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"content": "\u003cp>Eight years ago, \u003ca href=\"https://www.npr.org/2013/05/21/180640022/soderberghs-liberace-behind-the-candelabra\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Soderbergh\u003c/a> announced his retirement from feature filmmaking. Happily for us, it turned out to be short-lived. Since 2017 he’s been on a tear, cranking out one or two new movies a year, among them the brilliant NASCAR heist thriller \u003ca href=\"https://www.npr.org/2017/08/17/542881550/a-nascar-caper-comedy-fueled-by-thick-southern-accents-logan-lucky\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Logan Lucky\u003c/em>\u003c/a>, the sharp sports-agency drama \u003ca href=\"https://www.npr.org/2019/02/08/691314350/the-business-of-sport-takes-center-stage-in-soderberghs-high-flying-bird\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>High Flying Bird\u003c/em>\u003c/a> and \u003cem>The Laundromat\u003c/em>, an irreverent look at financial fraud in the 21st century. What connects these movies is how attuned they are to matters of class and money in a way that’s still pretty rare in Hollywood.\u003c/p>\n\u003cp>Soderbergh’s engrossing new movie, \u003cem>No Sudden Move\u003c/em>, continues this trend. It’s an ensemble crime thriller set in 1954 Detroit, a gorgeously designed world of fedoras and trenchcoats, smoky wood-paneled offices and vintage automobiles. Like the classic ’50s noirs that inspired it, Ed Solomon’s densely plotted script is full of double-crosses and dirty dealings.\u003c/p>\n\u003cp>[aside postid='arts_25363']At the center of the story are two crooks: Don Cheadle plays Curt Goynes, and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1585570\" target=\"_blank\" rel=\"noopener noreferrer\">Benicio Del Toro\u003c/a> plays Ronald Russo. They’re low-level gangsters who’ve been hired by a Mr. Jones—a nicely menacing turn by Brendan Fraser—as part of a plan to coerce a guy named Mark into stealing a top-secret document from the company where he works.\u003c/p>\n\u003cp>Curt and Ronald’s job is to “babysit” Mark’s wife and kids at their home while the theft is taking place. But as you might expect from a tense situation with masked men, loaded guns and a terrified family, the scheme quickly goes awry. Amid the fallout, Curt and Ronald realize they’ve been drawn into a major corporate conspiracy.\u003c/p>\n\u003cp>When the document eventually falls into their possession, they realize they could profit handsomely if they play their cards right—and if they stay alive. It’s a big “if,” as they soon learn there’s a price on their heads. Over the next few days, they run afoul of any number of nasty characters, including a local kingpin played by \u003ca href=\"https://www.npr.org/2012/04/05/148921156/many-colors-of-prejudice-are-revealed-in-dark-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Duke\u003c/a>, and a surly gangster played by an amusingly typecast\u003ca href=\"https://www.npr.org/2016/01/12/462773313/ray-liotta-on-goodfellas-acting-and-his-return-to-tv\" target=\"_blank\" rel=\"noopener noreferrer\"> Ray Liotta\u003c/a>. \u003ca href=\"https://www.npr.org/2010/09/16/129904576/a-transformative-year-for-don-draper-jon-hamm\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Hamm\u003c/a> turns up as a nosy police detective—and looks right at home in the decade before \u003ca href=\"https://www.npr.org/2015/05/18/407619617/mad-men-ends-how-was-the-finale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Men\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7GRDLX3a-IE\u003c/p>\n\u003cp>Through it all, Cheadle and Del Toro, who have both worked with Soderbergh before, maintain a nicely combative rapport, playing two very different men who have grown weary of their lives of crime. While Ronald plans to retire, Curt has nobler intentions: He wants to pour some of the spoils back into the Black communities in Detroit that have suffered heavily under \u003ca href=\"https://www.npr.org/2017/05/03/526655831/a-forgotten-history-of-how-the-u-s-government-segregated-america\" target=\"_blank\" rel=\"noopener noreferrer\">racist housing policies\u003c/a> and zoning laws.\u003c/p>\n\u003cp>[aside postid='arts_120058']Those are just a few of the many social issues the movie touches on, including the tensions between the city’s Black and Italian populations and the disastrous environmental consequences of an unchecked automobile industry. These matters aren’t always woven as smoothly into the story as they could have been, but they give \u003cem>No Sudden Move\u003c/em> a potent edge nonetheless. You’re pulled in by the suave camerawork and \u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Beachler\u003c/a>‘s rich mid-century production design, but you’re also made aware of the inequities churning beneath the surface.\u003c/p>\n\u003cp>That social conscience is nothing new for Soderbergh, who’s made some of his best movies about working-class strivers, from \u003cem>Erin Brockovich\u003c/em> to \u003ca href=\"https://www.npr.org/2012/06/28/155706959/magic-mike-flesh-aplenty-but-more-than-skin-deep\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Magic Mike\u003c/em>\u003c/a>. Here he’s less focused on individuals than an entire corrupt system, showing us how the men in the executive suites are as crooked as the ones shooting each other in the streets. But while \u003cem>No Sudden Move\u003c/em> does feature a lot of awful male misbehavior, Soderbergh has always been just as interested in his female characters, and he doesn’t neglect the crucial roles played by the women in this ’50s gangland setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amy Seimetz—a key force on the Soderbergh-produced series \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=104325729\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Girlfriend Experience\u003c/em>\u003c/a>—gives one of the movie’s best performances as Mark’s wife, Mary. Unlike her feckless fool of a husband, she handles a scary situation with unflappable smarts and courage. There are other terrific actors, too, like Lauren LaStrada, Julia Fox and Frankie Shaw: They may be playing housewives or mistresses or secretaries, but they all have an inner strength or defiant streak, a refusal to let the caddish and controlling men in their lives call the shots. I’d gladly follow any of them into movies of their own—especially if Soderbergh is around to direct them.\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=%27No+Sudden+Move%27+Intrigues+With+Double-Crosses%2C+Dirty+Dealings+In+1950s+Detroit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Those are just a few of the many social issues the movie touches on, including the tensions between the city’s Black and Italian populations and the disastrous environmental consequences of an unchecked automobile industry. These matters aren’t always woven as smoothly into the story as they could have been, but they give \u003cem>No Sudden Move\u003c/em> a potent edge nonetheless. You’re pulled in by the suave camerawork and \u003ca href=\"https://www.npr.org/2019/02/22/696687965/she-designed-wakanda-and-might-win-an-oscar-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Beachler\u003c/a>‘s rich mid-century production design, but you’re also made aware of the inequities churning beneath the surface.\u003c/p>\n\u003cp>That social conscience is nothing new for Soderbergh, who’s made some of his best movies about working-class strivers, from \u003cem>Erin Brockovich\u003c/em> to \u003ca href=\"https://www.npr.org/2012/06/28/155706959/magic-mike-flesh-aplenty-but-more-than-skin-deep\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Magic Mike\u003c/em>\u003c/a>. Here he’s less focused on individuals than an entire corrupt system, showing us how the men in the executive suites are as crooked as the ones shooting each other in the streets. But while \u003cem>No Sudden Move\u003c/em> does feature a lot of awful male misbehavior, Soderbergh has always been just as interested in his female characters, and he doesn’t neglect the crucial roles played by the women in this ’50s gangland setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amy Seimetz—a key force on the Soderbergh-produced series \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=104325729\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Girlfriend Experience\u003c/em>\u003c/a>—gives one of the movie’s best performances as Mark’s wife, Mary. Unlike her feckless fool of a husband, she handles a scary situation with unflappable smarts and courage. There are other terrific actors, too, like Lauren LaStrada, Julia Fox and Frankie Shaw: They may be playing housewives or mistresses or secretaries, but they all have an inner strength or defiant streak, a refusal to let the caddish and controlling men in their lives call the shots. I’d gladly follow any of them into movies of their own—especially if Soderbergh is around to direct them.\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=%27No+Sudden+Move%27+Intrigues+With+Double-Crosses%2C+Dirty+Dealings+In+1950s+Detroit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What's Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading",
"headTitle": "What’s Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading | KQED",
"content": "\u003cp>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x580mowu5Gs\u003c/p>\n\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QpE4893PxqE\u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/CQuf18ajNIr/\u003c/p>\n\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oCUFC-ULdOk\u003c/p>\n\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MBPzxmxf9ig\u003c/p>\n\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\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>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x580mowu5Gs'\n title='//www.youtube.com/embed/x580mowu5Gs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QpE4893PxqE'\n title='//www.youtube.com/embed/QpE4893PxqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oCUFC-ULdOk'\n title='//www.youtube.com/embed/oCUFC-ULdOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\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/MBPzxmxf9ig'\n title='//www.youtube.com/embed/MBPzxmxf9ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\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": "'Summer of Soul' Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock",
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"content": "\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1-siC9cugqA\u003c/p>\n\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>[aside postid='arts_13889915']“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He has reclaimed a crucial moment in history, reminding the world of the resilience and power of Black culture in the process.\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=%27Summer+Of+Soul%27+Celebrates+A+1969+Black+Cultural+Festival+Eclipsed+By+Woodstock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\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/1-siC9cugqA'\n title='//www.youtube.com/embed/1-siC9cugqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Comedian Bill Cosby has been released from prison after the Pennsylvania Supreme Court has vacated the indecent assault conviction against him. \u003c/p>\n\u003cp>The court’s decision upends the long-running legal battle against the once-beloved actor, whose conviction marked a major milestone in the #MeToo movement after he was accused of sexual misconduct by dozens of women stretching back decades.\u003c/p>\n\u003cp>In an opinion issued Wednesday, the court found that Cosby’s due process rights were violated when he was charged for a 2004 assault after prosecutors previously told the comedian they wouldn’t bring criminal charges against him.\u003c/p>\n\u003cp>Cosby, 83, has served two years of a three to 10 year sentence. He has been incarcerated at SCI Phoenix, a \u003ca href=\"https://www.cor.pa.gov/Facilities/StatePrisons/Pages/Phoenix.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">maximum security prison\u003c/a> in Montgomery County.\u003c/p>\n\u003cp>He was released just before 2:30pm local time, Pennsylvania Department of Corrections spokesperson Maria Bivens confirmed to NPR.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In April 2018, Cosby was found guilty of three counts of aggravated indecent assault for drugging and sexually assaulting Andrea Constand at his home in Cheltenham, outside Philadelphia.\u003c/p>\n\u003cp>Constand, who had been working for the women’s basketball team at Temple University, also settled her civil suit with Cosby for $3.38 million.\u003c/p>\n\u003cp>In December 2019, \u003ca href=\"https://www.npr.org/2019/12/10/786678567/bill-cosby-loses-appeal-of-sexual-assault-conviction\" target=\"_blank\" rel=\"noopener noreferrer\">Cosby lost an appeal\u003c/a> of his sexual assault conviction.\u003c/p>\n\u003ch2>An apparent prosecutor’s promise is central to this controversy\u003c/h2>\n\u003cp>The Pennsylvania high court’s opinion centered around former Montgomery County District Attorney Bruce Castor’s assurance to Cosby in 2005 that he would not be charged for drugging and sexually assaulting Constand. \u003c/p>\n\u003cp>Any agreement between Castor and Cosby was never put into writing, the justices say. \u003c/p>\n\u003cp>The opinion states that Castor thought a criminal prosecution could be difficult, partly because Constand did not immediately file a complaint against Cosby. The opinion says he was also concerned about a lack of forensic evidence, and declined to prosecute the comedian. \u003c/p>\n\u003cp>Castor said at the time that Constand’s best chance at justice for her assault was a civil lawsuit, and if Cosby knew he would not face criminal charges, then he couldn’t invoke his Fifth Amendment right in the civil action.\u003c/p>\n\u003cp>Cosby provided four depositions in which he made “several incriminating statements,” according to the opinion. \u003c/p>\n\u003cp>“The end result was exactly what D.A. Castor intended: Cosby gave up his rights, and Constand received significant financial relief,” the court wrote. “Cosby was compelled to give inculpatory evidence that led ultimately to a multimillion dollar settlement.”\u003c/p>\n\u003cp>Years later, when succeeding prosecutors reopened the criminal case and filed criminal charges against Cosby, the depositions under oath were used against him at his trial. \u003c/p>\n\u003cp>The justices described the about-face as “an affront to fundamental fairness,” saying “no mere changing of the guard strips that circumstance of its inequity.”\u003c/p>\n\u003cp>The justices did not all agree on this matter. Three joined in the opinion, and the three remaining justices filed two separate opinions.\u003c/p>\n\u003cp>For example, in his dissent, Justice Thomas Saylor noted that a lower court made an “explicit finding Castor made no promise that the Commonwealth would never prosecute.” He questioned whether the available evidence really shows that such a promise was made. \u003c/p>\n\u003cp>The Montgomery County District Attorney’s office did not immediately respond to a request for comment. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Bill Cosby has been released from prison after the Pennsylvania Supreme Court has vacated the indecent assault conviction against him. \u003c/p>\n\u003cp>The court’s decision upends the long-running legal battle against the once-beloved actor, whose conviction marked a major milestone in the #MeToo movement after he was accused of sexual misconduct by dozens of women stretching back decades.\u003c/p>\n\u003cp>In an opinion issued Wednesday, the court found that Cosby’s due process rights were violated when he was charged for a 2004 assault after prosecutors previously told the comedian they wouldn’t bring criminal charges against him.\u003c/p>\n\u003cp>Cosby, 83, has served two years of a three to 10 year sentence. He has been incarcerated at SCI Phoenix, a \u003ca href=\"https://www.cor.pa.gov/Facilities/StatePrisons/Pages/Phoenix.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">maximum security prison\u003c/a> in Montgomery County.\u003c/p>\n\u003cp>He was released just before 2:30pm local time, Pennsylvania Department of Corrections spokesperson Maria Bivens confirmed to NPR.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In April 2018, Cosby was found guilty of three counts of aggravated indecent assault for drugging and sexually assaulting Andrea Constand at his home in Cheltenham, outside Philadelphia.\u003c/p>\n\u003cp>Constand, who had been working for the women’s basketball team at Temple University, also settled her civil suit with Cosby for $3.38 million.\u003c/p>\n\u003cp>In December 2019, \u003ca href=\"https://www.npr.org/2019/12/10/786678567/bill-cosby-loses-appeal-of-sexual-assault-conviction\" target=\"_blank\" rel=\"noopener noreferrer\">Cosby lost an appeal\u003c/a> of his sexual assault conviction.\u003c/p>\n\u003ch2>An apparent prosecutor’s promise is central to this controversy\u003c/h2>\n\u003cp>The Pennsylvania high court’s opinion centered around former Montgomery County District Attorney Bruce Castor’s assurance to Cosby in 2005 that he would not be charged for drugging and sexually assaulting Constand. \u003c/p>\n\u003cp>Any agreement between Castor and Cosby was never put into writing, the justices say. \u003c/p>\n\u003cp>The opinion states that Castor thought a criminal prosecution could be difficult, partly because Constand did not immediately file a complaint against Cosby. The opinion says he was also concerned about a lack of forensic evidence, and declined to prosecute the comedian. \u003c/p>\n\u003cp>Castor said at the time that Constand’s best chance at justice for her assault was a civil lawsuit, and if Cosby knew he would not face criminal charges, then he couldn’t invoke his Fifth Amendment right in the civil action.\u003c/p>\n\u003cp>Cosby provided four depositions in which he made “several incriminating statements,” according to the opinion. \u003c/p>\n\u003cp>“The end result was exactly what D.A. Castor intended: Cosby gave up his rights, and Constand received significant financial relief,” the court wrote. “Cosby was compelled to give inculpatory evidence that led ultimately to a multimillion dollar settlement.”\u003c/p>\n\u003cp>Years later, when succeeding prosecutors reopened the criminal case and filed criminal charges against Cosby, the depositions under oath were used against him at his trial. \u003c/p>\n\u003cp>The justices described the about-face as “an affront to fundamental fairness,” saying “no mere changing of the guard strips that circumstance of its inequity.”\u003c/p>\n\u003cp>The justices did not all agree on this matter. Three joined in the opinion, and the three remaining justices filed two separate opinions.\u003c/p>\n\u003cp>For example, in his dissent, Justice Thomas Saylor noted that a lower court made an “explicit finding Castor made no promise that the Commonwealth would never prosecute.” He questioned whether the available evidence really shows that such a promise was made. \u003c/p>\n\u003cp>The Montgomery County District Attorney’s office did not immediately respond to a request for comment. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Young Love Shines in the Dark in ‘Blackout,’ a New YA Story Collection",
