasons from the franchise, it’s really good to have the show kind of find a good footing again. There hasn’t been a clear frontrunner this season, which has been fun. I’m enjoying it instead of being frustrated by it.\u003cem> — \u003c/em>\u003ca href=\"https://twitter.com/RunDMR\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daisy Rosario\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Twilight Saga,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/70206632\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cR9_rDSxxFg\u003c/p>\n\u003cp>I want to talk about \u003cem>Twilight Breaking Dawn: Part 2\u003c/em>. I’m not necessarily interested in \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Bella and Edward,\u003c/a> but the rest of the world, I’m really interested in. Watching this movie, I realized the one thing I love about the \u003cem>Twilight\u003c/em> movies is the werewolves. I love the werewolves. I don’t think there’s enough of them. I think they could be a franchise on their own. In \u003cem>Breaking Dawn: Part 2,\u003c/em> they started building out the world of all these other vampires in Egypt, Japan and other parts of the globe. Sitting there, I was just like, “Man, this would make a great series.” I wish somebody would come back and make a gritty reboot of just the werewolves, just the world-building of \u003cem>Twilight\u003c/em>. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/OhitsBIGRON\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ronald Young Jr.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reservation Dogs,\u003c/strong>\u003c/em> \u003ca href=\"https://www.hulu.com/series/reservation-dogs-5a310c23-e2db-4c9f-a66c-27c2fee43d92\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hulu on FX\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RoHewFAkrWU\u003c/p>\n\u003cp>Starting Monday, you’ll be able to check out the new comedy series \u003ca href=\"https://www.fxnetworks.com/shows/reservation-dogs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Reservation Dogs \u003c/em>\u003c/strong>on Hulu\u003c/a> in the FX section. It’s a terrific show about a group of \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous kids in Oklahoma,\u003c/a> and I think you’ll be utterly charmed by its laid-back, super-chill vibe. We’ll also be talking about it on \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">the podcast\u003c/a> soon. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Untold,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/81026439\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3IgmCgeMNo\u003c/p>\n\u003cp>Starting on Tuesday, Netflix will be releasing installments of the sports documentary series \u003cstrong>\u003cem>Untold\u003c/em>\u003c/strong>, the first of which is called \u003ca href=\"https://www.si.com/extra-mustard/2021/08/04/netflix-trailer-malice-at-the-palace\" target=\"_blank\" rel=\"noopener noreferrer\">“Malice at the Palace”\u003c/a> and retells the tale of the 2004 NBA brawl in Detroit when Pacers player Metta World Peace, then known as Ron Artest, went into the stands and brawled with a spectator after being pelted with garbage by a Pistons “fan.” It’s less that this documentary uncovers massive new facts than it tries to contextualize that night and the consequences that came to the players—and the lack of consequences that came to pass for most of the fans. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>What to listen to\u003c/h3>\n\u003cp>\u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Household Faces\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The fine comic actor John Ross Bowie has a new podcast coming out on August 10 called \u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Household Faces\u003c/em>\u003c/strong>\u003c/a>, in which he interviews character actors (of which he is one). I haven’t heard it yet, but I’ve already subscribed. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Gene and Roger, \u003c/strong>\u003ca href=\"https://www.theringer.com/gene-and-roger-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Ringer\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>This is an eight-part podcast looking at how \u003ca href=\"https://www.nytimes.com/1999/02/21/nyregion/gene-siskel-half-of-a-famed-movie-review-team-dies-at-53.html\" target=\"_blank\" rel=\"noopener noreferrer\">Gene Siskel\u003c/a> and \u003ca href=\"https://www.nytimes.com/2013/04/05/movies/roger-ebert-film-critic-dies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Roger Ebert\u003c/a> really transformed and popularized film criticism. There’s lots of investigation into their relationship. It’s the product of \u003ca href=\"https://www.brianraftery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Raftery,\u003c/a> the same guy who wrote the book \u003ca href=\"https://www.simonandschuster.com/books/Best-Movie-Year-Ever/Brian-Raftery/9781501175404\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Best. Movie. Year. Ever.,\u003c/em>\u003c/a> about the films of 1999.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the podcast, Raftery looks at the ways studios changed their marketing and how thumbs up, thumbs down became this kind of nationally recognized bellwether of a film’s commercial prospects. Whether or not you are old enough to remember seeing Siskel and Ebert on television, this is a fascinating series. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/ctklimek\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Chris Klimek\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second week of the Olympics had us \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/05/1024994162/equestrian-dressage-composer-music-dancing-charlotte-dujardin\" target=\"_blank\" rel=\"noopener noreferrer\">watching horses\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/03/1024169459/greece-olympic-synchronized-swimming-team-out-positive-covid-tests\" target=\"_blank\" rel=\"noopener noreferrer\">swimmers\u003c/a> and \u003ca href=\"https://www.npr.org/sections/tokyo-olympics-live-updates/2021/08/04/1024774505/olympic-runners-are-fast-on-tokyos-fast-track-theyre-shattering-world-records\" target=\"_blank\" rel=\"noopener noreferrer\">runners,\u003c/a> and we wouldn’t trade them for anything. But as we head into \u003ca href=\"https://www.npr.org/sections/live-updates-the-tokyo-olympics\" target=\"_blank\" rel=\"noopener noreferrer\">the final weekend of all that,\u003c/a> we’ve got plenty of other entertainment on tap for the first weekend of August.\u003c/p>\n\u003ch3>What to watch\u003c/h3>\n\u003cp>\u003cem>\u003cstrong>Making The Cut,\u003c/strong>\u003c/em> \u003ca href=\"https://www.amazon.com/gp/video/detail/B096MZ26GY/ref=atv_dp_season_select_s2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Amazon Prime\u003c/strong>\u003c/a>\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/wHmdfVjAYnQ'\n title='//www.youtube.com/embed/wHmdfVjAYnQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is \u003cem>Project Runway\u003c/em> without the stuff you fast forward through. This is much more a show about design than simply assembly. The designers, most of whom already have their own clothing lines, get teams of seamstresses to do the actual assembling. But the designers never get to meet their teams and have to leave incredibly detailed instructions on how to finish their garments overnight. When they come back into the workroom the next day, they see how well they’ve communicated their intent. It’s a very clever way of showcasing the designers’ management skills or lack of the same. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>RuPaul’s Drag Race All Stars, \u003c/strong>\u003c/em>\u003ca href=\"https://www.paramountplus.com/shows/rupauls-drag-race-all-stars/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Paramount+\u003c/strong>\u003c/a>\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/5SbGFdhVwZo'\n title='//www.youtube.com/embed/5SbGFdhVwZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>All Stars\u003c/em> is always fun because people are coming back with a knowledge of having been a part of it and having grown. When the cast for season six of \u003cem>All Stars\u003c/em> was announced, there were a lot of mixed reactions. Half the cast is true fan favorites and the other half are former contestants that people were less aware off. But after some really rough seasons from the franchise, it’s really good to have the show kind of find a good footing again. There hasn’t been a clear frontrunner this season, which has been fun. I’m enjoying it instead of being frustrated by it.