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"content": "\u003cp>During the 2020 pandemic, six best-selling African American young adult novelists put their time to good use by combining their enormous talents for this collection of stories about young Black teens in love. Set in one of America’s most romantic cities (IMHO)—New York City—these tales of Black love celebrate family as much as they showcase the many ways teenage love can claim a heart.\u003c/p>\n\u003cfigure id=\"attachment_13899552\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932.jpg\" alt=\"'Blackout,' by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon.\" width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932-160x242.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Blackout,’ by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon. \u003ccite>(Quill Tree Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stories in \u003cem>Blackout\u003c/em>—by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon—are set during a present-day New York City blackout. This means no electricity, no operating subways, trains of any kind, traffic lights, elevators, air conditioning—you name it, if it needs electrical juice, forget about it.\u003c/p>\n\u003cp>And since the protagonists in each of these stories are traveling to (or maybe not directly to) Twig’s block party in Brooklyn, they are all on the move with the threat of darkness closing in.\u003c/p>\n\u003cp>That darkness is what connects and elevates these stories. Under cover of night, these teens in love have a chance to face their true desires, fears, and significant others with honesty—easier to talk in dim light than bright sunshine. The blackout also conjures expectations of isolation, hiding in small dark spaces—characters who can’t see, can’t do, can’t move. But in \u003cem>Blackout\u003c/em>, it’s summer in New York City, so when the electricity fails, there are still a few hours of daylight remaining. Just enough time for these kids to fix what’s wrong in their lives before darkness falls.\u003c/p>\n\u003cp>You see, young love can’t sit still when the lights threaten to go out—both metaphorically and literally—but thankfully, these teens also have the benefit of young legs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “The Long Walk” by Tiffany D. Jackson (the story with the longest central arc), Tammi and Kareem are exes who run into each other at a job interview. When the electricity goes bye-bye, they begin the trek from Manhattan to Brooklyn and, for the first time since their breakup, have a chance to talk and discover the real reason their love story went wrong.\u003c/p>\n\u003cp>Nic Stone’s “Mask Off” is about a basketball superstar who has more on his mind than playing college ball. A young man he cares about is a passenger on the same subway car, stuck in the dark between stops—and getting “unstuck” is what Jacorey “JJ” Harding, Jr. seeks. In Ashley Woodfolk’s “Made to Fit,” Nella regularly visits Althea House, where her Grandpop resides. During a search for a missing photo, Nella, with the help of a new acquaintance, a girl named Joss (and her dog Ziggy), learns more than she bargained for about self-confidence.\u003c/p>\n\u003cp>The idea of being stuck—like JJ on the subway, unable to acknowledge his true self—pops up throughout the book. In “All the Great Love Stories … and Dust,” by Dhonielle Clayton, Lana and Tristán are stuck in the New York Public Library, which does put a hitch in her plans, but somehow, Lana will find the courage to say what she must to Tristán, no matter how difficult it is. Meanwhile, a group of students from Jackson, Mississippi, are onboard a double-decker bus for a class trip in “No Sleep ‘Til Brooklyn” by Angie Thomas, and among them is Kayla, who must choose between two loves—or is it three?\u003c/p>\n\u003cp>Eventually all of \u003cem>Blackout\u003c/em>‘s characters take off the blinders, and from JJ to Tammi, Nella, Lana, and more, these thoughtful, respectful, kind and endearing Black teens are also boldly courageous.\u003c/p>\n\u003cp>“Seymour and Grace,” by Nicola Yoon, provides a cautionary tale about judging a book by its cover—or a rideshare driver by his favorite podcast, as Grace does when she turns up her nose at Seymour’s job and his choice of listening entertainment. They both arrive safely at Twix’s block party—but by that point, going their separate ways turns out to be more complicated than expected.\u003c/p>\n\u003cp>[aside postid='arts_13899078']These stories are not only uplifting tales of young Black love; they also celebrate family and city. Grandparents and parents are as much a part of this collection as each story’s protagonists and their goals. The multigenerational inclusion makes a strong and positive statement about Black families, while creating mirror narratives reaching back to past blackouts in 2003 and 1977—for example, Tammi and Kareem’s long walk mirrors another couple’s stroll decades earlier, during that 1977 blackout; it marks one of the collection’s many heartfelt moments when the stories intersect on one or more levels.\u003c/p>\n\u003cp>The end of this collection came fast, and frankly, I could have used a few more scenes at the block party, if only to kick back and have some more time with these characters, and their big hearts, wise decisions, and joy. I wanted to party with these new friends, listen to some music, and enjoy Brooklyn.\u003c/p>\n\u003cp>In \u003cem>Blackouts\u003c/em>, young Black love with all its insecurities, mistakes, emotion, honesty, and humanity makes for a lush read. Even amidst their fears, these characters are wonderfully respectful of each other’s choices. You will root for them all to find their own right love at their own right time. And though it was written for young adults, \u003cem>Blackout\u003c/em> is a must-read for all generations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Denny S. Bryce is the author of the historical novel \u003c/em>Wild Women and the Blues.\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=Young+Love+Shines+In+The+Dark+In+This+New+Story+Collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the 2020 pandemic, six best-selling African American young adult novelists put their time to good use by combining their enormous talents for this collection of stories about young Black teens in love. Set in one of America’s most romantic cities (IMHO)—New York City—these tales of Black love celebrate family as much as they showcase the many ways teenage love can claim a heart.\u003c/p>\n\u003cfigure id=\"attachment_13899552\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932.jpg\" alt=\"'Blackout,' by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon.\" width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81ydihmbfll_custom-2b042796ae85d821399fb8ec33277a1b26ce8932-160x242.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Blackout,’ by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon. \u003ccite>(Quill Tree Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stories in \u003cem>Blackout\u003c/em>—by Dhonielle Clayton, Tiffany D. Jackson, Nic Stone, Angie Thomas, Ashley Woodfolk, and Nicola Yoon—are set during a present-day New York City blackout. This means no electricity, no operating subways, trains of any kind, traffic lights, elevators, air conditioning—you name it, if it needs electrical juice, forget about it.\u003c/p>\n\u003cp>And since the protagonists in each of these stories are traveling to (or maybe not directly to) Twig’s block party in Brooklyn, they are all on the move with the threat of darkness closing in.\u003c/p>\n\u003cp>That darkness is what connects and elevates these stories. Under cover of night, these teens in love have a chance to face their true desires, fears, and significant others with honesty—easier to talk in dim light than bright sunshine. The blackout also conjures expectations of isolation, hiding in small dark spaces—characters who can’t see, can’t do, can’t move. But in \u003cem>Blackout\u003c/em>, it’s summer in New York City, so when the electricity fails, there are still a few hours of daylight remaining. Just enough time for these kids to fix what’s wrong in their lives before darkness falls.\u003c/p>\n\u003cp>You see, young love can’t sit still when the lights threaten to go out—both metaphorically and literally—but thankfully, these teens also have the benefit of young legs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “The Long Walk” by Tiffany D. Jackson (the story with the longest central arc), Tammi and Kareem are exes who run into each other at a job interview. When the electricity goes bye-bye, they begin the trek from Manhattan to Brooklyn and, for the first time since their breakup, have a chance to talk and discover the real reason their love story went wrong.\u003c/p>\n\u003cp>Nic Stone’s “Mask Off” is about a basketball superstar who has more on his mind than playing college ball. A young man he cares about is a passenger on the same subway car, stuck in the dark between stops—and getting “unstuck” is what Jacorey “JJ” Harding, Jr. seeks. In Ashley Woodfolk’s “Made to Fit,” Nella regularly visits Althea House, where her Grandpop resides. During a search for a missing photo, Nella, with the help of a new acquaintance, a girl named Joss (and her dog Ziggy), learns more than she bargained for about self-confidence.\u003c/p>\n\u003cp>The idea of being stuck—like JJ on the subway, unable to acknowledge his true self—pops up throughout the book. In “All the Great Love Stories … and Dust,” by Dhonielle Clayton, Lana and Tristán are stuck in the New York Public Library, which does put a hitch in her plans, but somehow, Lana will find the courage to say what she must to Tristán, no matter how difficult it is. Meanwhile, a group of students from Jackson, Mississippi, are onboard a double-decker bus for a class trip in “No Sleep ‘Til Brooklyn” by Angie Thomas, and among them is Kayla, who must choose between two loves—or is it three?\u003c/p>\n\u003cp>Eventually all of \u003cem>Blackout\u003c/em>‘s characters take off the blinders, and from JJ to Tammi, Nella, Lana, and more, these thoughtful, respectful, kind and endearing Black teens are also boldly courageous.\u003c/p>\n\u003cp>“Seymour and Grace,” by Nicola Yoon, provides a cautionary tale about judging a book by its cover—or a rideshare driver by his favorite podcast, as Grace does when she turns up her nose at Seymour’s job and his choice of listening entertainment. They both arrive safely at Twix’s block party—but by that point, going their separate ways turns out to be more complicated than expected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These stories are not only uplifting tales of young Black love; they also celebrate family and city. Grandparents and parents are as much a part of this collection as each story’s protagonists and their goals. The multigenerational inclusion makes a strong and positive statement about Black families, while creating mirror narratives reaching back to past blackouts in 2003 and 1977—for example, Tammi and Kareem’s long walk mirrors another couple’s stroll decades earlier, during that 1977 blackout; it marks one of the collection’s many heartfelt moments when the stories intersect on one or more levels.\u003c/p>\n\u003cp>The end of this collection came fast, and frankly, I could have used a few more scenes at the block party, if only to kick back and have some more time with these characters, and their big hearts, wise decisions, and joy. I wanted to party with these new friends, listen to some music, and enjoy Brooklyn.\u003c/p>\n\u003cp>In \u003cem>Blackouts\u003c/em>, young Black love with all its insecurities, mistakes, emotion, honesty, and humanity makes for a lush read. Even amidst their fears, these characters are wonderfully respectful of each other’s choices. You will root for them all to find their own right love at their own right time. And though it was written for young adults, \u003cem>Blackout\u003c/em> is a must-read for all generations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Denny S. Bryce is the author of the historical novel \u003c/em>Wild Women and the Blues.\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=Young+Love+Shines+In+The+Dark+In+This+New+Story+Collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Zola' Takes a Twitter Thread and Turns It Into a Fever Dream on Film",
"headTitle": "‘Zola’ Takes a Twitter Thread and Turns It Into a Fever Dream on Film | KQED",
"content": "\u003cp>There are eyes, and then there are Taylour Paige’s eyes.\u003c/p>\n\u003cp>In \u003cem>Zola\u003c/em>, a crackling, absurdist road trip movie inspired by a crackling, absurdist Twitter thread, the camera’s gaze is frequently drawn to the bodily form—a stripper’s smooth, exposed curves; a man’s languid, exposed junk; lips being painted a deep cherry red; long, slender fingernails clinking against a window.\u003c/p>\n\u003cp>But then there are Paige’s eyes, which convey more in a shift, squint, or roll than some performers can with their entire corporeal being. Those glances, those \u003cem>looks\u003c/em>, are the delectable amuse-bouche in this feast of storytelling, and a grounding presence for the viewer amidst all the madness and weirdness that ultimately unfolds.\u003c/p>\n\u003cp>But hold up—\u003cem>insert brief freeze-frame here—\u003c/em>allow me to back up and explain. In 2015, a Detroit waitress and exotic dancer named A’Ziah “Zola” King crafted a viral, vivid \u003ca href=\"https://imgur.com/a/WDwyW\" target=\"_blank\" rel=\"noopener noreferrer\">148-tweet thread\u003c/a> recounting a wild trip she took to Tampa, Fla. upon an invitation from Jessica, a white woman and fellow exotic dancer she’d known for exactly one day. The story involved a cast of indelible characters, including Jessica’s pimp Z, a menacing dude who would suddenly possess an “African accent” during fits of rage, and Jessica’s boyfriend Jarret, an awkward, pitiful guy who just wanted her to stop being a sex worker.\u003c/p>\n\u003cp>Yet Zola herself was undoubtedly the star of this story. From that very first opening line, accompanied by selfies of the author and Jessica together, it was obvious she has a bold personality and a spiky way with words: “Y’all wanna hear a story about why me and this b—- here fell out???????? It’s kind of long but full of suspense.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And now Zola’s comedy of errors has been dramatized for the screen, directed by Janicza Bravo, who co-wrote the script with Jeremy O. Harris. Their \u003cem>Zola \u003c/em>wisely takes its cues from the source, hewing closely to the main plot twists and turns, sometimes quoting King’s Tweets directly. Names have been changed: Jessica is now Stefani (Riley Keough), Z is now X (Colman Domingo) and Jarrett is now Derrek (Nicholas Braun). But these colorful characters build on the energy of that thread, playing even more vividly than you might have imagined them in your head.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=24KbaKlCDDI\u003c/p>\n\u003cp>Stefani is bombastic, spilling forth with an over-the-top “blaccent”—perhaps Keough is channeling Bhad Bhabie, the white rapper and celebrity who became known as the \u003ca href=\"https://nymag.com/intelligencer/2017/02/what-is-cash-me-outside-howbow-dat-meme-from-dr-phil.html\" target=\"_blank\" rel=\"noopener noreferrer\">“Cash me outside” girl\u003c/a> after an infamous appearance on \u003cem>Dr. Phil—\u003c/em>that is at once inviting and ominous. From the get-go she seems suspect, a little too friendly and overly familiar when first encountering Zola, her waitress at a sports bar-type establishment. (Her first comment to Zola is an unfiltered compliment of her breasts.) And Zola herself seems wary of this whirlwind of a woman—again, it’s all there in the eyes—but you can also see how someone like her might be seduced into traveling across the country with a complete stranger like Stefani, who promises a windfall of cash for a night or two of dancing at a club. It’s because of the money, yes, but it’s also because of the possibility for adventure.\u003c/p>\n\u003cp>[aside postid='arts_13898815']Of course, if you recall the Tweets that started it all, you’re aware Zola isn’t so much seduced as she is bamboozled by Stefani, and once they’ve reached the south, things quickly go south. In the vein of plenty of movies set in Florida—especially \u003cem>Spring Breakers\u003c/em>, another tale of young white women gone ratchet—there’s always a sense that danger; the truly bizarre, or some combination of the two, is lurking around every corner. There’s a surrealistic quality to the aesthetic, the camera’s lens emitting a haze evoking both humidity and a dream-like state.\u003c/p>\n\u003cp>Writer-director Janicza Bravo and co-writer Jeremy O. Harris find a distinct, playful rhythm in nearly every image, sound, and piece of dialogue. Text message exchanges don’t appear onscreen as they would on a phone, but instead are spoken aloud by the actors in a borderline-mono-tone as they type and recite at the same time; it suggests the zombifying role technology plays in our lives even as it carves out more avenues for connection. As if mimicking re-tweet and share buttons, dialogue, imagery, and sounds are often repeated, layered side by side or intermittent. (One striking motif depicts Zola posing and preening in a hall of mirrors, her many reflections spanning the entire frame).\u003c/p>\n\u003cp>And as Paige’s Zola narrates the adventure, she echoes the real-life Zola’s written cadence, delivering some of the film’s funniest moments as she reacts to her increasingly worrying surroundings. A movie like this could easily turn into a tale where the protagonist is merely a bystander along with the viewer, with everything happening \u003cem>to \u003c/em>her and no sign of agency or personality in sight. But again, I come back to Paige’s performance and how so much of it rides on what she does with those eyes, and not what she says. You know how there are some people who suck at making a poker face—the ones who just can’t possibly suppress the expressions that stream across their face no matter how hard they try? That’s Zola. During one of the movie’s recurring freeze-frame moments, Zola advises us to “watch every move” Stefani makes going forward. The same should be stressed in regard to Zola, who seems to instinctively know when to sit back and observe, when to assert herself, and when she needs to be worried. It’s all there on her face.\u003c/p>\n\u003cfigure id=\"attachment_13899532\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899532\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/zola-5033f45e6ba789860df90780db58ea54dc1d49aa-800x600.jpg\" alt=\"Taylour Paige stars as the on-screen incarnation of Zola.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Taylour Paige stars as the on-screen incarnation of Zola. \u003ccite>(A24 Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The real-life Zola was reportedly involved behind-the-scenes, \u003ca href=\"https://www.vulture.com/article/aziah-zola-king-profile.html\" target=\"_blank\" rel=\"noopener noreferrer\">approving the script\u003c/a> and receiving an executive producing credit, a move that seems to have kept the film from the very real danger of being exploitative of King’s story. It also helps that Bravo and Harris are an ideal match for this narrative, as both creators possess styles tending to revel in the discomforting and disorienting as a means of saying the quiet, horrifying parts people are not “supposed to” reveal out loud. (See \u003cem>Lemon\u003c/em>, Bravo’s subversive directorial debut interrogating an insidious brand of white male intellectualism; and \u003cem>Slave Play\u003c/em>, Harris’s polarizing, Tony-nominated Broadway debut bluntly confronting modern interracial relationships.)\u003c/p>\n\u003cp>[aside postid='arts_13898794']These perspectives help bring \u003cem>Zola \u003c/em>into a realm beyond clever Twitter adaptation, and center her point of view as an illustration of the precarity of existing as a Black woman in the world. When Zola does choose to assert herself and make her feelings known—”This is messy! \u003cem>You \u003c/em>are messy!”—she’s routinely dismissed and ignored by the others. It’s an extreme representation of a common feeling many Black women have felt at one time or another: How you can be taken advantage of and told everything is fine when you know in your gut that it’s not; can be told you’re overreacting to something that’s happening to you when you know you’re supposed to feel this way. In fact, it’s \u003cem>good \u003c/em>and \u003cem>smart \u003c/em>to feel this way, because that’s how you preserve yourself. Zola’s whirlwind dalliance with Stefani and her associates plays like a fever dream doubling as an allegory for gaslighting. It’s a jolt when, at a pivotal point, she wonders aloud, “Who’s looking out for \u003cem>me\u003c/em>?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The third act stumbles a bit over typical third-act problems—how to maintain momentum and surprise after so much build amidst twists and turns?—and the ending feels to me a bit abrupt. But it’s a small price to pay for entering this realm and experiencing it through Zola’s eyes, in all its richness. It may have taken several years to shift from tweet to screen, but it’s well worth the wait.\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=%27Zola%27+Takes+A+Twitter+Thread+And+Turns+It+Into+A+Fever+Dream+On+Film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are eyes, and then there are Taylour Paige’s eyes.\u003c/p>\n\u003cp>In \u003cem>Zola\u003c/em>, a crackling, absurdist road trip movie inspired by a crackling, absurdist Twitter thread, the camera’s gaze is frequently drawn to the bodily form—a stripper’s smooth, exposed curves; a man’s languid, exposed junk; lips being painted a deep cherry red; long, slender fingernails clinking against a window.\u003c/p>\n\u003cp>But then there are Paige’s eyes, which convey more in a shift, squint, or roll than some performers can with their entire corporeal being. Those glances, those \u003cem>looks\u003c/em>, are the delectable amuse-bouche in this feast of storytelling, and a grounding presence for the viewer amidst all the madness and weirdness that ultimately unfolds.\u003c/p>\n\u003cp>But hold up—\u003cem>insert brief freeze-frame here—\u003c/em>allow me to back up and explain. In 2015, a Detroit waitress and exotic dancer named A’Ziah “Zola” King crafted a viral, vivid \u003ca href=\"https://imgur.com/a/WDwyW\" target=\"_blank\" rel=\"noopener noreferrer\">148-tweet thread\u003c/a> recounting a wild trip she took to Tampa, Fla. upon an invitation from Jessica, a white woman and fellow exotic dancer she’d known for exactly one day. The story involved a cast of indelible characters, including Jessica’s pimp Z, a menacing dude who would suddenly possess an “African accent” during fits of rage, and Jessica’s boyfriend Jarret, an awkward, pitiful guy who just wanted her to stop being a sex worker.\u003c/p>\n\u003cp>Yet Zola herself was undoubtedly the star of this story. From that very first opening line, accompanied by selfies of the author and Jessica together, it was obvious she has a bold personality and a spiky way with words: “Y’all wanna hear a story about why me and this b—- here fell out???????? It’s kind of long but full of suspense.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now Zola’s comedy of errors has been dramatized for the screen, directed by Janicza Bravo, who co-wrote the script with Jeremy O. Harris. Their \u003cem>Zola \u003c/em>wisely takes its cues from the source, hewing closely to the main plot twists and turns, sometimes quoting King’s Tweets directly. Names have been changed: Jessica is now Stefani (Riley Keough), Z is now X (Colman Domingo) and Jarrett is now Derrek (Nicholas Braun). But these colorful characters build on the energy of that thread, playing even more vividly than you might have imagined them in your head.\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/24KbaKlCDDI'\n title='//www.youtube.com/embed/24KbaKlCDDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stefani is bombastic, spilling forth with an over-the-top “blaccent”—perhaps Keough is channeling Bhad Bhabie, the white rapper and celebrity who became known as the \u003ca href=\"https://nymag.com/intelligencer/2017/02/what-is-cash-me-outside-howbow-dat-meme-from-dr-phil.html\" target=\"_blank\" rel=\"noopener noreferrer\">“Cash me outside” girl\u003c/a> after an infamous appearance on \u003cem>Dr. Phil—\u003c/em>that is at once inviting and ominous. From the get-go she seems suspect, a little too friendly and overly familiar when first encountering Zola, her waitress at a sports bar-type establishment. (Her first comment to Zola is an unfiltered compliment of her breasts.) And Zola herself seems wary of this whirlwind of a woman—again, it’s all there in the eyes—but you can also see how someone like her might be seduced into traveling across the country with a complete stranger like Stefani, who promises a windfall of cash for a night or two of dancing at a club. It’s because of the money, yes, but it’s also because of the possibility for adventure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course, if you recall the Tweets that started it all, you’re aware Zola isn’t so much seduced as she is bamboozled by Stefani, and once they’ve reached the south, things quickly go south. In the vein of plenty of movies set in Florida—especially \u003cem>Spring Breakers\u003c/em>, another tale of young white women gone ratchet—there’s always a sense that danger; the truly bizarre, or some combination of the two, is lurking around every corner. There’s a surrealistic quality to the aesthetic, the camera’s lens emitting a haze evoking both humidity and a dream-like state.\u003c/p>\n\u003cp>Writer-director Janicza Bravo and co-writer Jeremy O. Harris find a distinct, playful rhythm in nearly every image, sound, and piece of dialogue. Text message exchanges don’t appear onscreen as they would on a phone, but instead are spoken aloud by the actors in a borderline-mono-tone as they type and recite at the same time; it suggests the zombifying role technology plays in our lives even as it carves out more avenues for connection. As if mimicking re-tweet and share buttons, dialogue, imagery, and sounds are often repeated, layered side by side or intermittent. (One striking motif depicts Zola posing and preening in a hall of mirrors, her many reflections spanning the entire frame).\u003c/p>\n\u003cp>And as Paige’s Zola narrates the adventure, she echoes the real-life Zola’s written cadence, delivering some of the film’s funniest moments as she reacts to her increasingly worrying surroundings. A movie like this could easily turn into a tale where the protagonist is merely a bystander along with the viewer, with everything happening \u003cem>to \u003c/em>her and no sign of agency or personality in sight. But again, I come back to Paige’s performance and how so much of it rides on what she does with those eyes, and not what she says. You know how there are some people who suck at making a poker face—the ones who just can’t possibly suppress the expressions that stream across their face no matter how hard they try? That’s Zola. During one of the movie’s recurring freeze-frame moments, Zola advises us to “watch every move” Stefani makes going forward. The same should be stressed in regard to Zola, who seems to instinctively know when to sit back and observe, when to assert herself, and when she needs to be worried. It’s all there on her face.\u003c/p>\n\u003cfigure id=\"attachment_13899532\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899532\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/zola-5033f45e6ba789860df90780db58ea54dc1d49aa-800x600.jpg\" alt=\"Taylour Paige stars as the on-screen incarnation of Zola.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Taylour Paige stars as the on-screen incarnation of Zola. \u003ccite>(A24 Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The real-life Zola was reportedly involved behind-the-scenes, \u003ca href=\"https://www.vulture.com/article/aziah-zola-king-profile.html\" target=\"_blank\" rel=\"noopener noreferrer\">approving the script\u003c/a> and receiving an executive producing credit, a move that seems to have kept the film from the very real danger of being exploitative of King’s story. It also helps that Bravo and Harris are an ideal match for this narrative, as both creators possess styles tending to revel in the discomforting and disorienting as a means of saying the quiet, horrifying parts people are not “supposed to” reveal out loud. (See \u003cem>Lemon\u003c/em>, Bravo’s subversive directorial debut interrogating an insidious brand of white male intellectualism; and \u003cem>Slave Play\u003c/em>, Harris’s polarizing, Tony-nominated Broadway debut bluntly confronting modern interracial relationships.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These perspectives help bring \u003cem>Zola \u003c/em>into a realm beyond clever Twitter adaptation, and center her point of view as an illustration of the precarity of existing as a Black woman in the world. When Zola does choose to assert herself and make her feelings known—”This is messy! \u003cem>You \u003c/em>are messy!”—she’s routinely dismissed and ignored by the others. It’s an extreme representation of a common feeling many Black women have felt at one time or another: How you can be taken advantage of and told everything is fine when you know in your gut that it’s not; can be told you’re overreacting to something that’s happening to you when you know you’re supposed to feel this way. In fact, it’s \u003cem>good \u003c/em>and \u003cem>smart \u003c/em>to feel this way, because that’s how you preserve yourself. Zola’s whirlwind dalliance with Stefani and her associates plays like a fever dream doubling as an allegory for gaslighting. It’s a jolt when, at a pivotal point, she wonders aloud, “Who’s looking out for \u003cem>me\u003c/em>?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The third act stumbles a bit over typical third-act problems—how to maintain momentum and surprise after so much build amidst twists and turns?—and the ending feels to me a bit abrupt. But it’s a small price to pay for entering this realm and experiencing it through Zola’s eyes, in all its richness. It may have taken several years to shift from tweet to screen, but it’s well worth the wait.\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=%27Zola%27+Takes+A+Twitter+Thread+And+Turns+It+Into+A+Fever+Dream+On+Film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a critic who loves glitzy awards shows and celebrations of great work, I find the Emmy season feels a bit like Christmas and the Super Bowl rolled into one, glorious package. But it can be ruined if the folks handing out the big awards make the wrong picks.\u003c/p>\n\u003cp>Just ask the Hollywood Foreign Press Association, which last year saw controversy over its \u003ca href=\"https://www.npr.org/2021/02/03/963726157/lack-of-diversity-mars-golden-globe-tv-nominations\" target=\"_blank\" rel=\"noopener noreferrer\">lack of diversity\u003c/a> in TV categories of the Golden Globes—epitomized by ignoring HBO’s compelling, Black-led drama \u003cem>I May Destroy You—\u003c/em>snowball into the snub that helped cripple a 77-year-old Hollywood institution.\u003c/p>\n\u003cp>So, as the members of the Academy of Television Arts and Sciences wrap up voting on nominations for the Emmys today, I have a few recommendations for under-the-radar potentials they should seriously consider.\u003c/p>\n\u003cp>These suggestions won’t necessarily avoid a Globes-level disaster; frankly, any institution that tone deaf seems bound for tragedy. But they can widen the field of consideration enough so that any one snub won’t make the entire enterprise look bad.\u003c/p>\n\u003cp>And if you’re not among Emmy voters, but simply someone who loves great TV, here’s a list of some shows and performances you might have missed while catching up on \u003cem>WandaVision\u003c/em> and \u003cem>Mare of Easttown\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Comedy: Naomi Ackie, \u003c/strong>\u003cem>\u003cstrong>Master of None,\u003c/strong>\u003c/em>\u003cstrong> Netflix\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BQqh6yZaRNI\u003c/p>\n\u003cp>The latest season of Netflix’s \u003cem>Master of None\u003c/em> felt much more like a drama, centered on the decaying marriage between Ackie’s ambitious interior designer Alicia and Lena Waithe’s floundering novelist Denise. But the show was considered a comedy in previous seasons, focused on Aziz Ansari’s hapless actor Dev, so here we are. Ackie’s smart, determined Alicia is the beating heart of this new season for a reimagined show—a woman dedicated to having a baby despite how it affects her marriage or her health. The episode featuring her fertility struggles while moving on from Denise and building a new life is the biggest reason to watch at all, proof that they needed to pair Waithe with a talented, emotive actress to make this year’s episodes soar.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Comedy Series: \u003c/strong>\u003cem>\u003cstrong>Shrill, \u003c/strong>\u003c/em>\u003cstrong>Hulu and/or \u003c/strong>\u003cem>\u003cstrong>Made for Love, \u003c/strong>\u003c/em>\u003cstrong>HBO Max\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n2091t8zCvE\u003c/p>\n\u003cp>[aside postid='arts_13897829']In \u003cem>Shrill, Saturday Night Live\u003c/em>‘s Aidy Bryant has created an unassuming, yet surprisingly adept comedy about a millennial woman struggling to grow beyond the limited picture others have of her. And in the same way Bryant’s Annie refuses to let herself be defined as the fat girl who writes about body positivity for the lame weekly newspaper where she works, \u003cem>Shrill \u003c/em>refuses to limit itself to her story as an overweight woman, morphing in its third and final season into a perceptive, touching comedy about preparing for adulting.\u003c/p>\n\u003cp>\u003cem>Made for Love\u003c/em> is an odd, sci-fi-laced dark comedy featuring Cristin Milioti as a woman whose effort to leave her suffocating marriage to a tech billionaire is hampered by a chip he planted in her brain allowing him to track her movements and see what she sees. Of course, it’s an allegory for the suffocating nature of modern misogyny. But thanks to the comedic chops of Milioti and ace backups like Ray Romano as her sex doll-loving dad, it’s also a madcap treatise on the pitfalls of family, technology and personal relationships-as marketing.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Lead Actor, Comedy: William Zabka, \u003c/strong>\u003cem>\u003cstrong>Cobra Kai, \u003c/strong>\u003c/em>\u003cstrong>Netflix\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LcDQqGJG8pA\u003c/p>\n\u003cp>For some reason, Netflix’s \u003cem>Karate Kid\u003c/em> update series is classified as a comedy for Emmy purposes (they probably figure the category offers less competition). Regardless, Zabka’s compelling, sympathetic take on grown-up-bad-guy Johnny Lawrence—a loser in his 50s still fighting to contain his anger and get past abusive father figures—is the series’ secret sauce. Lawrence’s struggles are the most realistic element of \u003cem>Cobra Kai\u003c/em> and close to the only performance worth repeated watching, once you peel away the nostalgia and what-do-they-look-like-now curiosity.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Limited Series: \u003c/strong>\u003cem>\u003cstrong>Small Axe, \u003c/strong>\u003c/em>\u003cstrong>Amazon and \u003c/strong>\u003cem>\u003cstrong>The Underground Railroad,\u003c/strong>\u003c/em>\u003cstrong> Amazon\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SjFAEy-0BLk\u003c/p>\n\u003cp>With only five nomination slots and high-profile series like \u003cem>The Queen’s Gambit, Mare of Easttown, WandaVision\u003c/em> and \u003cem>The Undoing\u003c/em> in contention, this may be the most competitive category in the entire contest. So it will be tempting for Emmy voters to pick just one of two high-profile, big-budget projects centered on Black culture and characters.\u003c/p>\n\u003cp>But \u003cem>Small Ax\u003c/em>e and \u003cem>The Underground Railroad \u003c/em>are very different. \u003cem>Small Axe\u003c/em> is Oscar-winning director Steve McQueen’s effort to tell the untold story of Black immigrants in England with five evocative films. \u003cem>The Underground Railroad\u003c/em> is Oscar-winning director Barry Jenkins’ beautifully punishing, 10-episode take on Colson Whitehead’s novel leveraging magical realism in the story of an escaped slave’s journey to independence. Both deserve the honor of a nomination, no matter how crowded the field.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Drama: Wunmi Mosaku,\u003c/strong>\u003cem>\u003cstrong> Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> HBO\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eEvK1Zwi9XY\u003c/p>\n\u003cp>Perhaps the most subversive character in HBO’s series on a Black family trapped in a story of horror, afrofuturism and magic, Mosaku’s Ruby Baptiste is a Black woman who gains the ability through magic to become a white woman in 1950s America. It’s a painful transformation, which involves shedding skin in bloody ribbons. But what makes the transition truly chilling is Mosaku’s portrayal of a Black woman who suspects that being able to become white may solve all her problems, until it actually happens.