\u003cem> — \u003c/em>\u003ca href=\"https://twitter.com/RunDMR\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daisy Rosario\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Twilight Saga,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/70206632\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\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/cR9_rDSxxFg'\n title='//www.youtube.com/embed/cR9_rDSxxFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I want to talk about \u003cem>Twilight Breaking Dawn: Part 2\u003c/em>. I’m not necessarily interested in \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Bella and Edward,\u003c/a> but the rest of the world, I’m really interested in. Watching this movie, I realized the one thing I love about the \u003cem>Twilight\u003c/em> movies is the werewolves. I love the werewolves. I don’t think there’s enough of them. I think they could be a franchise on their own. In \u003cem>Breaking Dawn: Part 2,\u003c/em> they started building out the world of all these other vampires in Egypt, Japan and other parts of the globe. Sitting there, I was just like, “Man, this would make a great series.” I wish somebody would come back and make a gritty reboot of just the werewolves, just the world-building of \u003cem>Twilight\u003c/em>. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/OhitsBIGRON\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ronald Young Jr.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reservation Dogs,\u003c/strong>\u003c/em> \u003ca href=\"https://www.hulu.com/series/reservation-dogs-5a310c23-e2db-4c9f-a66c-27c2fee43d92\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hulu on FX\u003c/strong>\u003c/a>\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/RoHewFAkrWU'\n title='//www.youtube.com/embed/RoHewFAkrWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Starting Monday, you’ll be able to check out the new comedy series \u003ca href=\"https://www.fxnetworks.com/shows/reservation-dogs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Reservation Dogs \u003c/em>\u003c/strong>on Hulu\u003c/a> in the FX section. It’s a terrific show about a group of \u003ca href=\"https://www.npr.org/2015/10/06/446351732/after-10-years-of-bella-and-edward-twilight-reimagined-brings-a-twist\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous kids in Oklahoma,\u003c/a> and I think you’ll be utterly charmed by its laid-back, super-chill vibe. We’ll also be talking about it on \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">the podcast\u003c/a> soon. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Untold,\u003c/strong>\u003c/em> \u003ca href=\"https://www.netflix.com/title/81026439\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Netflix\u003c/strong>\u003c/a>\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/j3IgmCgeMNo'\n title='//www.youtube.com/embed/j3IgmCgeMNo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Starting on Tuesday, Netflix will be releasing installments of the sports documentary series \u003cstrong>\u003cem>Untold\u003c/em>\u003c/strong>, the first of which is called \u003ca href=\"https://www.si.com/extra-mustard/2021/08/04/netflix-trailer-malice-at-the-palace\" target=\"_blank\" rel=\"noopener noreferrer\">“Malice at the Palace”\u003c/a> and retells the tale of the 2004 NBA brawl in Detroit when Pacers player Metta World Peace, then known as Ron Artest, went into the stands and brawled with a spectator after being pelted with garbage by a Pistons “fan.” It’s less that this documentary uncovers massive new facts than it tries to contextualize that night and the consequences that came to the players—and the lack of consequences that came to pass for most of the fans. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>What to listen to\u003c/h3>\n\u003cp>\u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Household Faces\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The fine comic actor John Ross Bowie has a new podcast coming out on August 10 called \u003ca href=\"https://podcasts.apple.com/us/podcast/household-faces-with-john-ross-bowie/id1578937155\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Household Faces\u003c/em>\u003c/strong>\u003c/a>, in which he interviews character actors (of which he is one). I haven’t heard it yet, but I’ve already subscribed. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Gene and Roger, \u003c/strong>\u003ca href=\"https://www.theringer.com/gene-and-roger-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Ringer\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>This is an eight-part podcast looking at how \u003ca href=\"https://www.nytimes.com/1999/02/21/nyregion/gene-siskel-half-of-a-famed-movie-review-team-dies-at-53.html\" target=\"_blank\" rel=\"noopener noreferrer\">Gene Siskel\u003c/a> and \u003ca href=\"https://www.nytimes.com/2013/04/05/movies/roger-ebert-film-critic-dies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Roger Ebert\u003c/a> really transformed and popularized film criticism. There’s lots of investigation into their relationship. It’s the product of \u003ca href=\"https://www.brianraftery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Raftery,\u003c/a> the same guy who wrote the book \u003ca href=\"https://www.simonandschuster.com/books/Best-Movie-Year-Ever/Brian-Raftery/9781501175404\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Best. Movie. Year. Ever.,\u003c/em>\u003c/a> about the films of 1999.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the podcast, Raftery looks at the ways studios changed their marketing and how thumbs up, thumbs down became this kind of nationally recognized bellwether of a film’s commercial prospects. Whether or not you are old enough to remember seeing Siskel and Ebert on television, this is a fascinating series. —\u003cem> \u003c/em>\u003ca href=\"https://twitter.com/ctklimek\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Chris Klimek\u003c/em>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Strange, Singular, Audacious 'Annette' Works as an Odd, Original Rock Opera",
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"content": "\u003cp>2021 is shaping up to be a significant year for movie musicals: We’ve already seen \u003ca href=\"https://www.npr.org/2021/06/10/1004346682/in-the-heights-review-lin-manuel-miranda-musical-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In the Heights\u003c/em>\u003c/a>, and several more stage-to-screen adaptations are headed our way, including \u003cem>Dear Evan Hansen\u003c/em>; \u003cem>Tick, Tick … Boom!\u003c/em>; and Steven Spielberg’s remake of \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>While I’m looking forward to them, I doubt any of them will be as strange and singular as \u003cem>Annette\u003c/em>, an original musical in every sense. It’s an extravagantly emotional rock opera that mixes comedy and tragedy, showbiz satire and doomed romance. It doesn’t all work; if you’re not on its bizarre wavelength, it may not work for you at all. But moment by moment, its go-for-broke audacity left me feeling grateful that it exists.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aUM0NOHdJS0\u003c/p>\n\u003cp>\u003cem>Annette \u003c/em>was directed by \u003ca href=\"https://www.npr.org/2021/08/04/1024834015/annette-is-the-1st-musical-for-director-leos-carax-and-pop-duo-sparks\" target=\"_blank\" rel=\"noopener noreferrer\">Leos Carax\u003c/a>, the French visionary best known for his unhinged 2012 masterpiece, \u003ca href=\"https://www.npr.org/2012/10/16/162781324/holy-motors-an-odd-lovely-love-letter-to-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Holy Motors\u003c/em>\u003c/a>. The script and songs were written by \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">Ron and Russell Mael\u003c/a>, the musical brothers whose band, Sparks, has enjoyed a cultish following since the ’60s. The director and writers appear on-screen at the beginning of \u003cem>Annette\u003c/em>, in a playful number called “So May We Start,” that also introduces the main actors. It kicks things off on a joyous high note that quickly fades as the film begins spinning a tale of rage, obsession and jealousy.