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Variety Sketch Series: \u003c/strong>\u003cem>\u003cstrong>The Amber Ruffin Show,\u003c/strong>\u003c/em>\u003cstrong> Peacock\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=etPUShGZMmw\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is another highly competitive category: last year, just three shows were nominated, with \u003cem>Saturday Night Live\u003c/em> a virtual lock for nomination and win. Still, Ruffin has managed to build a quietly powerful, sidesplitting series on NBC Universal’s streaming service Peacock. Ruffin marries devastatingly hilarious monologues on code switching at work, your mom’s take on social issues and white supremacy’s connection to the culture wars with her earnest, sweet attitude—like a hitman disguised as your little sister’s best friend. Since its debut last year, Ruffin has slowly found her voice, building an arsenal of awesome segments on a budget that would likely make shoestrings look generous. And an Emmy nomination just might convince Peacock to move her onto broadcast TV, perhaps in the old time slot once held by the departing \u003cem>A Little Late with Lilly Singh\u003c/em>. Your move, Emmy academy.\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=Dear+Emmy+Voters+And+TV+Lovers%2C+Here%27s+What+You+Shouldn%27t+Miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a critic who loves glitzy awards shows and celebrations of great work, I find the Emmy season feels a bit like Christmas and the Super Bowl rolled into one, glorious package. But it can be ruined if the folks handing out the big awards make the wrong picks.\u003c/p>\n\u003cp>Just ask the Hollywood Foreign Press Association, which last year saw controversy over its \u003ca href=\"https://www.npr.org/2021/02/03/963726157/lack-of-diversity-mars-golden-globe-tv-nominations\" target=\"_blank\" rel=\"noopener noreferrer\">lack of diversity\u003c/a> in TV categories of the Golden Globes—epitomized by ignoring HBO’s compelling, Black-led drama \u003cem>I May Destroy You—\u003c/em>snowball into the snub that helped cripple a 77-year-old Hollywood institution.\u003c/p>\n\u003cp>So, as the members of the Academy of Television Arts and Sciences wrap up voting on nominations for the Emmys today, I have a few recommendations for under-the-radar potentials they should seriously consider.\u003c/p>\n\u003cp>These suggestions won’t necessarily avoid a Globes-level disaster; frankly, any institution that tone deaf seems bound for tragedy. But they can widen the field of consideration enough so that any one snub won’t make the entire enterprise look bad.\u003c/p>\n\u003cp>And if you’re not among Emmy voters, but simply someone who loves great TV, here’s a list of some shows and performances you might have missed while catching up on \u003cem>WandaVision\u003c/em> and \u003cem>Mare of Easttown\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Comedy: Naomi Ackie, \u003c/strong>\u003cem>\u003cstrong>Master of None,\u003c/strong>\u003c/em>\u003cstrong> Netflix\u003c/strong>\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/BQqh6yZaRNI'\n title='//www.youtube.com/embed/BQqh6yZaRNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The latest season of Netflix’s \u003cem>Master of None\u003c/em> felt much more like a drama, centered on the decaying marriage between Ackie’s ambitious interior designer Alicia and Lena Waithe’s floundering novelist Denise. But the show was considered a comedy in previous seasons, focused on Aziz Ansari’s hapless actor Dev, so here we are. Ackie’s smart, determined Alicia is the beating heart of this new season for a reimagined show—a woman dedicated to having a baby despite how it affects her marriage or her health. The episode featuring her fertility struggles while moving on from Denise and building a new life is the biggest reason to watch at all, proof that they needed to pair Waithe with a talented, emotive actress to make this year’s episodes soar.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Comedy Series: \u003c/strong>\u003cem>\u003cstrong>Shrill, \u003c/strong>\u003c/em>\u003cstrong>Hulu and/or \u003c/strong>\u003cem>\u003cstrong>Made for Love, \u003c/strong>\u003c/em>\u003cstrong>HBO Max\u003cbr>\n\u003c/strong>\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/n2091t8zCvE'\n title='//www.youtube.com/embed/n2091t8zCvE'\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>In \u003cem>Shrill, Saturday Night Live\u003c/em>‘s Aidy Bryant has created an unassuming, yet surprisingly adept comedy about a millennial woman struggling to grow beyond the limited picture others have of her. And in the same way Bryant’s Annie refuses to let herself be defined as the fat girl who writes about body positivity for the lame weekly newspaper where she works, \u003cem>Shrill \u003c/em>refuses to limit itself to her story as an overweight woman, morphing in its third and final season into a perceptive, touching comedy about preparing for adulting.\u003c/p>\n\u003cp>\u003cem>Made for Love\u003c/em> is an odd, sci-fi-laced dark comedy featuring Cristin Milioti as a woman whose effort to leave her suffocating marriage to a tech billionaire is hampered by a chip he planted in her brain allowing him to track her movements and see what she sees. Of course, it’s an allegory for the suffocating nature of modern misogyny. But thanks to the comedic chops of Milioti and ace backups like Ray Romano as her sex doll-loving dad, it’s also a madcap treatise on the pitfalls of family, technology and personal relationships-as marketing.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Lead Actor, Comedy: William Zabka, \u003c/strong>\u003cem>\u003cstrong>Cobra Kai, \u003c/strong>\u003c/em>\u003cstrong>Netflix\u003c/strong>\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/LcDQqGJG8pA'\n title='//www.youtube.com/embed/LcDQqGJG8pA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For some reason, Netflix’s \u003cem>Karate Kid\u003c/em> update series is classified as a comedy for Emmy purposes (they probably figure the category offers less competition). Regardless, Zabka’s compelling, sympathetic take on grown-up-bad-guy Johnny Lawrence—a loser in his 50s still fighting to contain his anger and get past abusive father figures—is the series’ secret sauce. Lawrence’s struggles are the most realistic element of \u003cem>Cobra Kai\u003c/em> and close to the only performance worth repeated watching, once you peel away the nostalgia and what-do-they-look-like-now curiosity.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Limited Series: \u003c/strong>\u003cem>\u003cstrong>Small Axe, \u003c/strong>\u003c/em>\u003cstrong>Amazon and \u003c/strong>\u003cem>\u003cstrong>The Underground Railroad,\u003c/strong>\u003c/em>\u003cstrong> Amazon\u003c/strong>\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/SjFAEy-0BLk'\n title='//www.youtube.com/embed/SjFAEy-0BLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With only five nomination slots and high-profile series like \u003cem>The Queen’s Gambit, Mare of Easttown, WandaVision\u003c/em> and \u003cem>The Undoing\u003c/em> in contention, this may be the most competitive category in the entire contest. So it will be tempting for Emmy voters to pick just one of two high-profile, big-budget projects centered on Black culture and characters.\u003c/p>\n\u003cp>But \u003cem>Small Ax\u003c/em>e and \u003cem>The Underground Railroad \u003c/em>are very different. \u003cem>Small Axe\u003c/em> is Oscar-winning director Steve McQueen’s effort to tell the untold story of Black immigrants in England with five evocative films. \u003cem>The Underground Railroad\u003c/em> is Oscar-winning director Barry Jenkins’ beautifully punishing, 10-episode take on Colson Whitehead’s novel leveraging magical realism in the story of an escaped slave’s journey to independence. Both deserve the honor of a nomination, no matter how crowded the field.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Supporting Actress, Drama: Wunmi Mosaku,\u003c/strong>\u003cem>\u003cstrong> Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> HBO\u003c/strong>\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/eEvK1Zwi9XY'\n title='//www.youtube.com/embed/eEvK1Zwi9XY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps the most subversive character in HBO’s series on a Black family trapped in a story of horror, afrofuturism and magic, Mosaku’s Ruby Baptiste is a Black woman who gains the ability through magic to become a white woman in 1950s America. It’s a painful transformation, which involves shedding skin in bloody ribbons. But what makes the transition truly chilling is Mosaku’s portrayal of a Black woman who suspects that being able to become white may solve all her problems, until it actually happens.\u003c/p>\n\u003cp>\u003cstrong>Outstanding Variety Sketch Series: \u003c/strong>\u003cem>\u003cstrong>The Amber Ruffin Show,\u003c/strong>\u003c/em>\u003cstrong> Peacock\u003c/strong>\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/etPUShGZMmw'\n title='//www.youtube.com/embed/etPUShGZMmw'\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>This is another highly competitive category: last year, just three shows were nominated, with \u003cem>Saturday Night Live\u003c/em> a virtual lock for nomination and win. Still, Ruffin has managed to build a quietly powerful, sidesplitting series on NBC Universal’s streaming service Peacock. Ruffin marries devastatingly hilarious monologues on code switching at work, your mom’s take on social issues and white supremacy’s connection to the culture wars with her earnest, sweet attitude—like a hitman disguised as your little sister’s best friend. Since its debut last year, Ruffin has slowly found her voice, building an arsenal of awesome segments on a budget that would likely make shoestrings look generous. And an Emmy nomination just might convince Peacock to move her onto broadcast TV, perhaps in the old time slot once held by the departing \u003cem>A Little Late with Lilly Singh\u003c/em>. Your move, Emmy academy.\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=Dear+Emmy+Voters+And+TV+Lovers%2C+Here%27s+What+You+Shouldn%27t+Miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Chris Crocker, 'Leave Britney Alone' Video Creator, Reflects on What's Changed",
"headTitle": "Chris Crocker, ‘Leave Britney Alone’ Video Creator, Reflects on What’s Changed | KQED",
"content": "\u003cp>Over the last few days, it’s been said \u003ca href=\"https://twitter.com/morninggloria/status/1407829193648349187\">a lot\u003c/a> \u003ca href=\"https://twitter.com/DoctoralBarbie/status/1408138243196035073\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a>: \u003ca href=\"https://twitter.com/mckinneykelsey/status/1408038398229729287\" target=\"_blank\" rel=\"noopener noreferrer\">“Chris Crocker was right.”\u003c/a> But as Crocker explained during a recent interview with NPR, they don’t want to be right—and it’s not about them at all.\u003c/p>\n\u003cp>In 2007, Crocker, then only 19 years old, sat down in front of their camera to film a video that would become a major part of pop culture history. It would also become a stark illustration of just how much needed to change back then, and how much things still need to change.\u003c/p>\n\u003cp>In a video that grows increasingly emotional, Crocker outlined everything Spears had gone through recently—deaths in her family, a divorce, a custody battle—and tearfully pleaded with the world to “Leave Britney alone,” a rallying cry that led to ridicule at the time but has now, 14 years later, become the general consensus.\u003c/p>\n\u003cp>“Do we really want to see a 25-year-old woman leave behind two children and die?” Crocker asked into a grainy camera. “Have we learned nothing from Anna Nicole Smith? I know it’s hard to see Britney Spears as a human being but trust me, she is. She’s a person.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W-opIb0Osvo&t=1s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Crocker made the video, Spears was getting lambasted online for everything from her VMAs performance to her personal life. She’d shaved her head earlier that year, a moment which the paparazzi captured in invasive photos that were splashed across tabloid covers for months. Crocker had even seen suicide countdowns online targeting Spears, they told NPR—a breaking point for them.\u003c/p>\n\u003cp>But it wasn’t just about Britney Spears. Her treatment online and by the media struck a nerve for Crocker because Spears’ situation was mirroring difficulties in their own life. Their mother was homeless after having returned home from the military and serving in Iraq. She was struggling with severe PTSD and Crocker, who was raised by their grandparents, was pleading for their family not give up on her, they said. Just like they would later plead with the world not to give up on Britney, someone they described as a Southern, free-spirited woman, and who reminded them so much of their own mother.\u003c/p>\n\u003cp>“I was trying to fight for my other family members to still believe in [my mom],” they said. “I was begging them to give my mom a chance, and so there was a parallel in my life, that sort of tension of why I was defensive over a misunderstood woman, because my mom had me at 14 years old, you know, and she was very misunderstood. And I, in some ways, felt like I had to protect my mom and fight for her.”\u003c/p>\n\u003cfigure id=\"attachment_13899438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-800x600.jpg\" alt=\"#FreeBritney activists protest at Los Angeles Grand Park during Spears' June 23 conservatorship hearing.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">#FreeBritney activists protest at Los Angeles Grand Park during Spears’ June 23 conservatorship hearing. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2007 was a different, much harsher world\u003c/h3>\n\u003cp>Today, none of what Crocker said in that video would be deemed problematic, and in fact, would be in-line with many recent calls for the public and the media to treat celebrities with more empathy. But back then? Crocker was lambasted publicly and there seemed to be no end to it—for years. They were mocked by late night talk show hosts and parodied on shows like \u003cem>South Park\u003c/em>.\u003c/p>\n\u003cp>It was jarring for Crocker, who, before that video, had made comedic videos that were popular but had never experienced anything like what happened in the wake of the “leave Britney alone” post. That video got more attention than anything they’d ever posted before—even though they didn’t actually say anything the least bit controversial, they pointed out. Because there shouldn’t be anything controversial or funny about suggesting more empathy for a woman going through a difficult time in her life, all while under an unmoving, unforgiving spotlight.\u003c/p>\n\u003cp>“I always felt that if people just read the transcript and didn’t pay attention to how I looked or that I was screaming and just read what I said, there’s nothing comical about it,” Crocker told NPR. “Like I was listing the fact that Britney had lost her aunt. She was going through a divorce. She just had kids and, you know, I was scared she had post-partum [depression] or something. Like there was nothing funny about anything I was saying.”\u003c/p>\n\u003cp>[aside postid='pop_111253']Despite the truth of that statement, Crocker became a punching bag for everyone from stand-up comedians to anonymous online commenters, and the hits came from all sides. Sometimes, they explained, those hits were literal. It wasn’t uncommon for Crocker to go to local bars and get attacked by people who didn’t like them or the video, and the attacks were often rooted in transphobia.\u003c/p>\n\u003cp>“There were numerous, I mean \u003cem>numerous\u003c/em> occasions,” they explained. “There were situations where like, there were men trying to chase after me to beat me up and I got away. And there were other situations where I was literally just standing there and someone walks up and smacks me across the face.”\u003c/p>\n\u003cp>Crocker recalled during that instance that the man got kicked out of the bar, only to wait outside for two hours for them to come out and jump them on their way to the car. He physically attacked them, ruthlessly beating them, all while calling them an “embarrassment to the community,” they said. It was a violent act, one that was likely an extension of their assailant’s own struggles with self-acceptance, they explained. (“Not that that makes it OK, obviously,” they added.)\u003c/p>\n\u003cp>And as for the generally negative response the video received at the time?\u003c/p>\n\u003cp>“Still, to this day, people still make memes and make fun of that video,” Crocker, who is now 33, said. “So I’ve had to really realize it’s not about me, it’s just about how society gets really uncomfortable with truth that they’re not willing to accept from the messenger. I think no one now can argue with what I said—they just didn’t like the messenger.”\u003c/p>\n\u003ch3>This is not an ‘I told you so’ moment\u003c/h3>\n\u003cp>It was a difficult time in Crocker’s life, to have so much negative attention focused on them at the age of 19, and it led to a diagnosis of complex PTSD. But if you’re wondering if Crocker feels vindicated now, with the influx of people on social media saying that they were right and they deserve an apology? The answer is an emphatic no, and they would argue that there’s no place for any kind of vindication at all, not when Spears herself continues to suffer, as she has done silently for years.\u003c/p>\n\u003cp>“There’s no way to feel vindicated about it because the entire point of making the video was for her to be happy and free and to know that in real time, at this very minute, she still is not?” they said. “Overall, it’s still not about me. And I think people like to retroactively clap for me or say they should have listened, but I’m more interested in people self-reflecting on why they didn’t.”\u003c/p>\n\u003cp>“Listen, at the time, I think it had much more to do with how I looked and how I was saying it,” they explained. “And it’s hard to feel vindicated when she’s still trapped.”\u003c/p>\n\u003cp>[aside postid='arts_13899317']Spears herself confirmed her situation in shocking detail during her recent \u003ca href=\"https://www.kqed.org/arts/13899317/britney-spears-full-statement-to-the-court-in-her-conservatorship-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">conservatorship hearing\u003c/a>. In a passionate statement to the court, Spears expressed her anger at the way her life is now and how others have been allowed to treat her for so long. She’s unable to control her own finances. Her handlers control her every move. She isn’t even allowed to ride in her boyfriend’s car, and even though she wants to get married and have children, she isn’t allowed to remove her IUD—an especially sickening detail.\u003c/p>\n\u003cp>But as Spears made clear during her statement, she has had enough of being silenced: “I have the right to use my voice and take up for myself,” she said.