\u003c/p>\n\u003cp>At the heart of the movie is \u003ca href=\"https://www.npr.org/2015/04/09/398528448/former-marine-adam-driver-on-what-acting-and-the-military-have-in-common\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Driver\u003c/a>‘s mesmerizingly anguished performance as Henry, a cynical L.A. standup comedian who rips into himself and his audience every night during a rambling, not-particularly-funny routine. Henry has recently started seeing Ann, a beloved opera soprano played by a luminous \u003ca href=\"https://www.npr.org/2012/11/28/165994360/marion-cotillard-diving-deep-in-rust-and-bone\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Cotillard\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re a counterintuitive pairing, the bad-boy comedian and the soulful tragedian; one gossipy headline dubs them “Beauty and the Bastard.” But there’s real passion in their whirlwind romance, as we see and hear in the song, “We Love Each Other So Much,” which Henry and Ann sing to each other, in part, while in the throes of sexual ecstasy. And why not? Aren’t musical numbers meant to express heightened emotional states?\u003c/p>\n\u003cp>Carax and his collaborators clearly delight in taking the conventions of the form and pushing them to weird, hilarious extremes. Most of the dialogue is sung rather than spoken, and the actors are up to the challenge: Cotillard has long been a singer as well as an actor, and Driver tosses off some of his lyrics with a Sondheim-esque virtuosity that might remind you of his heartfelt rendition of “\u003ca href=\"https://www.youtube.com/watch?v=lWengrlMpok\" target=\"_blank\" rel=\"noopener noreferrer\">Being Alive\u003c/a>” from \u003ca href=\"https://www.npr.org/2019/11/08/777495737/marriage-story-reveals-the-messy-heartbreaking-toll-of-divorce\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Marriage Story\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_105976']Speaking of marriage stories: Henry and Ann soon tie the knot, and almost immediately things begin falling apart. Henry’s comedy career hits the skids, in part because he can’t stop ranting to his audience about his jealousy over his wife’s success. Their private troubles play out in a very public spotlight, in a way that recalls classic Hollywood romances like \u003ca href=\"https://www.kqed.org/pop/106448/will-a-star-is-born-make-you-scream-yaas-gaga-yaas-or-nah-gaga-nah\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Star is Born\u003c/em>\u003c/a>. There’s no saving Henry and Ann’s marriage, not even after they have a baby girl, the Annette of the title. In the movie’s most whimsical touch, baby Annette is played by a small wooden puppet—a choice that makes no sense and perfect sense: What better device than a puppet to suggest that for a celebrity couple, all the world’s a stage?\u003c/p>\n\u003cp>\u003cem>Annette\u003c/em> is full of such surreal flights of fancy, but it also has some heavy things to say about the price of fame. That’s an intriguing subject for Carax, who’s had his own barbed relationship with success in France, and for Ron and Russell Mael, who are often hailed as the most famous musicians you’ve never heard of, as seen in their terrific recent documentary \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Sparks Brothers\u003c/em>. \u003c/a>\u003c/p>\n\u003cp>\u003cem>Annette \u003c/em>paints a grim picture of contemporary stardom, with a passing nod to the #MeToo movement: In one hallucinatory number, Ann imagines that six women have accused Henry of abuse. It’s just a dream, but it’s a hard one to shake, given Henry’s temper and the menacing way that Driver dwarfs Cotillard in the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13898635']I wish there were more of Cotillard in \u003cem>Annette\u003c/em>; as great as Driver is, his rage is so charismatic, so all-consuming, that it leaves the story feeling emotionally lopsided. It also reinforces the gender power imbalance that the movie attempts to critique. But Henry is held somewhat in check by two other key characters. One of them is a music conductor, played by a fine Simon Helberg, who tries to protect Ann and Annette from Henry’s destructive impulses. The other is little Annette herself, whose innocence becomes quietly heroic as the movie approaches its shattering finale. This sweet, sad-eyed puppet reminds you of how so many great musicals work: by taking an artificial conceit and making it seem as real as life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Strange%2C+Singular%2C+Audacious+%27Annette%27+Works+As+An+Odd%2C+Original+Rock+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>2021 is shaping up to be a significant year for movie musicals: We’ve already seen \u003ca href=\"https://www.npr.org/2021/06/10/1004346682/in-the-heights-review-lin-manuel-miranda-musical-movie\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In the Heights\u003c/em>\u003c/a>, and several more stage-to-screen adaptations are headed our way, including \u003cem>Dear Evan Hansen\u003c/em>; \u003cem>Tick, Tick … Boom!\u003c/em>; and Steven Spielberg’s remake of \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>While I’m looking forward to them, I doubt any of them will be as strange and singular as \u003cem>Annette\u003c/em>, an original musical in every sense. It’s an extravagantly emotional rock opera that mixes comedy and tragedy, showbiz satire and doomed romance. It doesn’t all work; if you’re not on its bizarre wavelength, it may not work for you at all. But moment by moment, its go-for-broke audacity left me feeling grateful that it exists.\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/aUM0NOHdJS0'\n title='//www.youtube.com/embed/aUM0NOHdJS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Annette \u003c/em>was directed by \u003ca href=\"https://www.npr.org/2021/08/04/1024834015/annette-is-the-1st-musical-for-director-leos-carax-and-pop-duo-sparks\" target=\"_blank\" rel=\"noopener noreferrer\">Leos Carax\u003c/a>, the French visionary best known for his unhinged 2012 masterpiece, \u003ca href=\"https://www.npr.org/2012/10/16/162781324/holy-motors-an-odd-lovely-love-letter-to-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Holy Motors\u003c/em>\u003c/a>. The script and songs were written by \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">Ron and Russell Mael\u003c/a>, the musical brothers whose band, Sparks, has enjoyed a cultish following since the ’60s. The director and writers appear on-screen at the beginning of \u003cem>Annette\u003c/em>, in a playful number called “So May We Start,” that also introduces the main actors. It kicks things off on a joyous high note that quickly fades as the film begins spinning a tale of rage, obsession and jealousy.\u003c/p>\n\u003cp>At the heart of the movie is \u003ca href=\"https://www.npr.org/2015/04/09/398528448/former-marine-adam-driver-on-what-acting-and-the-military-have-in-common\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Driver\u003c/a>‘s mesmerizingly anguished performance as Henry, a cynical L.A. standup comedian who rips into himself and his audience every night during a rambling, not-particularly-funny routine. Henry has recently started seeing Ann, a beloved opera soprano played by a luminous \u003ca href=\"https://www.npr.org/2012/11/28/165994360/marion-cotillard-diving-deep-in-rust-and-bone\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Cotillard\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re a counterintuitive pairing, the bad-boy comedian and the soulful tragedian; one gossipy headline dubs them “Beauty and the Bastard.” But there’s real passion in their whirlwind romance, as we see and hear in the song, “We Love Each Other So Much,” which Henry and Ann sing to each other, in part, while in the throes of sexual ecstasy. And why not? Aren’t musical numbers meant to express heightened emotional states?\u003c/p>\n\u003cp>Carax and his collaborators clearly delight in taking the conventions of the form and pushing them to weird, hilarious extremes. Most of the dialogue is sung rather than spoken, and the actors are up to the challenge: Cotillard has long been a singer as well as an actor, and Driver tosses off some of his lyrics with a Sondheim-esque virtuosity that might remind you of his heartfelt rendition of “\u003ca href=\"https://www.youtube.com/watch?v=lWengrlMpok\" target=\"_blank\" rel=\"noopener noreferrer\">Being Alive\u003c/a>” from \u003ca href=\"https://www.npr.org/2019/11/08/777495737/marriage-story-reveals-the-messy-heartbreaking-toll-of-divorce\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Marriage Story\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of marriage stories: Henry and Ann soon tie the knot, and almost immediately things begin falling apart. Henry’s comedy career hits the skids, in part because he can’t stop ranting to his audience about his jealousy over his wife’s success. Their private troubles play out in a very public spotlight, in a way that recalls classic Hollywood romances like \u003ca href=\"https://www.kqed.org/pop/106448/will-a-star-is-born-make-you-scream-yaas-gaga-yaas-or-nah-gaga-nah\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Star is Born\u003c/em>\u003c/a>. There’s no saving Henry and Ann’s marriage, not even after they have a baby girl, the Annette of the title. In the movie’s most whimsical touch, baby Annette is played by a small wooden puppet—a choice that makes no sense and perfect sense: What better device than a puppet to suggest that for a celebrity couple, all the world’s a stage?\u003c/p>\n\u003cp>\u003cem>Annette\u003c/em> is full of such surreal flights of fancy, but it also has some heavy things to say about the price of fame. That’s an intriguing subject for Carax, who’s had his own barbed relationship with success in France, and for Ron and Russell Mael, who are often hailed as the most famous musicians you’ve never heard of, as seen in their terrific recent documentary \u003ca href=\"https://www.npr.org/2021/06/18/1007652595/50-years-of-sparks-the-world-aint-big-enough-for-the-both-of-them\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Sparks Brothers\u003c/em>. \u003c/a>\u003c/p>\n\u003cp>\u003cem>Annette \u003c/em>paints a grim picture of contemporary stardom, with a passing nod to the #MeToo movement: In one hallucinatory number, Ann imagines that six women have accused Henry of abuse. It’s just a dream, but it’s a hard one to shake, given Henry’s temper and the menacing way that Driver dwarfs Cotillard in the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I wish there were more of Cotillard in \u003cem>Annette\u003c/em>; as great as Driver is, his rage is so charismatic, so all-consuming, that it leaves the story feeling emotionally lopsided. It also reinforces the gender power imbalance that the movie attempts to critique. But Henry is held somewhat in check by two other key characters. One of them is a music conductor, played by a fine Simon Helberg, who tries to protect Ann and Annette from Henry’s destructive impulses. The other is little Annette herself, whose innocence becomes quietly heroic as the movie approaches its shattering finale. This sweet, sad-eyed puppet reminds you of how so many great musicals work: by taking an artificial conceit and making it seem as real as life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Strange%2C+Singular%2C+Audacious+%27Annette%27+Works+As+An+Odd%2C+Original+Rock+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British vaccinologist Sarah Gilbert now has a new accolade: It’s a one-of-a-kind Barbie doll made in her image.\u003c/p>\n\u003cp>The Oxford University professor helped lead the development of the Oxford/AstraZeneca coronavirus vaccine. Last month, she was given a damehood, and now, she shares her hairstyle, professional wardrobe and dark-rimmed glasses with Mattel Inc’s new doll.\u003c/p>\n\u003cp>https://twitter.com/Reuters/status/1423101451757314049\u003c/p>\n\u003cp>Gilbert told \u003ca href=\"https://www.theguardian.com/society/2021/aug/04/vaccinologist-barbie-prof-sarah-gilbert-honoured-with-a-doll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>\u003c/a> she first found Mattel’s recognition “very strange” but hopes it inspires other young women around the world to work in science, technology, engineering and mathematics careers (STEM).\u003c/p>\n\u003cp>[aside postid='arts_13815050']“I am passionate about inspiring the next generation of girls into STEM careers and hope that children who see my Barbie will realize how vital careers in science are to help the world around us,” she said. “My wish is that my doll will show children careers they may not be aware of, like a vaccinologist.”\u003c/p>\n\u003ch3>Six women are being honored with Barbies\u003c/h3>\n\u003cp>Gilbert is one of the six women Mattel Inc has recognized as role models in the fight against COVID-19. According to the \u003ca href=\"https://corporate.mattel.com/news/mattel-once-again-says-thankyouheroes-by-supporting-first-responders-childrens-foundation-and-honoring-global-frontline-medical-workers-with-one-of-a-kind-barbie-dolls\" target=\"_blank\" rel=\"noopener noreferrer\">toymaker\u003c/a>, the five other honorees are U.S. health care workers Dr. Audrey Sue Cruz and emergency room nurse Amy O’Sullivan, Canadian doctor and advocate against systemic racism in health care Chicka Stacy Oriuwa, Brazilian biomedical researcher Dr. Jaqueline Goes de Jesus and Australian doctor and protective gown developer Kirby White.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Barbie recognizes that all frontline workers have made tremendous sacrifices when confronting the pandemic and the challenges it heightened,” said Lisa McKnight, senior vice president and global head of Barbie and Dolls at Mattel. “To shine a light on their efforts, we are sharing their stories.”\u003c/p>\n\u003cp>She added that she hopes the new launch “inspires the next generation to take after these heroes.”\u003c/p>\n\u003cfigure id=\"attachment_13900776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1233399583_wide-54f2a2a572a81f2012b31b54adae9af61ebd3bd3-800x450.jpg\" alt=\"Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image. \u003ccite>(Steve Parsons/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Oxford/AstraZeneca vaccine co-developer has been producing and testing vaccines for over a decade, according to her \u003ca href=\"https://www.ox.ac.uk/news-and-events/find-an-expert/professor-sarah-gilbert\" target=\"_blank\" rel=\"noopener noreferrer\">Oxford University profile\u003c/a>. And just last month, the now widely available vaccine \u003ca href=\"https://twitter.com/UniofOxford/status/1421096992881659910?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1421096992881659910%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.washingtonpost.com%2Fworld%2F2021%2F08%2F04%2Fvaccinologist-barbie-sarah-gilbert-coronavirus%2F\" target=\"_blank\" rel=\"noopener noreferrer\">set a distribution\u003c/a> milestone of 1 billion doses.\u003c/p>\n\u003cp>As of this year, only \u003ca href=\"https://www.stemwomen.co.uk/blog/2021/01/women-in-stem-percentages-of-women-in-stem-statistics\" target=\"_blank\" rel=\"noopener noreferrer\">35% of STEM students are women\u003c/a>, according to STEM Women, a U.K. organization dedicated to increasing the number of women in the STEM workforce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> Xcaret Nuñez is an intern with NPR’s News Desk\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Mattel%27s+Barbie+Turns+Women+Of+Science%2C+Including+COVID+Vaccine+Developer%2C+Into+Dolls&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I am passionate about inspiring the next generation of girls into STEM careers and hope that children who see my Barbie will realize how vital careers in science are to help the world around us,” she said. “My wish is that my doll will show children careers they may not be aware of, like a vaccinologist.”