\u003c/p>\n\u003cp>For Crocker, it’s the only upside.\u003c/p>\n\u003cp>“To hear all these lists of just the different things she’s having to endure made me so angry on one hand, and then on the other end, my heart was just so happy that she’s able to say all of this, and with such conviction,” Crocker said. “I really think most people are weary of any statements on social media or anything because we don’t know if she can control that or not. You know, hearing her say ‘No, I want the public to be able to hear this,’ and then go on and be so empowered … I was just so happy for her. But I did get emotional. I think, like a lot of people, it was just really hard to hear.”\u003c/p>\n\u003cp>Fans of Spears have gathered together over the years to fight for her freedom as part of the “Free Britney” movement, and what some may have thought to be another internet conspiracy theory turned out to be disturbingly true. Spears herself had claimed over the years that nothing was amiss in her life, but she recently took to \u003ca href=\"https://www.instagram.com/p/CQhP9A7gIzE/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a> to confirm that those statements were a type of “fairy tale,” something she did out of pride and embarrassment at what had been happening to her, she explained.\u003c/p>\n\u003ch3>This is Spears’ time to finally have her voice heard.\u003c/h3>\n\u003cp>The “Leave Britney Alone” video was posted online 14 years ago. In 2007, Spears’ mental health was used as fodder for many a late-night talk show monologue. An intensely vulnerable moment became a Halloween costume, a caricature crafted out of someone else’s trauma.\u003c/p>\n\u003cp>And 14 years later, Crocker’s message is the same: leave Britney Spears alone. But not just Britney, either.\u003c/p>\n\u003cp>“I just think that if this doesn’t prove anything else, it proves that the de-humanization of people and celebrities [is a problem]. Because they think that [because] they have money and that their lives are perfect and they’re a part of some super elite groups, it makes their problems go away. It doesn’t,” Crocker said. “Fame doesn’t change anything. Money doesn’t change anything. And it brings a lot of vultures and controlling, weird people around.”\u003c/p>\n\u003cp>“And as I said in ‘Leave Britney Alone,’ she’s just a human,” they continued. “And I think that was the issue then. It’s that her fame was so huge that it made people dehumanize her. They were not able to see Britney Spears as just a person. And I think now that seems like a normal thing to say, but back then, it was radical.”\u003c/p>\n\u003cp>[aside postid='arts_13886236']It’s not just Spears who needs to be treated with more empathy—it’s everyone. But in reality, it can get complicated. While we are in an age of increased mental health awareness, we’re also living in a time where the specter of being “canceled” can result in feeling as if there’s not very much room for mistakes and growth, Crocker explained. So where does that leave us?\u003c/p>\n\u003cp>“I think being aware of the nuances and complexities of just being a human is what it all goes back to,” they said. “If we’re mental health advocates, we have to just as equally be able to see people as complex beings.”\u003c/p>\n\u003cp>What Crocker wants people to do is this: Take the energy that’s being used to applaud them on social media, and direct it to where it really belongs.\u003c/p>\n\u003cp>“I don’t really know how to [react] when people are always like, ‘Chris Crocker is right,’ because that’s not really the point,” they reiterated. “It’s sort of like, every time [Spears] in the headlines, they want to retroactively clap for me, and it’s not that I don’t appreciate people being kind, it’s just that it’s not about me. So if they could use that energy to keep it about what she has to say, that’s what’s important.”\u003c/p>\n\u003cp>As for Spears, her legal battle may be just beginning. At the close of her latest hearing, Los Angeles Superior Court Judge Brenda Penny, who referred to Spears’ statement as “courageous,” instructed Spears to formally petition for an end to her conservatorship, according to an earlier NPR \u003ca href=\"https://www.npr.org/2021/06/23/1009416566/britney-spears-speaks-her-mind-at-last-in-conservatorship-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Spears’ next hearing is scheduled for July 14, \u003ca href=\"https://abcnews.go.com/GMA/Culture/britney-spears-bombshell-conservatorship-hearing/story?id=78462841\" target=\"_blank\" rel=\"noopener noreferrer\">ABC News\u003c/a> reports. While it’s unclear how her case will ultimately play out, one thing is certain: Britney Spears is speaking up, and it’s time for all of us to listen.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=Chris+Crocker%2C+%27Leave+Britney+Alone%27+Video+Creator%2C+Reflects+On+What%27s+Changed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last few days, it’s been said \u003ca href=\"https://twitter.com/morninggloria/status/1407829193648349187\">a lot\u003c/a> \u003ca href=\"https://twitter.com/DoctoralBarbie/status/1408138243196035073\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a>: \u003ca href=\"https://twitter.com/mckinneykelsey/status/1408038398229729287\" target=\"_blank\" rel=\"noopener noreferrer\">“Chris Crocker was right.”\u003c/a> But as Crocker explained during a recent interview with NPR, they don’t want to be right—and it’s not about them at all.\u003c/p>\n\u003cp>In 2007, Crocker, then only 19 years old, sat down in front of their camera to film a video that would become a major part of pop culture history. It would also become a stark illustration of just how much needed to change back then, and how much things still need to change.\u003c/p>\n\u003cp>In a video that grows increasingly emotional, Crocker outlined everything Spears had gone through recently—deaths in her family, a divorce, a custody battle—and tearfully pleaded with the world to “Leave Britney alone,” a rallying cry that led to ridicule at the time but has now, 14 years later, become the general consensus.\u003c/p>\n\u003cp>“Do we really want to see a 25-year-old woman leave behind two children and die?” Crocker asked into a grainy camera. “Have we learned nothing from Anna Nicole Smith? I know it’s hard to see Britney Spears as a human being but trust me, she is. She’s a person.”\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/W-opIb0Osvo'\n title='//www.youtube.com/embed/W-opIb0Osvo'\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>When Crocker made the video, Spears was getting lambasted online for everything from her VMAs performance to her personal life. She’d shaved her head earlier that year, a moment which the paparazzi captured in invasive photos that were splashed across tabloid covers for months. Crocker had even seen suicide countdowns online targeting Spears, they told NPR—a breaking point for them.\u003c/p>\n\u003cp>But it wasn’t just about Britney Spears. Her treatment online and by the media struck a nerve for Crocker because Spears’ situation was mirroring difficulties in their own life. Their mother was homeless after having returned home from the military and serving in Iraq. She was struggling with severe PTSD and Crocker, who was raised by their grandparents, was pleading for their family not give up on her, they said. Just like they would later plead with the world not to give up on Britney, someone they described as a Southern, free-spirited woman, and who reminded them so much of their own mother.\u003c/p>\n\u003cp>“I was trying to fight for my other family members to still believe in [my mom],” they said. “I was begging them to give my mom a chance, and so there was a parallel in my life, that sort of tension of why I was defensive over a misunderstood woman, because my mom had me at 14 years old, you know, and she was very misunderstood. And I, in some ways, felt like I had to protect my mom and fight for her.”\u003c/p>\n\u003cfigure id=\"attachment_13899438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-800x600.jpg\" alt=\"#FreeBritney activists protest at Los Angeles Grand Park during Spears' June 23 conservatorship hearing.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/gettyimages-1325137878-3d897352c5071fcd5dc50de654367731361a5a5f-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">#FreeBritney activists protest at Los Angeles Grand Park during Spears’ June 23 conservatorship hearing. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2007 was a different, much harsher world\u003c/h3>\n\u003cp>Today, none of what Crocker said in that video would be deemed problematic, and in fact, would be in-line with many recent calls for the public and the media to treat celebrities with more empathy. But back then? Crocker was lambasted publicly and there seemed to be no end to it—for years. They were mocked by late night talk show hosts and parodied on shows like \u003cem>South Park\u003c/em>.\u003c/p>\n\u003cp>It was jarring for Crocker, who, before that video, had made comedic videos that were popular but had never experienced anything like what happened in the wake of the “leave Britney alone” post. That video got more attention than anything they’d ever posted before—even though they didn’t actually say anything the least bit controversial, they pointed out. Because there shouldn’t be anything controversial or funny about suggesting more empathy for a woman going through a difficult time in her life, all while under an unmoving, unforgiving spotlight.\u003c/p>\n\u003cp>“I always felt that if people just read the transcript and didn’t pay attention to how I looked or that I was screaming and just read what I said, there’s nothing comical about it,” Crocker told NPR. “Like I was listing the fact that Britney had lost her aunt. She was going through a divorce. She just had kids and, you know, I was scared she had post-partum [depression] or something. Like there was nothing funny about anything I was saying.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite the truth of that statement, Crocker became a punching bag for everyone from stand-up comedians to anonymous online commenters, and the hits came from all sides. Sometimes, they explained, those hits were literal. It wasn’t uncommon for Crocker to go to local bars and get attacked by people who didn’t like them or the video, and the attacks were often rooted in transphobia.\u003c/p>\n\u003cp>“There were numerous, I mean \u003cem>numerous\u003c/em> occasions,” they explained. “There were situations where like, there were men trying to chase after me to beat me up and I got away. And there were other situations where I was literally just standing there and someone walks up and smacks me across the face.”\u003c/p>\n\u003cp>Crocker recalled during that instance that the man got kicked out of the bar, only to wait outside for two hours for them to come out and jump them on their way to the car. He physically attacked them, ruthlessly beating them, all while calling them an “embarrassment to the community,” they said. It was a violent act, one that was likely an extension of their assailant’s own struggles with self-acceptance, they explained. (“Not that that makes it OK, obviously,” they added.)\u003c/p>\n\u003cp>And as for the generally negative response the video received at the time?\u003c/p>\n\u003cp>“Still, to this day, people still make memes and make fun of that video,” Crocker, who is now 33, said. “So I’ve had to really realize it’s not about me, it’s just about how society gets really uncomfortable with truth that they’re not willing to accept from the messenger. I think no one now can argue with what I said—they just didn’t like the messenger.”\u003c/p>\n\u003ch3>This is not an ‘I told you so’ moment\u003c/h3>\n\u003cp>It was a difficult time in Crocker’s life, to have so much negative attention focused on them at the age of 19, and it led to a diagnosis of complex PTSD. But if you’re wondering if Crocker feels vindicated now, with the influx of people on social media saying that they were right and they deserve an apology? The answer is an emphatic no, and they would argue that there’s no place for any kind of vindication at all, not when Spears herself continues to suffer, as she has done silently for years.\u003c/p>\n\u003cp>“There’s no way to feel vindicated about it because the entire point of making the video was for her to be happy and free and to know that in real time, at this very minute, she still is not?” they said. “Overall, it’s still not about me. And I think people like to retroactively clap for me or say they should have listened, but I’m more interested in people self-reflecting on why they didn’t.”\u003c/p>\n\u003cp>“Listen, at the time, I think it had much more to do with how I looked and how I was saying it,” they explained. “And it’s hard to feel vindicated when she’s still trapped.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Spears herself confirmed her situation in shocking detail during her recent \u003ca href=\"https://www.kqed.org/arts/13899317/britney-spears-full-statement-to-the-court-in-her-conservatorship-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">conservatorship hearing\u003c/a>. In a passionate statement to the court, Spears expressed her anger at the way her life is now and how others have been allowed to treat her for so long. She’s unable to control her own finances. Her handlers control her every move. She isn’t even allowed to ride in her boyfriend’s car, and even though she wants to get married and have children, she isn’t allowed to remove her IUD—an especially sickening detail.\u003c/p>\n\u003cp>But as Spears made clear during her statement, she has had enough of being silenced: “I have the right to use my voice and take up for myself,” she said.\u003c/p>\n\u003cp>For Crocker, it’s the only upside.\u003c/p>\n\u003cp>“To hear all these lists of just the different things she’s having to endure made me so angry on one hand, and then on the other end, my heart was just so happy that she’s able to say all of this, and with such conviction,” Crocker said. “I really think most people are weary of any statements on social media or anything because we don’t know if she can control that or not. You know, hearing her say ‘No, I want the public to be able to hear this,’ and then go on and be so empowered … I was just so happy for her. But I did get emotional. I think, like a lot of people, it was just really hard to hear.”\u003c/p>\n\u003cp>Fans of Spears have gathered together over the years to fight for her freedom as part of the “Free Britney” movement, and what some may have thought to be another internet conspiracy theory turned out to be disturbingly true. Spears herself had claimed over the years that nothing was amiss in her life, but she recently took to \u003ca href=\"https://www.instagram.com/p/CQhP9A7gIzE/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a> to confirm that those statements were a type of “fairy tale,” something she did out of pride and embarrassment at what had been happening to her, she explained.\u003c/p>\n\u003ch3>This is Spears’ time to finally have her voice heard.\u003c/h3>\n\u003cp>The “Leave Britney Alone” video was posted online 14 years ago. In 2007, Spears’ mental health was used as fodder for many a late-night talk show monologue. An intensely vulnerable moment became a Halloween costume, a caricature crafted out of someone else’s trauma.\u003c/p>\n\u003cp>And 14 years later, Crocker’s message is the same: leave Britney Spears alone. But not just Britney, either.\u003c/p>\n\u003cp>“I just think that if this doesn’t prove anything else, it proves that the de-humanization of people and celebrities [is a problem]. Because they think that [because] they have money and that their lives are perfect and they’re a part of some super elite groups, it makes their problems go away. It doesn’t,” Crocker said. “Fame doesn’t change anything. Money doesn’t change anything. And it brings a lot of vultures and controlling, weird people around.”\u003c/p>\n\u003cp>“And as I said in ‘Leave Britney Alone,’ she’s just a human,” they continued. “And I think that was the issue then. It’s that her fame was so huge that it made people dehumanize her. They were not able to see Britney Spears as just a person. And I think now that seems like a normal thing to say, but back then, it was radical.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s not just Spears who needs to be treated with more empathy—it’s everyone. But in reality, it can get complicated. While we are in an age of increased mental health awareness, we’re also living in a time where the specter of being “canceled” can result in feeling as if there’s not very much room for mistakes and growth, Crocker explained. So where does that leave us?\u003c/p>\n\u003cp>“I think being aware of the nuances and complexities of just being a human is what it all goes back to,” they said. “If we’re mental health advocates, we have to just as equally be able to see people as complex beings.”\u003c/p>\n\u003cp>What Crocker wants people to do is this: Take the energy that’s being used to applaud them on social media, and direct it to where it really belongs.\u003c/p>\n\u003cp>“I don’t really know how to [react] when people are always like, ‘Chris Crocker is right,’ because that’s not really the point,” they reiterated. “It’s sort of like, every time [Spears] in the headlines, they want to retroactively clap for me, and it’s not that I don’t appreciate people being kind, it’s just that it’s not about me. So if they could use that energy to keep it about what she has to say, that’s what’s important.”\u003c/p>\n\u003cp>As for Spears, her legal battle may be just beginning. At the close of her latest hearing, Los Angeles Superior Court Judge Brenda Penny, who referred to Spears’ statement as “courageous,” instructed Spears to formally petition for an end to her conservatorship, according to an earlier NPR \u003ca href=\"https://www.npr.org/2021/06/23/1009416566/britney-spears-speaks-her-mind-at-last-in-conservatorship-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spears’ next hearing is scheduled for July 14, \u003ca href=\"https://abcnews.go.com/GMA/Culture/britney-spears-bombshell-conservatorship-hearing/story?id=78462841\" target=\"_blank\" rel=\"noopener noreferrer\">ABC News\u003c/a> reports. While it’s unclear how her case will ultimately play out, one thing is certain: Britney Spears is speaking up, and it’s time for all of us to listen.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=Chris+Crocker%2C+%27Leave+Britney+Alone%27+Video+Creator%2C+Reflects+On+What%27s+Changed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Britney Spears' Full Statement to the Court in Her Conservatorship Hearing",
"headTitle": "Britney Spears’ Full Statement to the Court in Her Conservatorship Hearing | KQED",