\u003c/p>\n\u003ch3>Six women are being honored with Barbies\u003c/h3>\n\u003cp>Gilbert is one of the six women Mattel Inc has recognized as role models in the fight against COVID-19. According to the \u003ca href=\"https://corporate.mattel.com/news/mattel-once-again-says-thankyouheroes-by-supporting-first-responders-childrens-foundation-and-honoring-global-frontline-medical-workers-with-one-of-a-kind-barbie-dolls\" target=\"_blank\" rel=\"noopener noreferrer\">toymaker\u003c/a>, the five other honorees are U.S. health care workers Dr. Audrey Sue Cruz and emergency room nurse Amy O’Sullivan, Canadian doctor and advocate against systemic racism in health care Chicka Stacy Oriuwa, Brazilian biomedical researcher Dr. Jaqueline Goes de Jesus and Australian doctor and protective gown developer Kirby White.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Barbie recognizes that all frontline workers have made tremendous sacrifices when confronting the pandemic and the challenges it heightened,” said Lisa McKnight, senior vice president and global head of Barbie and Dolls at Mattel. “To shine a light on their efforts, we are sharing their stories.”\u003c/p>\n\u003cp>She added that she hopes the new launch “inspires the next generation to take after these heroes.”\u003c/p>\n\u003cfigure id=\"attachment_13900776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1233399583_wide-54f2a2a572a81f2012b31b54adae9af61ebd3bd3-800x450.jpg\" alt=\"Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image. \u003ccite>(Steve Parsons/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Oxford/AstraZeneca vaccine co-developer has been producing and testing vaccines for over a decade, according to her \u003ca href=\"https://www.ox.ac.uk/news-and-events/find-an-expert/professor-sarah-gilbert\" target=\"_blank\" rel=\"noopener noreferrer\">Oxford University profile\u003c/a>. And just last month, the now widely available vaccine \u003ca href=\"https://twitter.com/UniofOxford/status/1421096992881659910?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1421096992881659910%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.washingtonpost.com%2Fworld%2F2021%2F08%2F04%2Fvaccinologist-barbie-sarah-gilbert-coronavirus%2F\" target=\"_blank\" rel=\"noopener noreferrer\">set a distribution\u003c/a> milestone of 1 billion doses.\u003c/p>\n\u003cp>As of this year, only \u003ca href=\"https://www.stemwomen.co.uk/blog/2021/01/women-in-stem-percentages-of-women-in-stem-statistics\" target=\"_blank\" rel=\"noopener noreferrer\">35% of STEM students are women\u003c/a>, according to STEM Women, a U.K. organization dedicated to increasing the number of women in the STEM workforce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> Xcaret Nuñez is an intern with NPR’s News Desk\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Mattel%27s+Barbie+Turns+Women+Of+Science%2C+Including+COVID+Vaccine+Developer%2C+Into+Dolls&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This Sequel to a Beloved Game Has the Style—But 'NEO' Lacks a Little Substance",
"headTitle": "This Sequel to a Beloved Game Has the Style—But ‘NEO’ Lacks a Little Substance | KQED",
"content": "\u003cp>Just seconds ago, you were walking across the city street. You headed to the ramen shop for a quick bite. You open your eyes, delirious and confused, and find yourself collapsed in the middle of the crosswalk. People are walking right past you as you reach out for help. No one can see you. In your pocket you find a black pin with an ornate skull and crossbones design.\u003c/p>\n\u003cp>In 2007, co-developers Square Enix and Jupiter released \u003cem>The World Ends With You \u003c/em>for the Nintendo DS, an inventive Japanese role-playing game unlike anything that came before it. The story takes place in a sort of Limbo version of Shibuya, Japan, an alternate dimension in between life and death where you compete with other players in the Reaper’s Game—a chance at redemption, a second chance at life.\u003c/p>\n\u003cfigure id=\"attachment_13900631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-800x450.png\" alt=\"A moment of gameplay that asks: Just what is the "Reaper's Game"?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Just what is the “Reaper’s Game”? \u003ccite>(Square Enix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A second chance, in the game and in the real world\u003c/h3>\n\u003cp>14 years later, Square Enix and new development partner, h.a.n.d., give gamers a second chance to enjoy the stylish, loud and ominous world of Shibuya in \u003cem>NEO: The World Ends With You\u003c/em>. The sequel to the 2007 masterpiece follows a new cast of manga-esque characters as they fight for their lives or face permanent erasure.\u003c/p>\n\u003cp>\u003cem>NEO\u003c/em> opens with our protagonists, best friends Rindo and Fret. The two find themselves in a Shibuya that feels… off. Their phones start sending them strange notifications about daily missions, and they meet eccentric characters that reveal sinister details about this alternate dimension. And perhaps the most bizarre are the monsters that roam this “other” Shibuya; animal-like creatures with limbs that resemble graffiti that’s been yanked out of the city’s dark alleys.\u003c/p>\n\u003cfigure id=\"attachment_13900632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-800x450.png\" alt=\"Fighting the beasts known as Noise.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fighting the beasts known as Noise. \u003ccite>(Square Enix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13889311']These artistic beasts are called Noise, and it’s an ideal name considering that the game places a significant emphasis on music. Takeharu Ishimoto, the composer for both games, has expertly crafted a soundtrack unlike any I’ve heard in a video game. He blends elements of rock, pop, hip-hop, electronica and even metal to evoke the vibrations of Shibuya. \u003cem>The World Ends With You\u003c/em> punches you as you play; the hip-hop beats add a tangible energy and the rock has me tapping my feet as I fight Noise. Ishimoto also includes lyrics in his in-game masterpieces, and it’s a great choice; it forces players to focus on his creation while they play. Rather than tune out the music like you might in a game \u003cem>without \u003c/em>lyrics, it encourages you to listen and absorb as you slink through Shibuya’s corridors.\u003c/p>\n\u003ch3>Fashion plays a big role this time, too\u003c/h3>\n\u003cp>Beyond music, \u003cem>NEO \u003c/em>shares a lot with its predecessor, as you might expect from a sequel. Square Enix retained the incredibly detailed anime art style that \u003ca href=\"https://www.wired.com/story/the-world-ends-with-you-street-fashion-japan-harajuku/\" target=\"_blank\" rel=\"noopener noreferrer\">plants you directly into Japanese culture and fashion\u003c/a>. The main and supporting characters all have distinct looks, whether they’re sporting big belt buckles or brightly-colored hair.\u003c/p>\n\u003cfigure id=\"attachment_13900633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-800x450.png\" alt=\"The game has a vibrant economy of food and clothing shops where you can get items that change your stats.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The game has a vibrant economy of food and clothing shops where you can get items that change your stats. \u003ccite>(Square Enix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fashion weaves its way into other aspects of the game, too. Similar to other RPGs, dressing your character often comes with stat boosts. Wearing a certain pin or hat or shirt may grant you different combat abilities, extra health points or attack power. But unlike more basic RPGs, clothing in \u003cem>The World Ends With You \u003c/em>is branded; you aren’t just wearing an “assassin’s cloak,” you’re wearing in-game brands like Joli bécot or ConyxCony. It makes the items you buy more memorable while still maintaining their normal video game function.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13893837']\u003cem>The World Ends with You \u003c/em>got a major graphics upgrade in \u003cem>NEO\u003c/em>, which was to be expected on more powerful consoles (Switch and PS4) and 14 years of development. \u003cem>NEO\u003c/em>‘s Shibuya is far sharper than its predecessor, and the pixelated borders from before have been smoothed out. I played \u003cem>NEO \u003c/em>on the Switch, and it looks great, both when the Switch is docked and in handheld mode. At times, \u003cem>NEO\u003c/em> lagged a bit when the Switch was docked, but it didn’t bother me too much during my hours with the game.\u003c/p>\n\u003ch3>But the improved graphics don’t necessarily mean a better game\u003c/h3>\n\u003cp>The upgraded graphics really shine in \u003cem>NEO\u003c/em>‘s combat. It went from clunky and two-dimensional to 3D and dynamic. Using your psychokinetic abilities in a fight is a joy, especially when you find out how many synergies there are between your characters. When I first started playing \u003cem>NEO\u003c/em>, I thought the fights were a little repetitive, but as I learned how to time my attacks and use the correct abilities, it made fighting the same enemies entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13900634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-800x450.png\" alt=\"Improved graphics make the combat scenes really pop.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Improved graphics make the combat scenes really pop. \u003ccite>(Square Enix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite its graphic overhaul and combat improvements, \u003cem>NEO\u003c/em> doesn’t \u003cem>quite \u003c/em>capture me like the original \u003cem>The World Ends With You\u003c/em>. In the sequel, the main characters are cliche; Rindo is unconfident and indecisive, Fret is maybe a bit too happy-go-lucky, and Nagi (she joins the team later) adds the occasionally funny, but mostly annoying quip. In the original, Neku, the brooding, headphone-donning teen, learns compassion as he’s forced to forge relationships with other players or risk permanent death. It felt like the stakes were higher in the first installment, like you actually needed to complete your missions or meet your doom.\u003c/p>\n\u003cp>Sequels are better than remasters. I’m glad Square Enix and h.a.n.d. gave us this revival after 14 years—but at the same time, I wanted what the \u003cem>original\u003c/em> game gave us: memorable characters and a gripping story with twists and turns. I’m grateful for the improved graphics of \u003cem>NEO\u003c/em>, but if I had to take shoddier graphics with a better story, I would. I want to feel the way I did 14 years ago, and while I did like \u003cem>NEO\u003c/em>, it didn’t drag me into an ominous world filled with eccentric Reapers and deadly Noise as ruthlessly as the original did.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for \u003c/em>Join The Game\u003cem>\u003cem>. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\">@kelbot_\u003c/a>\u003c/em>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=This+Remake+Of+A+Beloved+Game+Has+The+Style+%E2%80%94+But+Lacks+A+Little+Substance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just seconds ago, you were walking across the city street. You headed to the ramen shop for a quick bite. You open your eyes, delirious and confused, and find yourself collapsed in the middle of the crosswalk. People are walking right past you as you reach out for help. No one can see you. In your pocket you find a black pin with an ornate skull and crossbones design.\u003c/p>\n\u003cp>In 2007, co-developers Square Enix and Jupiter released \u003cem>The World Ends With You \u003c/em>for the Nintendo DS, an inventive Japanese role-playing game unlike anything that came before it. The story takes place in a sort of Limbo version of Shibuya, Japan, an alternate dimension in between life and death where you compete with other players in the Reaper’s Game—a chance at redemption, a second chance at life.\u003c/p>\n\u003cfigure id=\"attachment_13900631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-800x450.png\" alt=\"A moment of gameplay that asks: Just what is the "Reaper's Game"?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/eventscene_wide-15dad0a1d2dcf4b46084dd013de59f74cfb29804.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Just what is the “Reaper’s Game”? \u003ccite>(Square Enix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A second chance, in the game and in the real world\u003c/h3>\n\u003cp>14 years later, Square Enix and new development partner, h.a.n.d., give gamers a second chance to enjoy the stylish, loud and ominous world of Shibuya in \u003cem>NEO: The World Ends With You\u003c/em>. The sequel to the 2007 masterpiece follows a new cast of manga-esque characters as they fight for their lives or face permanent erasure.\u003c/p>\n\u003cp>\u003cem>NEO\u003c/em> opens with our protagonists, best friends Rindo and Fret. The two find themselves in a Shibuya that feels… off. Their phones start sending them strange notifications about daily missions, and they meet eccentric characters that reveal sinister details about this alternate dimension. And perhaps the most bizarre are the monsters that roam this “other” Shibuya; animal-like creatures with limbs that resemble graffiti that’s been yanked out of the city’s dark alleys.\u003c/p>\n\u003cfigure id=\"attachment_13900632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-800x450.png\" alt=\"Fighting the beasts known as Noise.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/pignoise_wide-955d5522aa3d67a9a4e8ee81b226697943103790.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fighting the beasts known as Noise. \u003ccite>(Square Enix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These artistic beasts are called Noise, and it’s an ideal name considering that the game places a significant emphasis on music. Takeharu Ishimoto, the composer for both games, has expertly crafted a soundtrack unlike any I’ve heard in a video game. He blends elements of rock, pop, hip-hop, electronica and even metal to evoke the vibrations of Shibuya. \u003cem>The World Ends With You\u003c/em> punches you as you play; the hip-hop beats add a tangible energy and the rock has me tapping my feet as I fight Noise. Ishimoto also includes lyrics in his in-game masterpieces, and it’s a great choice; it forces players to focus on his creation while they play. Rather than tune out the music like you might in a game \u003cem>without \u003c/em>lyrics, it encourages you to listen and absorb as you slink through Shibuya’s corridors.\u003c/p>\n\u003ch3>Fashion plays a big role this time, too\u003c/h3>\n\u003cp>Beyond music, \u003cem>NEO \u003c/em>shares a lot with its predecessor, as you might expect from a sequel. Square Enix retained the incredibly detailed anime art style that \u003ca href=\"https://www.wired.com/story/the-world-ends-with-you-street-fashion-japan-harajuku/\" target=\"_blank\" rel=\"noopener noreferrer\">plants you directly into Japanese culture and fashion\u003c/a>. The main and supporting characters all have distinct looks, whether they’re sporting big belt buckles or brightly-colored hair.\u003c/p>\n\u003cfigure id=\"attachment_13900633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-800x450.png\" alt=\"The game has a vibrant economy of food and clothing shops where you can get items that change your stats.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/threads_shop02_joli_becot_wide-342463daf4daf423ce40c40b58e7f472a344ccfe.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The game has a vibrant economy of food and clothing shops where you can get items that change your stats. \u003ccite>(Square Enix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fashion weaves its way into other aspects of the game, too. Similar to other RPGs, dressing your character often comes with stat boosts. Wearing a certain pin or hat or shirt may grant you different combat abilities, extra health points or attack power. But unlike more basic RPGs, clothing in \u003cem>The World Ends With You \u003c/em>is branded; you aren’t just wearing an “assassin’s cloak,” you’re wearing in-game brands like Joli bécot or ConyxCony. It makes the items you buy more memorable while still maintaining their normal video game function.