"content": "\u003cp>Britney Spears is asking a Los Angeles Superior Court judge to \u003ca href=\"https://www.npr.org/2021/06/23/1009416566/britney-spears-speaks-her-mind-at-last-in-conservatorship-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">end her 13-year conservatorship\u003c/a>, saying she is being exploited, bullied and feeling “left out and alone.”\u003c/p>\n\u003cp>Below is a transcript from a leaked audio recording of part of Spears’ court statement Wednesday \u003ca href=\"https://www.youtube.com/watch?v=iVrhKBhMrEI\" target=\"_blank\" rel=\"noopener noreferrer\">posted on YouTube\u003c/a> and verified by NPR.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Britney Spears:\u003c/strong> I will be honest with you, I haven’t been back to court in a long time because I don’t think I was heard on any level when I came to court the last time. I brought four sheets of paper in my hands and wrote in length what I had been through the last four months before I came there. The people who did that to me should not be able to walk away so easily. I’ll recap: I was on tour in 2018 I was forced to do. My management said if I don’t do this tour I will have to find an attorney.\u003c/p>\n\u003cp>\u003cstrong>Los Angeles Superior Court Judge Brenda Penny: \u003c/strong>Ms. Spears, Ms. Spears. I hate to interrupt you, but my court reporter is taking down what you’re saying.\u003c/p>\n\u003cp>\u003cstrong>Spears: \u003c/strong>OK.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Penny: \u003c/strong>And so you have to speak a little more slowly.\u003c/p>\n\u003cp>\u003cstrong>Spears:\u003c/strong> Oh, of course. Yes. OK. I apologize. Great.\u003c/p>\n\u003cp>\u003cstrong>Penny: \u003c/strong>So we hear and make a record of everything you’re saying.\u003c/p>\n\u003cp>\u003cstrong>Spears:\u003c/strong> The people who did this to me should not get away and be able to walk away so easily. Recap: I was on tour in 2018. I was forced to do. My management said if I don’t do this tour, I will have to find an attorney and by contract my own management could sue me if I didn’t follow through with the tour. He handed me a sheet of paper as I got off the stage in Vegas and said I had to sign it. It was very threatening and scary and with the conservatorship, I couldn’t even get my own attorney. So out of fear, I went ahead and I did the tour. When I came off that tour, a new show in Las Vegas was supposed to take place. I started rehearsing early, but it was hard cause I’d been doing Vegas for four years and I needed a break in between.\u003c/p>\n\u003cp>But no, I was told this is the timeline and this is how it’s gonna go. I rehearsed four to four days a week, half of the time in the studio and a half of the other time in a Westlake studio. I was basically directing most of the show with my whereabouts, where I preferred to rehearse and actually did most of the choreography, meaning I taught my dancers my new choreography myself. I take everything I do very seriously. There’s tons of video with me at rehearsals. I wasn’t good. I was great. I led a room of sixteen new dancers in rehearsals. It’s funny to hear my manager’s side of the story. They all said I wasn’t participating in rehearsals and I never agreed to take my medication, which my medication is only taken in the mornings, never at rehearsal. They don’t even see me. So why are they even claiming that?\u003c/p>\n\u003cp>[aside postid='arts_13899215']When I said no to one dance move into rehearsals, it was as if I planted a huge bomb somewhere and I said, no, I don’t want to do it this way. After that, my management, my dancers and my assistant of the new people that were supposed to do the new show all went into a room, shut the door and didn’t come out for at least forty five minutes. Ma’am, I’m not here to be anyone’s slave. I can say no to a dance move. I was told by my—at the time—therapist, Dr. Benson, who died, that my manager called him and then that moment and told him I wasn’t cooperating or following the guidelines in rehearsals. And he also said I wasn’t taking my medication, which is so dumb because I’ve had the same lady every morning for the past eight years give me my same medication and I’m nowhere near these stupid people. It made no sense at all.\u003c/p>\n\u003cp>There was a week period where they were nice to me and they said, “I don’t want to do…” And I told them, “I don’t want to do the…” They wait, no. They were nice to me. They said if I don’t want to do the new Vegas show, I don’t have to ’cause I was getting really nervous. I said “I can wait.” It was like, they told me I could wait. It was like lifting literally two hundred pounds off of me when they said I don’t have to do the show anymore cause it was… I was really, really hard on myself and it was too much.\u003c/p>\n\u003cp>I couldn’t take it anymore. So I remember telling my assistant, “But you know what, I feel weird if I say no. I feel like they’re going to come back and be mean to me or punish me or something.” Three days later, after I said no to Vegas, my therapist sat me down in a room and said he had a million phone calls about how I was not cooperating in rehearsals and I haven’t been taking my medication. All of this was a false. He immediately the next day put me on lithium out of nowhere. He took me off my normal meds I’d been on for five years. And lithium is a very, very strong and completely different medication compared to what I was used to. You can go mentally impaired if you take too much, if you stay on it longer than five months. But he put me on that and I felt drunk. I really couldn’t even take up for myself. I couldn’t even have a conversation with my mom or dad really about anything. I told them I was scared and my doctor had me on… Six different nurses with this new medication come to my home, stay with me to monitor me on this new medication, which I never wanted to be on to begin with.\u003c/p>\n\u003cp>There were six different nurses in my homes and they wouldn’t let me get in my car to go anywhere for a month. Not only did my family not do a goddamn thing, my dad was all for it. Anything that happened to me had to be approved by my dad. And my dad only… He acted like he didn’t know that I was told I had to be tested over the Christmas holidays before they sent me away when my kids went home to Louisiana. He was the one who approved all of it. My whole family did nothing. Over the two-week holiday, a lady came into my home for four hours a day, sat me down and did a psych test on me. It took forever, but I was told I had to then. After that I got off… wait.\u003c/p>\n\u003cp>I was told I had to then, after I got a phone call from my dad saying after I did the psych test with this lady, basically saying I had failed the test or whatever. Whatever. “I’m sorry, Britney, you have to listen to your doctors. They are planning to send you to a small home in Beverly Hills to do a small rehab program that we’re going to make up for you. You’re gonna pay sixty thousand dollars a month for this.”\u003c/p>\n\u003cp>I cried on the phone for an hour and he loved every minute of it. The control he had over someone as powerful as me, as he loved the control to hurt his own daughter. One hundred thousand percent. He loved it.\u003c/p>\n\u003cp>I packed my bags and went to that place. I worked seven days a week, no days off—which in California, the only similar thing to this is called sex trafficking, making anyone work—work against their will. Taking all their possessions away—credit card, cash, phone, passport card—and placing them in a home where they work with the people who live with them. They all lived in the house with me, the nurses, the 24/7 security. There was one chef that came there and cooked for me daily during the weekdays. They watched me change every day, naked. Morning, noon and night. My body… I had no privacy door for my room. I gave eight gallons of blood a week. If I didn’t do any of my meetings and work from eight to six at night—which is ten hours a day, seven days a week, no days off—I wouldn’t be able to see my kids or my boyfriend. I never had a say in my schedule. They always told me I had to do this. And ma’am, I will tell you, sitting in a chair ten hours a day, seven days a week, it ain’t fun. And especially when you can’t walk out the front door.\u003c/p>\n\u003cp>And that’s why I’m telling you this again two years later, after I’ve lied and told the whole world I’m OK and I’m happy. It’s a lie. I thought I just… Maybe I said that enough, maybe I might become happy because I’ve been in denial. I’ve been in shock. I am traumatized, you know? Fake it ’til you make it. But now I’m telling you the truth, OK? I’m not happy. I can’t sleep. I’m so angry, it’s insane. And I’m depressed. I cry every day.\u003c/p>\n\u003cp>And the reason I’m telling you this is because I don’t think how the state of California can have all this written in the court documents from the time I showed up, and do absolutely nothing. Just hire, with my money, another person to keep, and keep my dad on board. Ma’am, my dad and anyone involved in this conservatorship, and my management who played a huge role in punishing me when I said, “No, ma’am, they should be in jail.” Their cruel tactics working for Miley Cyrus. If she smokes on joints and stage at the VMAs, nothing is ever done to this generation for doing wrong things. But my precious body, whose work for my dad for the past fucking thirteen years, trying to be so good and pretty. So perfect when he works me so hard, when I do everything I’m told, and the state of California allowed my ignorant father to take his own daughter, who only has a role with me if I work with him. They set back the whole course and allowed him to do that to me? That’s given these people I’ve worked for way too much control.\u003c/p>\n\u003cp>They also threatened me and said if I don’t go, then I have to go to court and it will be more embarrassing me if the judge publicly makes you go, “The evidence we have, you have to go.” I was advised for my image. I need to go ahead and just go and get it over with. They said that to me. I don’t even drink alcohol. I should drink alcohol, considering what they put my heart through.\u003c/p>\n\u003cp>[aside postid='pop_105661']Also, the Bridges Facility, they sent me to none of the kids. I was doing this program for four months. So the last two months I went to a Bridges Facility. None of the kids there did the program. They never showed up for any of them. You didn’t have to do anything if you didn’t want to. How come they always made me go? How come I was always threatened by my dad and anybody that persisted in this conservatorship? If I don’t do this, what they tell me—enslave me to do—they’re going to punish me. The last time I spoke to you about just keeping the conservatorship going and also keeping my dad in the loop made me feel like I was dead. Like I didn’t matter. Like nothing had been done to to me. Like you thought I was lying or something. I’m telling you again, because I’m not lying. I want to feel heard and I’m telling you this again so maybe you can understand the depth and the degree and the damage that they did to me back then.\u003c/p>\n\u003cp>I want changes and I want changes going forward. I deserve changes. I was told I have to sit down and be evaluated again if I want to end the conservatorship. Ma’am, I didn’t know I could petition the conservatorship to end it. I’m sorry for my ignorance, but I honestly didn’t know that. But honestly, which I don’t think I really want to be evaluated. I’ve done more than enough. I don’t feel like I should even be in a room with anyone to offend me by trying to question my capacity of intelligence, whether I need to be in this stupid conservatorship or not. I’ve done more than enough. I don’t owe these people anything. Especially me, the one that has roofed and fed tons of people on tour, on the road. It’s embarrassing and demoralizing what I’ve been through. And that’s the main reason I’ve never said it openly. And mainly I didn’t want to say it openly because I honestly don’t think anyone would believe me. To be honest with you, the Paris Hilton story on what they did to her, at that school, I didn’t believe any of it. I’m sorry, I’m an outsider. And I’ll just be honest, I didn’t believe it. And maybe I’m wrong. And that’s why I didn’t want to say any of this to anybody, to the public, because people would make fun of me or laugh at me and say, “She’s lying. She’s got everything. She’s Britney Spears.” I’m not lying. I just want my life back. And it’s been 13 years and it’s enough.\u003c/p>\n\u003cp>It’s been a long time since I’ve owned my money, and it’s my wish and my dream for all of this to end without being tested. Again, it makes no sense whatsoever for the state of California to sit back and literally watch me with their own two eyes, make a living for so many people and pay so many people—trucks and buses on tour, on the road with me—and be told I’m not good enough. But I’m great at what I do. And I allow these people to control what I do, ma’am, and it’s enough. It makes no sense at all. Now, going forward, I’m not willing to meet or see anyone. I’ve met with enough people against my will. I’m done. All I want is to own my money, for this to end, and my boyfriend to drive me in his fucking car. And I would honestly like to sue my family, to be totally honest with you.\u003c/p>\n\u003cp>I also would like to be able to share my story with the world and what they did to me instead of it being a hush-hush secret to benefit all of them. I want to be able to be heard on what they did to me. By making me keep this in for so long is not good for my heart. I’ve been so angry and I cry every day. It concerns me. I’m told I’m not allowed to expose the people who did this to me. For my sanity, I need you to the judge to prove me to do an interview where I can be heard and what they did to me. And actually, I have the right to use my voice and take out for myself. My attorney says I can’t. It’s not good. I can’t let the public know anything they did to me. And by not saying anything is saying it’s OK. I don’t know what I said here. It’s not OK. I would actually… I don’t want to interview. I’d much rather just have an open call to you for the press to hear, which I didn’t know today we’re doing, so thank you.\u003c/p>\n\u003cp>Instead of having an interview, honestly, I need that to get it off my heart. The anger and all of it. That’s happening. It’s not fair. They’re telling me lies about me openly. Even my family. They do interviews to anyone they want on news stations. My own family doing interviews and talking about the situation and making me feel so stupid. And I can’t say one thing. And my own people say I can’t say anything. It’s been two years. I want a recorded call to you—actually, we’re doing this now, which I didn’t know that we were doing this—until the public knows what they did me. I told my… I know my lawyer Sam has been very scared for me to go forward because he’s saying if I speak up, I’m being overworked in that facility, that rehab place, that the rehab place will see me. He told me I should keep it to myself. I would personally like to… Actually, I know I’ve had grown with a personal relationship with Sam, my lawyer. I’ve been talking to him like three times a week now. We’ve kind of built a relationship, but I haven’t really had the opportunity by my own self to actually handpick my own lawyer by myself. And I would like to be able to do that.\u003c/p>\n\u003cp>I would like to also… The main reason why I’m here is because I want to end the conservatorship without having to be evaluated. I’ve done a lot of research, ma’am, and there is a lot of judges who do end conservatorships for people without them having to be evaluated all the time. The only times they don’t is if a concerned family member says something’s wrong with this person and consider an other- otherwise. And considering my family has lived off of my conservatorship for thirteen years, I won’t be surprised if one of them has something to say. Go forward and say, “We don’t think this should end. We have to help her.” Especially if I get my fair serve and turn in exposing what they did to me. Also I want to speak to you about at the moment my obligations, which I personally don’t think at the very moment, I owe anybody anything.\u003c/p>\n\u003cp>I have three meetings a week I have to attend no matter what. I just don’t like feeling like I work for the people whom I pay. I don’t like being told I have to, no matter what, even if I’m sick. Jodi, the conservator says I have to see my coach, Ken, even when I’m sick. I would like to do one meeting a week with a therapist. I’ve never, even before they sent me to that place, had two therapy sessions. A therapy session and one therapy session with my… I have a doctor and then a therapy person. What I’ve been forced to do illegal in my life, I shouldn’t be told I have to be available three times a week to these people I don’t know.\u003c/p>\n\u003cp>[aside postid='pop_111253']I’m talking to you today because I feel again, yes, even Jodi is starting to kind of take it too far with me. They have me going to therapy twice a week and a psychiatrist. I’ve never in the past had… They had me going, yeah, twice a week and my doctor goal. So that’s three times a week. I’ve never in the past went to see a therapist more than once a week. It takes too much out of me going to this man I don’t know. Number one, I’m scared of people. I don’t trust people with what I’ve been through. And the clever set up of being in what’s like, one of the most exposed places in Westlake, which today—yesterday—paparazzi showed me coming out of the place, literally crying in there. It’s embarrassing and it’s demoralizing. I deserve privacy when I go. I deserve privacy when I go and have therapy either at my home, like I’ve done for eight years—they’ve always come to my home—or when the Dr. Benson, the guy—the man that died—I went to a place similar to what I went to in Westlake, which was very exposed and really bad. OK, so wait, where was I? It was like, it was identical to Dr. Benson who died. The one who illegally—yes, one hundred percent—abused me by the treatment he gave me to. And to be totally honest with you, I was so…\u003c/p>\n\u003cp>\u003cstrong>Penny: \u003c/strong>Ms. Spears, excuse me for interrupting you. But my reporter says if you could just slow down a little bit because she’s trying to make sure she gets everything that you’re saying.\u003c/p>\n\u003cp>\u003cstrong>Spears: \u003c/strong>OK, cool.\u003c/p>\n\u003cp>\u003cstrong>Penny: \u003c/strong>And so if you just…\u003c/p>\n\u003cp>\u003cstrong>Spears: \u003c/strong>OK.\u003c/p>\n\u003cp>\u003cstrong>Penny: \u003c/strong>So that would be great.