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The World Ends with You \u003c/em>got a major graphics upgrade in \u003cem>NEO\u003c/em>, which was to be expected on more powerful consoles (Switch and PS4) and 14 years of development. \u003cem>NEO\u003c/em>‘s Shibuya is far sharper than its predecessor, and the pixelated borders from before have been smoothed out. I played \u003cem>NEO \u003c/em>on the Switch, and it looks great, both when the Switch is docked and in handheld mode. At times, \u003cem>NEO\u003c/em> lagged a bit when the Switch was docked, but it didn’t bother me too much during my hours with the game.\u003c/p>\n\u003ch3>But the improved graphics don’t necessarily mean a better game\u003c/h3>\n\u003cp>The upgraded graphics really shine in \u003cem>NEO\u003c/em>‘s combat. It went from clunky and two-dimensional to 3D and dynamic. Using your psychokinetic abilities in a fight is a joy, especially when you find out how many synergies there are between your characters. When I first started playing \u003cem>NEO\u003c/em>, I thought the fights were a little repetitive, but as I learned how to time my attacks and use the correct abilities, it made fighting the same enemies entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13900634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-800x450.png\" alt=\"Improved graphics make the combat scenes really pop.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/p14_01_wide-e86e9270b181bcc70a54d7f263661a72e1656ca1.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Improved graphics make the combat scenes really pop. \u003ccite>(Square Enix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite its graphic overhaul and combat improvements, \u003cem>NEO\u003c/em> doesn’t \u003cem>quite \u003c/em>capture me like the original \u003cem>The World Ends With You\u003c/em>. In the sequel, the main characters are cliche; Rindo is unconfident and indecisive, Fret is maybe a bit too happy-go-lucky, and Nagi (she joins the team later) adds the occasionally funny, but mostly annoying quip. In the original, Neku, the brooding, headphone-donning teen, learns compassion as he’s forced to forge relationships with other players or risk permanent death. It felt like the stakes were higher in the first installment, like you actually needed to complete your missions or meet your doom.\u003c/p>\n\u003cp>Sequels are better than remasters. I’m glad Square Enix and h.a.n.d. gave us this revival after 14 years—but at the same time, I wanted what the \u003cem>original\u003c/em> game gave us: memorable characters and a gripping story with twists and turns. I’m grateful for the improved graphics of \u003cem>NEO\u003c/em>, but if I had to take shoddier graphics with a better story, I would. I want to feel the way I did 14 years ago, and while I did like \u003cem>NEO\u003c/em>, it didn’t drag me into an ominous world filled with eccentric Reapers and deadly Noise as ruthlessly as the original did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for \u003c/em>Join The Game\u003cem>\u003cem>. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\">@kelbot_\u003c/a>\u003c/em>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=This+Remake+Of+A+Beloved+Game+Has+The+Style+%E2%80%94+But+Lacks+A+Little+Substance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Music Industry is Holding DaBaby Accountable",
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"content": "\u003cp>Despite multiple apologies, rapper \u003ca href=\"https://www.npr.org/artists/735842489/dababy\" target=\"_blank\" rel=\"noopener noreferrer\">DaBaby\u003c/a> continues to face criticism—and cancellations—for homophobic comments he made during the Rolling Loud festival in late July.\u003c/p>\n\u003cp>Dua Lipa, who features the rapper on her mega-hit song “\u003ca href=\"https://www.youtube.com/watch?v=TUVcZfQe-Kw\" target=\"_blank\" rel=\"noopener noreferrer\">Levitating\u003c/a>,” was among those who \u003ca href=\"https://variety.com/2021/music/news/dua-lipa-dababy-homophobic-remarks-1235028796/\" target=\"_blank\" rel=\"noopener noreferrer\">quickly criticized\u003c/a> him. \u003ca href=\"https://www.cnn.com/2021/07/30/entertainment/dababy-elton-madonna-backlash-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Elton John and Madonna\u003c/a> also lambasted DaBaby and railed against misinformation in his comments about HIV.\u003c/p>\n\u003cp>During the Miami performance, he \u003ca href=\"https://www.capitalxtra.com/news/what-did-dababy-say-homophobic-speech-rant-rolling-loud-festival-miami-video/\" target=\"_blank\" rel=\"noopener noreferrer\">had told\u003c/a> the audience: “If you didn’t show up today with HIV, AIDS, any of them deadly sexually transmitted diseases that’ll make you die in two or three weeks, put your cellphone light in the air.”\u003c/p>\n\u003cp>Music festivals including Lollapalooza, The Governors Ball and \u003ca href=\"https://twitter.com/aclfestival/status/1422573740311863300?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Austin City Limits Music Festival\u003c/a> canceled his appearances, and he lost a sponsorship deal with the clothing brand BooHoo.\u003c/p>\n\u003cp>DaBaby has grown into a \u003ca href=\"https://www.washingtonpost.com/entertainment/music/fresh-off-snl-performance-dababy-brought-his-hits--and-sketches--to-dc/2019/12/09/24e27f86-1a9c-11ea-977a-15a6710ed6da_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">critical\u003c/a> and commercial superstar in recent years, reigning over a powerful audience with his millions of followers on social media. He has won BET Awards and been nominated for Grammys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The swift fallout from his remarks could signify a change in attitudes toward what the music business will tolerate when it comes to explicitly offensive and exclusionary language from some of its biggest stars.\u003c/p>\n\u003cp>“I think there’s definitely a new moment,” says Brown University professor \u003ca href=\"http://www.triciarose.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tricia Rose\u003c/a> who has written two books on hip-hop.\u003c/p>\n\u003ch3>DaBaby has been accused of bad behavior before\u003c/h3>\n\u003cp>While Rose believes the festivals are doing the right thing by removing DaBaby from their rosters, she also sees more than a hint of hypocrisy in the organizers’ actions. She notes that the music industry has long tolerated and profited from artists like DaBaby, who has been \u003ca href=\"https://apnews.com/article/hip-hop-and-rap-arrests-us-news-dababy-eddf29e3456162fefbfb6b099f467c68\" target=\"_blank\" rel=\"noopener noreferrer\">accused\u003c/a> of bad behavior before this incident.\u003c/p>\n\u003cp>At the same Rolling Loud festival, for example, he followed \u003ca href=\"https://www.npr.org/artists/728754756/megan-thee-stallion\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Thee Stallion\u003c/a>‘s performance by bringing rapper Tory Lanez on stage, who \u003ca href=\"https://www.npr.org/2020/10/08/921902926/rapper-tory-lanez-charged-in-megan-thee-stallion-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Stallion alleges shot her in the foot\u003c/a> last year.\u003c/p>\n\u003cp>[aside postid='arts_13859570']“There’s many artists who are promoted by the industry, who are celebrated by the industry because of their, quote, unquote, edgy extreme behavior. That is a longstanding pattern that has not abated in any way,” Rose says. “Then when they step out of line about when and how they actually live into that identity, then there’s all this sort of ‘We’re all about peace, love and happiness.’ ”\u003c/p>\n\u003cp>Since the uproar, DaBaby has tried to be about peace and understanding in his efforts to counter the fallout. In his second \u003ca href=\"https://www.instagram.com/p/CSFMMBbpc3F/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a>, he wrote, “Social media moves so fast that people want to demolish you before you have a chance to grow, educate and learn from your mistakes.”\u003c/p>\n\u003ch3>Apologizing is one step; making amends is another\u003c/h3>\n\u003cp>\u003ca href=\"http://www.kevinpowell.net/about.php\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Powell\u003c/a>, who’s written extensively about hip-hop and toxic masculinity in American culture, says the language in DaBaby’s apology is important.