\u003c/p>\n\u003cp>\u003cstrong>Spears: \u003c/strong>I have been through—and the clever set up in Westlake is identical to Dr. Benson who died, the one who illegally—yes, one hundred percent—abused me by the treatment he gave me. And to be totally honest with you, when he passed away, I got on my knees and thanked God. In other words, my team is pushing it with me again. I have trapped phobias being in small rooms because the trauma locked me up for four months in that place is not OK for them to send me—sorry, I’m going fast—to that small room like that twice a week with another new therapist I pay that I never even approved. I don’t like it. I don’t want to do that. And I haven’t done anything wrong to deserve this treatment. It’s not OK to force me to do anything I don’t want to do. By law, Jodi and this so-called team should honestly… I should be able to sue them for threatening me and saying if I don’t go and do these meetings twice a week, we can’t let you have your money and go to Maui on your vacations. You have to do what you’re told for this program and then you will be able to go.\u003c/p>\n\u003cp>But it was very clever. They picked one of the most exposed places in Westlake knowing I have the hot topic of the conservatorship, that over five paparazzi are going to show up and get me crying coming out of that place. I begged them to make sure that they did this at my home so I would have privacy. I deserve privacy. The whole conservatorship from the beginning, once you see someone, whoever it is in the conservatorship, making money, making them money and myself money, and working. That whole statement right there, the conservatorship should end. There should be no… I shouldn’t be in a conservatorship if I can work and provide money and work for myself and pay other people. It makes no sense. The laws need to change. What state allows people to own another person’s money and account and threaten them and saying, “You can’t spend your money unless you do what we want you to do.” And I’m paying them.\u003c/p>\n\u003cp>Ma’am, I’ve worked since I was 17 years old. You have to understand how thin that is for me. Every morning I get up to know, I can’t go on somewhere unless I meet people I don’t know every week in an office identical to the one where the therapist was very abusive to me. I truly believe this conservatorship is abusive. And now we can sit here all day and say, “Oh, conservatorships are here to help people.” But ma’am, there’s a thousand conservatorships that are abusive as well. I don’t feel like I can live a full life. I don’t owe them to go see a man I don’t know and share him my problems. I don’t even believe in therapy. I always think you take it to God.\u003c/p>\n\u003cp>I want to end the conservatorship without being evaluated. In the meantime, I want this therapist once a week. He can either come to my home… No, I just want him to come to my home. I’m not willing to go to Westlake and be embarrassed by all these paparazzi; these scummy paparazzi laughing at my faces while I’m crying. Coming out and taking my pictures as all these white, nice dinners where people drinking wine at restaurants, watching me from these places.\u003c/p>\n\u003cp>They set me up by sending me to the most exposed places. And I told them I didn’t want to go there because I knew paparazzi would show up there. They only gave me two options for therapist, and I’m not sure how you make your decisions, ma’am, but this is the only chance for me to talk to you for a while. I need your help. So if you can just kind of let me know where your head is. I don’t really honestly know what to say, but my requests just are to end the conservatorship without being evaluated. I want to petition, basically, to end the conservatorship, but I want it to be petitioned. And if I don’t want to be evaluated, to be sat in a room with people for hours a day like they did me before—and they made it even worse for me after that happened.\u003c/p>\n\u003cp>So I just, I’m honestly new at this and I’m doing research on all these things. I do know common sense and the method that things can end it. For people, it has ended without them being evaluated. So I just want you to take that into consideration. I’ve also done research and wait… Also took a year during COVID to get me any self care methods during COVID. She said there were no services available. She’s lying, ma’am. My mom went to the spa twice in Louisiana during COVID. For a year, I didn’t have my nails done. No hair styling and no massages, no acupuncture, nothing. For a year. I saw the maids in my home each week with their nails done different each time. She made me feel like my dad does—very similar, her behavior. And my dad, but just a different dynamic. Team wants me to work and stay home instead of having longer vacations. They are used to me sort of doing a weekly routine for them and I’m over it. I don’t feel like I owe them anything at this point. They need to be reminded they actually work for me. They trick me by sending me to the… OK, I repeated myself there. OK.\u003c/p>\n\u003cp>Also, I was supposed to be able to have a friend that I used to do AA meetings with. I did AA for two years, I have like, you know, I did three meetings a week and met a bunch of women there. And I’m not able to see my friends that live eight minutes away from me, which I find extremely strange. I feel like they’re making me feel like I live in a rehab program. This is my home. I’d like for my boyfriend to be able to drive me in his car. And I want to meet with the therapist once a week, not twice a week. And I want him to come to my home because I actually know I do need a little therapy.\u003c/p>\n\u003cp>I was told, hold on. I think that’s… Oh, and I would like to progressively move forward and I want to have the real deal. I want to be able to get married and have a baby. I was told right now in the conservatorship, I’m not able to get married or have a baby. I have an IUD inside of myself right now, so I don’t get pregnant. I wanted to take the IUD out so I could start trying to have another baby. But this so-called team won’t let me go to the doctor to take it out because they don’t want me to have children… any more children.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So basically this conservatorship is doing me way more harm than good. I deserve to have a life. I’ve worked my whole life. I deserve to have a two- to three-year break and just, you know, do what I want to do. But I do feel like there is a crutch here, and I feel like I feel open, and I’m OK to talk to you today about it. But I wish I could stay with you on the phone forever, because when I get off the phone with you, all of a sudden, I hear all these no’s. “No, no, no.” And then all of a sudden I get… I feel ganged up on and I feel bullied and I feel left out and alone. And I’m tired of feeling alone. I deserve to have the same rights as anybody does by having a child, a family, any of those things. And more so. And that’s all I wanted to say to you. And thank you so much for letting me speak to you today.\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=Read+Britney+Spears%27+Statement+To+The+Court+In+Her+Conservatorship+Hearing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Britney Spears is asking a Los Angeles Superior Court judge to \u003ca href=\"https://www.npr.org/2021/06/23/1009416566/britney-spears-speaks-her-mind-at-last-in-conservatorship-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">end her 13-year conservatorship\u003c/a>, saying she is being exploited, bullied and feeling “left out and alone.”\u003c/p>\n\u003cp>Below is a transcript from a leaked audio recording of part of Spears’ court statement Wednesday \u003ca href=\"https://www.youtube.com/watch?v=iVrhKBhMrEI\" target=\"_blank\" rel=\"noopener noreferrer\">posted on YouTube\u003c/a> and verified by NPR.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Britney Spears:\u003c/strong> I will be honest with you, I haven’t been back to court in a long time because I don’t think I was heard on any level when I came to court the last time. I brought four sheets of paper in my hands and wrote in length what I had been through the last four months before I came there. The people who did that to me should not be able to walk away so easily. I’ll recap: I was on tour in 2018 I was forced to do. My management said if I don’t do this tour I will have to find an attorney.\u003c/p>\n\u003cp>\u003cstrong>Los Angeles Superior Court Judge Brenda Penny: \u003c/strong>Ms. Spears, Ms. Spears. I hate to interrupt you, but my court reporter is taking down what you’re saying.\u003c/p>\n\u003cp>\u003cstrong>Spears: \u003c/strong>OK.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Penny: \u003c/strong>And so you have to speak a little more slowly.\u003c/p>\n\u003cp>\u003cstrong>Spears:\u003c/strong> Oh, of course. Yes. OK. I apologize. Great.\u003c/p>\n\u003cp>\u003cstrong>Penny: \u003c/strong>So we hear and make a record of everything you’re saying.\u003c/p>\n\u003cp>\u003cstrong>Spears:\u003c/strong> The people who did this to me should not get away and be able to walk away so easily. Recap: I was on tour in 2018. I was forced to do. My management said if I don’t do this tour, I will have to find an attorney and by contract my own management could sue me if I didn’t follow through with the tour. He handed me a sheet of paper as I got off the stage in Vegas and said I had to sign it. It was very threatening and scary and with the conservatorship, I couldn’t even get my own attorney. So out of fear, I went ahead and I did the tour. When I came off that tour, a new show in Las Vegas was supposed to take place. I started rehearsing early, but it was hard cause I’d been doing Vegas for four years and I needed a break in between.\u003c/p>\n\u003cp>But no, I was told this is the timeline and this is how it’s gonna go. I rehearsed four to four days a week, half of the time in the studio and a half of the other time in a Westlake studio. I was basically directing most of the show with my whereabouts, where I preferred to rehearse and actually did most of the choreography, meaning I taught my dancers my new choreography myself. I take everything I do very seriously. There’s tons of video with me at rehearsals. I wasn’t good. I was great. I led a room of sixteen new dancers in rehearsals. It’s funny to hear my manager’s side of the story. They all said I wasn’t participating in rehearsals and I never agreed to take my medication, which my medication is only taken in the mornings, never at rehearsal. They don’t even see me. So why are they even claiming that?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When I said no to one dance move into rehearsals, it was as if I planted a huge bomb somewhere and I said, no, I don’t want to do it this way. After that, my management, my dancers and my assistant of the new people that were supposed to do the new show all went into a room, shut the door and didn’t come out for at least forty five minutes. Ma’am, I’m not here to be anyone’s slave. I can say no to a dance move. I was told by my—at the time—therapist, Dr. Benson, who died, that my manager called him and then that moment and told him I wasn’t cooperating or following the guidelines in rehearsals. And he also said I wasn’t taking my medication, which is so dumb because I’ve had the same lady every morning for the past eight years give me my same medication and I’m nowhere near these stupid people. It made no sense at all.\u003c/p>\n\u003cp>There was a week period where they were nice to me and they said, “I don’t want to do…” And I told them, “I don’t want to do the…” They wait, no. They were nice to me. They said if I don’t want to do the new Vegas show, I don’t have to ’cause I was getting really nervous. I said “I can wait.” It was like, they told me I could wait. It was like lifting literally two hundred pounds off of me when they said I don’t have to do the show anymore cause it was… I was really, really hard on myself and it was too much.\u003c/p>\n\u003cp>I couldn’t take it anymore. So I remember telling my assistant, “But you know what, I feel weird if I say no. I feel like they’re going to come back and be mean to me or punish me or something.” Three days later, after I said no to Vegas, my therapist sat me down in a room and said he had a million phone calls about how I was not cooperating in rehearsals and I haven’t been taking my medication. All of this was a false. He immediately the next day put me on lithium out of nowhere. He took me off my normal meds I’d been on for five years. And lithium is a very, very strong and completely different medication compared to what I was used to. You can go mentally impaired if you take too much, if you stay on it longer than five months. But he put me on that and I felt drunk. I really couldn’t even take up for myself. I couldn’t even have a conversation with my mom or dad really about anything. I told them I was scared and my doctor had me on… Six different nurses with this new medication come to my home, stay with me to monitor me on this new medication, which I never wanted to be on to begin with.\u003c/p>\n\u003cp>There were six different nurses in my homes and they wouldn’t let me get in my car to go anywhere for a month. Not only did my family not do a goddamn thing, my dad was all for it. Anything that happened to me had to be approved by my dad. And my dad only… He acted like he didn’t know that I was told I had to be tested over the Christmas holidays before they sent me away when my kids went home to Louisiana. He was the one who approved all of it. My whole family did nothing. Over the two-week holiday, a lady came into my home for four hours a day, sat me down and did a psych test on me. It took forever, but I was told I had to then. After that I got off… wait.\u003c/p>\n\u003cp>I was told I had to then, after I got a phone call from my dad saying after I did the psych test with this lady, basically saying I had failed the test or whatever. Whatever. “I’m sorry, Britney, you have to listen to your doctors. They are planning to send you to a small home in Beverly Hills to do a small rehab program that we’re going to make up for you. You’re gonna pay sixty thousand dollars a month for this.”\u003c/p>\n\u003cp>I cried on the phone for an hour and he loved every minute of it. The control he had over someone as powerful as me, as he loved the control to hurt his own daughter. One hundred thousand percent. He loved it.\u003c/p>\n\u003cp>I packed my bags and went to that place. I worked seven days a week, no days off—which in California, the only similar thing to this is called sex trafficking, making anyone work—work against their will. Taking all their possessions away—credit card, cash, phone, passport card—and placing them in a home where they work with the people who live with them. They all lived in the house with me, the nurses, the 24/7 security. There was one chef that came there and cooked for me daily during the weekdays. They watched me change every day, naked. Morning, noon and night. My body… I had no privacy door for my room. I gave eight gallons of blood a week. If I didn’t do any of my meetings and work from eight to six at night—which is ten hours a day, seven days a week, no days off—I wouldn’t be able to see my kids or my boyfriend. I never had a say in my schedule. They always told me I had to do this. And ma’am, I will tell you, sitting in a chair ten hours a day, seven days a week, it ain’t fun. And especially when you can’t walk out the front door.\u003c/p>\n\u003cp>And that’s why I’m telling you this again two years later, after I’ve lied and told the whole world I’m OK and I’m happy. It’s a lie. I thought I just… Maybe I said that enough, maybe I might become happy because I’ve been in denial. I’ve been in shock. I am traumatized, you know? Fake it ’til you make it. But now I’m telling you the truth, OK? I’m not happy. I can’t sleep. I’m so angry, it’s insane. And I’m depressed. I cry every day.\u003c/p>\n\u003cp>And the reason I’m telling you this is because I don’t think how the state of California can have all this written in the court documents from the time I showed up, and do absolutely nothing. Just hire, with my money, another person to keep, and keep my dad on board. Ma’am, my dad and anyone involved in this conservatorship, and my management who played a huge role in punishing me when I said, “No, ma’am, they should be in jail.” Their cruel tactics working for Miley Cyrus. If she smokes on joints and stage at the VMAs, nothing is ever done to this generation for doing wrong things. But my precious body, whose work for my dad for the past fucking thirteen years, trying to be so good and pretty. So perfect when he works me so hard, when I do everything I’m told, and the state of California allowed my ignorant father to take his own daughter, who only has a role with me if I work with him. They set back the whole course and allowed him to do that to me? That’s given these people I’ve worked for way too much control.\u003c/p>\n\u003cp>They also threatened me and said if I don’t go, then I have to go to court and it will be more embarrassing me if the judge publicly makes you go, “The evidence we have, you have to go.” I was advised for my image. I need to go ahead and just go and get it over with. They said that to me. I don’t even drink alcohol. I should drink alcohol, considering what they put my heart through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also, the Bridges Facility, they sent me to none of the kids. I was doing this program for four months. So the last two months I went to a Bridges Facility. None of the kids there did the program. They never showed up for any of them. You didn’t have to do anything if you didn’t want to. How come they always made me go? How come I was always threatened by my dad and anybody that persisted in this conservatorship? If I don’t do this, what they tell me—enslave me to do—they’re going to punish me. The last time I spoke to you about just keeping the conservatorship going and also keeping my dad in the loop made me feel like I was dead. Like I didn’t matter. Like nothing had been done to to me. Like you thought I was lying or something. I’m telling you again, because I’m not lying. I want to feel heard and I’m telling you this again so maybe you can understand the depth and the degree and the damage that they did to me back then.\u003c/p>\n\u003cp>I want changes and I want changes going forward. I deserve changes. I was told I have to sit down and be evaluated again if I want to end the conservatorship. Ma’am, I didn’t know I could petition the conservatorship to end it. I’m sorry for my ignorance, but I honestly didn’t know that. But honestly, which I don’t think I really want to be evaluated. I’ve done more than enough. I don’t feel like I should even be in a room with anyone to offend me by trying to question my capacity of intelligence, whether I need to be in this stupid conservatorship or not. I’ve done more than enough. I don’t owe these people anything. Especially me, the one that has roofed and fed tons of people on tour, on the road. It’s embarrassing and demoralizing what I’ve been through. And that’s the main reason I’ve never said it openly. And mainly I didn’t want to say it openly because I honestly don’t think anyone would believe me. To be honest with you, the Paris Hilton story on what they did to her, at that school, I didn’t believe any of it. I’m sorry, I’m an outsider. And I’ll just be honest, I didn’t believe it. And maybe I’m wrong. And that’s why I didn’t want to say any of this to anybody, to the public, because people would make fun of me or laugh at me and say, “She’s lying. She’s got everything. She’s Britney Spears.” I’m not lying. I just want my life back. And it’s been 13 years and it’s enough.