\u003c/p>\n\u003cp>“I believe in counsel culture, not cancel culture,” says Powell. “Do we just want to keep canceling people out because of their racism, their sexism and homophobia, transphobia? Or do we actually want to educate people so we become a more educated populace so this does not become a normalized thing?”\u003c/p>\n\u003cp>Powell hopes DaBaby will do a lot more than just apologize for his behavior to protect his career.\u003c/p>\n\u003cp>“He has to be serious. No matter who you are you have to be serious about making amends. You have to become an advocate for women and girls. You have to become an advocate against homophobia and transphobia. You have to make amends by your actions or your deeds. It can’t just be an apology just because you’re trying to save your career,” Powell adds.\u003c/p>\n\u003cp>The uproar underscores how cultural attitudes about sexuality in pop music are changing. Right now, the openly gay rapper \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> has two hit songs and was \u003ca href=\"https://www.nytimes.com/2021/07/07/magazine/lil-nas-x.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently profiled\u003c/a> in \u003cem>The New York Times Magazine\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both Powell and Tricia Rose believe his success signals progress, but they also say the work toward a more inclusive music industry is far from over.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=The+Music+Industry+Is+Holding+DaBaby+Accountable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite multiple apologies, rapper \u003ca href=\"https://www.npr.org/artists/735842489/dababy\" target=\"_blank\" rel=\"noopener noreferrer\">DaBaby\u003c/a> continues to face criticism—and cancellations—for homophobic comments he made during the Rolling Loud festival in late July.\u003c/p>\n\u003cp>Dua Lipa, who features the rapper on her mega-hit song “\u003ca href=\"https://www.youtube.com/watch?v=TUVcZfQe-Kw\" target=\"_blank\" rel=\"noopener noreferrer\">Levitating\u003c/a>,” was among those who \u003ca href=\"https://variety.com/2021/music/news/dua-lipa-dababy-homophobic-remarks-1235028796/\" target=\"_blank\" rel=\"noopener noreferrer\">quickly criticized\u003c/a> him. \u003ca href=\"https://www.cnn.com/2021/07/30/entertainment/dababy-elton-madonna-backlash-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Elton John and Madonna\u003c/a> also lambasted DaBaby and railed against misinformation in his comments about HIV.\u003c/p>\n\u003cp>During the Miami performance, he \u003ca href=\"https://www.capitalxtra.com/news/what-did-dababy-say-homophobic-speech-rant-rolling-loud-festival-miami-video/\" target=\"_blank\" rel=\"noopener noreferrer\">had told\u003c/a> the audience: “If you didn’t show up today with HIV, AIDS, any of them deadly sexually transmitted diseases that’ll make you die in two or three weeks, put your cellphone light in the air.”\u003c/p>\n\u003cp>Music festivals including Lollapalooza, The Governors Ball and \u003ca href=\"https://twitter.com/aclfestival/status/1422573740311863300?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Austin City Limits Music Festival\u003c/a> canceled his appearances, and he lost a sponsorship deal with the clothing brand BooHoo.\u003c/p>\n\u003cp>DaBaby has grown into a \u003ca href=\"https://www.washingtonpost.com/entertainment/music/fresh-off-snl-performance-dababy-brought-his-hits--and-sketches--to-dc/2019/12/09/24e27f86-1a9c-11ea-977a-15a6710ed6da_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">critical\u003c/a> and commercial superstar in recent years, reigning over a powerful audience with his millions of followers on social media. He has won BET Awards and been nominated for Grammys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The swift fallout from his remarks could signify a change in attitudes toward what the music business will tolerate when it comes to explicitly offensive and exclusionary language from some of its biggest stars.\u003c/p>\n\u003cp>“I think there’s definitely a new moment,” says Brown University professor \u003ca href=\"http://www.triciarose.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tricia Rose\u003c/a> who has written two books on hip-hop.\u003c/p>\n\u003ch3>DaBaby has been accused of bad behavior before\u003c/h3>\n\u003cp>While Rose believes the festivals are doing the right thing by removing DaBaby from their rosters, she also sees more than a hint of hypocrisy in the organizers’ actions. She notes that the music industry has long tolerated and profited from artists like DaBaby, who has been \u003ca href=\"https://apnews.com/article/hip-hop-and-rap-arrests-us-news-dababy-eddf29e3456162fefbfb6b099f467c68\" target=\"_blank\" rel=\"noopener noreferrer\">accused\u003c/a> of bad behavior before this incident.\u003c/p>\n\u003cp>At the same Rolling Loud festival, for example, he followed \u003ca href=\"https://www.npr.org/artists/728754756/megan-thee-stallion\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Thee Stallion\u003c/a>‘s performance by bringing rapper Tory Lanez on stage, who \u003ca href=\"https://www.npr.org/2020/10/08/921902926/rapper-tory-lanez-charged-in-megan-thee-stallion-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Stallion alleges shot her in the foot\u003c/a> last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s many artists who are promoted by the industry, who are celebrated by the industry because of their, quote, unquote, edgy extreme behavior. That is a longstanding pattern that has not abated in any way,” Rose says. “Then when they step out of line about when and how they actually live into that identity, then there’s all this sort of ‘We’re all about peace, love and happiness.’ ”\u003c/p>\n\u003cp>Since the uproar, DaBaby has tried to be about peace and understanding in his efforts to counter the fallout. In his second \u003ca href=\"https://www.instagram.com/p/CSFMMBbpc3F/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a>, he wrote, “Social media moves so fast that people want to demolish you before you have a chance to grow, educate and learn from your mistakes.”\u003c/p>\n\u003ch3>Apologizing is one step; making amends is another\u003c/h3>\n\u003cp>\u003ca href=\"http://www.kevinpowell.net/about.php\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Powell\u003c/a>, who’s written extensively about hip-hop and toxic masculinity in American culture, says the language in DaBaby’s apology is important.\u003c/p>\n\u003cp>“I believe in counsel culture, not cancel culture,” says Powell. “Do we just want to keep canceling people out because of their racism, their sexism and homophobia, transphobia? Or do we actually want to educate people so we become a more educated populace so this does not become a normalized thing?”\u003c/p>\n\u003cp>Powell hopes DaBaby will do a lot more than just apologize for his behavior to protect his career.\u003c/p>\n\u003cp>“He has to be serious. No matter who you are you have to be serious about making amends. You have to become an advocate for women and girls. You have to become an advocate against homophobia and transphobia. You have to make amends by your actions or your deeds. It can’t just be an apology just because you’re trying to save your career,” Powell adds.\u003c/p>\n\u003cp>The uproar underscores how cultural attitudes about sexuality in pop music are changing. Right now, the openly gay rapper \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> has two hit songs and was \u003ca href=\"https://www.nytimes.com/2021/07/07/magazine/lil-nas-x.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently profiled\u003c/a> in \u003cem>The New York Times Magazine\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both Powell and Tricia Rose believe his success signals progress, but they also say the work toward a more inclusive music industry is far from over.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=The+Music+Industry+Is+Holding+DaBaby+Accountable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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