\u003c/p>\n\u003cp>It’s been a long time since I’ve owned my money, and it’s my wish and my dream for all of this to end without being tested. Again, it makes no sense whatsoever for the state of California to sit back and literally watch me with their own two eyes, make a living for so many people and pay so many people—trucks and buses on tour, on the road with me—and be told I’m not good enough. But I’m great at what I do. And I allow these people to control what I do, ma’am, and it’s enough. It makes no sense at all. Now, going forward, I’m not willing to meet or see anyone. I’ve met with enough people against my will. I’m done. All I want is to own my money, for this to end, and my boyfriend to drive me in his fucking car. And I would honestly like to sue my family, to be totally honest with you.\u003c/p>\n\u003cp>I also would like to be able to share my story with the world and what they did to me instead of it being a hush-hush secret to benefit all of them. I want to be able to be heard on what they did to me. By making me keep this in for so long is not good for my heart. I’ve been so angry and I cry every day. It concerns me. I’m told I’m not allowed to expose the people who did this to me. For my sanity, I need you to the judge to prove me to do an interview where I can be heard and what they did to me. And actually, I have the right to use my voice and take out for myself. My attorney says I can’t. It’s not good. I can’t let the public know anything they did to me. And by not saying anything is saying it’s OK. I don’t know what I said here. It’s not OK. I would actually… I don’t want to interview. I’d much rather just have an open call to you for the press to hear, which I didn’t know today we’re doing, so thank you.\u003c/p>\n\u003cp>Instead of having an interview, honestly, I need that to get it off my heart. The anger and all of it. That’s happening. It’s not fair. They’re telling me lies about me openly. Even my family. They do interviews to anyone they want on news stations. My own family doing interviews and talking about the situation and making me feel so stupid. And I can’t say one thing. And my own people say I can’t say anything. It’s been two years. I want a recorded call to you—actually, we’re doing this now, which I didn’t know that we were doing this—until the public knows what they did me. I told my… I know my lawyer Sam has been very scared for me to go forward because he’s saying if I speak up, I’m being overworked in that facility, that rehab place, that the rehab place will see me. He told me I should keep it to myself. I would personally like to… Actually, I know I’ve had grown with a personal relationship with Sam, my lawyer. I’ve been talking to him like three times a week now. We’ve kind of built a relationship, but I haven’t really had the opportunity by my own self to actually handpick my own lawyer by myself. And I would like to be able to do that.\u003c/p>\n\u003cp>I would like to also… The main reason why I’m here is because I want to end the conservatorship without having to be evaluated. I’ve done a lot of research, ma’am, and there is a lot of judges who do end conservatorships for people without them having to be evaluated all the time. The only times they don’t is if a concerned family member says something’s wrong with this person and consider an other- otherwise. And considering my family has lived off of my conservatorship for thirteen years, I won’t be surprised if one of them has something to say. Go forward and say, “We don’t think this should end. We have to help her.” Especially if I get my fair serve and turn in exposing what they did to me. Also I want to speak to you about at the moment my obligations, which I personally don’t think at the very moment, I owe anybody anything.\u003c/p>\n\u003cp>I have three meetings a week I have to attend no matter what. I just don’t like feeling like I work for the people whom I pay. I don’t like being told I have to, no matter what, even if I’m sick. Jodi, the conservator says I have to see my coach, Ken, even when I’m sick. I would like to do one meeting a week with a therapist. I’ve never, even before they sent me to that place, had two therapy sessions. A therapy session and one therapy session with my… I have a doctor and then a therapy person. What I’ve been forced to do illegal in my life, I shouldn’t be told I have to be available three times a week to these people I don’t know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m talking to you today because I feel again, yes, even Jodi is starting to kind of take it too far with me. They have me going to therapy twice a week and a psychiatrist. I’ve never in the past had… They had me going, yeah, twice a week and my doctor goal. So that’s three times a week. I’ve never in the past went to see a therapist more than once a week. It takes too much out of me going to this man I don’t know. Number one, I’m scared of people. I don’t trust people with what I’ve been through. And the clever set up of being in what’s like, one of the most exposed places in Westlake, which today—yesterday—paparazzi showed me coming out of the place, literally crying in there. It’s embarrassing and it’s demoralizing. I deserve privacy when I go. I deserve privacy when I go and have therapy either at my home, like I’ve done for eight years—they’ve always come to my home—or when the Dr. Benson, the guy—the man that died—I went to a place similar to what I went to in Westlake, which was very exposed and really bad. OK, so wait, where was I? It was like, it was identical to Dr. Benson who died. The one who illegally—yes, one hundred percent—abused me by the treatment he gave me to. And to be totally honest with you, I was so…\u003c/p>\n\u003cp>\u003cstrong>Penny: \u003c/strong>Ms. Spears, excuse me for interrupting you. But my reporter says if you could just slow down a little bit because she’s trying to make sure she gets everything that you’re saying.\u003c/p>\n\u003cp>\u003cstrong>Spears: \u003c/strong>OK, cool.\u003c/p>\n\u003cp>\u003cstrong>Penny: \u003c/strong>And so if you just…\u003c/p>\n\u003cp>\u003cstrong>Spears: \u003c/strong>OK.\u003c/p>\n\u003cp>\u003cstrong>Penny: \u003c/strong>So that would be great.\u003c/p>\n\u003cp>\u003cstrong>Spears: \u003c/strong>I have been through—and the clever set up in Westlake is identical to Dr. Benson who died, the one who illegally—yes, one hundred percent—abused me by the treatment he gave me. And to be totally honest with you, when he passed away, I got on my knees and thanked God. In other words, my team is pushing it with me again. I have trapped phobias being in small rooms because the trauma locked me up for four months in that place is not OK for them to send me—sorry, I’m going fast—to that small room like that twice a week with another new therapist I pay that I never even approved. I don’t like it. I don’t want to do that. And I haven’t done anything wrong to deserve this treatment. It’s not OK to force me to do anything I don’t want to do. By law, Jodi and this so-called team should honestly… I should be able to sue them for threatening me and saying if I don’t go and do these meetings twice a week, we can’t let you have your money and go to Maui on your vacations. You have to do what you’re told for this program and then you will be able to go.\u003c/p>\n\u003cp>But it was very clever. They picked one of the most exposed places in Westlake knowing I have the hot topic of the conservatorship, that over five paparazzi are going to show up and get me crying coming out of that place. I begged them to make sure that they did this at my home so I would have privacy. I deserve privacy. The whole conservatorship from the beginning, once you see someone, whoever it is in the conservatorship, making money, making them money and myself money, and working. That whole statement right there, the conservatorship should end. There should be no… I shouldn’t be in a conservatorship if I can work and provide money and work for myself and pay other people. It makes no sense. The laws need to change. What state allows people to own another person’s money and account and threaten them and saying, “You can’t spend your money unless you do what we want you to do.” And I’m paying them.\u003c/p>\n\u003cp>Ma’am, I’ve worked since I was 17 years old. You have to understand how thin that is for me. Every morning I get up to know, I can’t go on somewhere unless I meet people I don’t know every week in an office identical to the one where the therapist was very abusive to me. I truly believe this conservatorship is abusive. And now we can sit here all day and say, “Oh, conservatorships are here to help people.” But ma’am, there’s a thousand conservatorships that are abusive as well. I don’t feel like I can live a full life. I don’t owe them to go see a man I don’t know and share him my problems. I don’t even believe in therapy. I always think you take it to God.\u003c/p>\n\u003cp>I want to end the conservatorship without being evaluated. In the meantime, I want this therapist once a week. He can either come to my home… No, I just want him to come to my home. I’m not willing to go to Westlake and be embarrassed by all these paparazzi; these scummy paparazzi laughing at my faces while I’m crying. Coming out and taking my pictures as all these white, nice dinners where people drinking wine at restaurants, watching me from these places.\u003c/p>\n\u003cp>They set me up by sending me to the most exposed places. And I told them I didn’t want to go there because I knew paparazzi would show up there. They only gave me two options for therapist, and I’m not sure how you make your decisions, ma’am, but this is the only chance for me to talk to you for a while. I need your help. So if you can just kind of let me know where your head is. I don’t really honestly know what to say, but my requests just are to end the conservatorship without being evaluated. I want to petition, basically, to end the conservatorship, but I want it to be petitioned. And if I don’t want to be evaluated, to be sat in a room with people for hours a day like they did me before—and they made it even worse for me after that happened.\u003c/p>\n\u003cp>So I just, I’m honestly new at this and I’m doing research on all these things. I do know common sense and the method that things can end it. For people, it has ended without them being evaluated. So I just want you to take that into consideration. I’ve also done research and wait… Also took a year during COVID to get me any self care methods during COVID. She said there were no services available. She’s lying, ma’am. My mom went to the spa twice in Louisiana during COVID. For a year, I didn’t have my nails done. No hair styling and no massages, no acupuncture, nothing. For a year. I saw the maids in my home each week with their nails done different each time. She made me feel like my dad does—very similar, her behavior. And my dad, but just a different dynamic. Team wants me to work and stay home instead of having longer vacations. They are used to me sort of doing a weekly routine for them and I’m over it. I don’t feel like I owe them anything at this point. They need to be reminded they actually work for me. They trick me by sending me to the… OK, I repeated myself there. OK.\u003c/p>\n\u003cp>Also, I was supposed to be able to have a friend that I used to do AA meetings with. I did AA for two years, I have like, you know, I did three meetings a week and met a bunch of women there. And I’m not able to see my friends that live eight minutes away from me, which I find extremely strange. I feel like they’re making me feel like I live in a rehab program. This is my home. I’d like for my boyfriend to be able to drive me in his car. And I want to meet with the therapist once a week, not twice a week. And I want him to come to my home because I actually know I do need a little therapy.\u003c/p>\n\u003cp>I was told, hold on. I think that’s… Oh, and I would like to progressively move forward and I want to have the real deal. I want to be able to get married and have a baby. I was told right now in the conservatorship, I’m not able to get married or have a baby. I have an IUD inside of myself right now, so I don’t get pregnant. I wanted to take the IUD out so I could start trying to have another baby. But this so-called team won’t let me go to the doctor to take it out because they don’t want me to have children… any more children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So basically this conservatorship is doing me way more harm than good. I deserve to have a life. I’ve worked my whole life. I deserve to have a two- to three-year break and just, you know, do what I want to do. But I do feel like there is a crutch here, and I feel like I feel open, and I’m OK to talk to you today about it. But I wish I could stay with you on the phone forever, because when I get off the phone with you, all of a sudden, I hear all these no’s. “No, no, no.” And then all of a sudden I get… I feel ganged up on and I feel bullied and I feel left out and alone. And I’m tired of feeling alone. I deserve to have the same rights as anybody does by having a child, a family, any of those things. And more so. And that’s all I wanted to say to you. And thank you so much for letting me speak to you today.\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=Read+Britney+Spears%27+Statement+To+The+Court+In+Her+Conservatorship+Hearing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "After 28 Quirky Years, Conan O'Brien is Leaving Late Night",
"headTitle": "After 28 Quirky Years, Conan O’Brien is Leaving Late Night | KQED",
"content": "\u003cp>Conan O’Brien keeps saying this goodbye is a good thing.\u003c/p>\n\u003cp>After 28 years as a late night talk show host, spanning three different shows on two networks, he leaves the nightly grind tonight. He’ll sign off from his TBS show \u003cem>Conan\u003c/em>, presumably for good.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x8_KsatcC8c&t=1s\u003c/p>\n\u003cp>But in watching a run of half-hour episodes leading up to tonight’s finale, it seems there’s something else going on underneath the smiles, nostalgia and good times.\u003c/p>\n\u003cp>Featuring a roster of longtime pals, the final episodes can’t help feeling a little like a wake—if a fun and good-natured one. Seth Rogen let it slip that he was about 12 years old when he first watched O’Brien on TV back in the mid ’90s; another sign of how influential the host has been for a generation of comics in ways that are rarely credited.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is the kind of thing you do when you know it’s over for you,” O’Brien joked during Rogen’s visit, as he lit up a joint that the actor and cannabis entrepreneur brought with him.\u003c/p>\n\u003cp>Given that O’Brien will soon lose his status as late night’s longest tenured current host, it was easy to read a double meaning in that moment.\u003c/p>\n\u003ch3>TV’s late night misfit\u003c/h3>\n\u003cp>To me, despite his longevity, Conan O’Brien has always seemed like a host who never fit in easily on television—perhaps, at least in part, by design.\u003c/p>\n\u003cp>His history with \u003cem>Conan\u003c/em> on TBS seems a poignant example. Created in 2010 as his landing spot after getting maneuvered out of hosting NBC’s\u003cem> Tonight Show\u003c/em>, the then-hour long show developed a robust online presence and filmed episodes in Cuba, Armenia and South Korea, evolving into his \u003ca href=\"https://teamcoco.com/conanwithoutborders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Conan Without Borders\u003c/em>\u003c/a> specials.\u003c/p>\n\u003cp>[aside postid='arts_13867505']But it never developed Nielsen ratings to match what O’Brien could access on a broadcast network (The Wrap website \u003ca href=\"https://www.thewrap.com/conan-tv-ratings-down-final-show-canceled/\" target=\"_blank\" rel=\"noopener noreferrer\">reported this week\u003c/a> \u003cem>Conan\u003c/em>‘s ratings have declined 29 percent during the current TV season, averaging about 282,000 viewers a night). Instead, the show has leaned into creating online content for fans to consume on YouTube and through his website, mirroring how many viewers now seem to connect with talk show content.\u003c/p>\n\u003cp>\u003cem>Conan\u003c/em> went on hiatus in 2018, coming back months later as a stripped-down half-hour show without a band. Now, O’Brien is leaving TBS altogether, with plans to debut a weekly variety show on corporate sibling HBO Max. He’s also got loads of multimedia projects going under his \u003ca href=\"https://teamcoco.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Team Coco banner\u003c/a>, including podcasts (\u003cem>Conan O’Brien Needs a Friend, Literally with Rob Lowe\u003c/em>), stand-up specials from other comics, merchandising and more.\u003c/p>\n\u003cp>O’Brien told WHYY’s \u003cem>Fresh Air\u003c/em> \u003ca href=\"https://www.npr.org/2020/11/26/938521404/conan-obrien-on-late-night-tv-all-i-ever-wanted-to-do-was-make-people-laugh\" target=\"_blank\" rel=\"noopener noreferrer\">back in 2019\u003c/a> that “what I don’t want to do is sleepwalk my way through my career at this stage,” hinting at a restless spirit which has powered many of his recent projects.\u003c/p>\n\u003cp>Still, this transition feels like an odd combination of O’Brien leaving late night TV as the genre leaves him. His smartly silly comedy—disconnected from politics, celebrity worship or anything resembling showbiz cool—is now beloved by a sliver of the TV audience too small to sustain a regular gig, even on standard cable.\u003c/p>\n\u003cp>Even as new voices like Amber Ruffin, Desus and Mero and Ziwe try to reinvent late night talk for a new generation, O’Brien is headed for the exit, seemingly eager to redefine himself before the industry does it for him.\u003c/p>\n\u003ch3>Carving and sustaining a distinctive voice\u003c/h3>\n\u003cp>[aside postid='pop_112397']I remember that O’Brien also didn’t seem to quite fit in when he first entered the late night talk arena way back in 1993, taking over NBC’s \u003cem>Late Night\u003c/em> show after David Letterman left for CBS.\u003c/p>\n\u003cp>Despite stints as a writer on both \u003cem>The Simpsons\u003c/em> and \u003cem>Saturday Night Live\u003c/em>, O’Brien seemed an untested talent back then who hadn’t built his persona in public, like the former standup comics who hosted all the other late night talk shows.\u003c/p>\n\u003cp>It took years for his version of \u003cem>Late Night\u003c/em> to gel, as the network initially hedged its bets by refusing to give him a long-term contract. Airing at 12:30 p.m., he was on the fringe of late night, speaking mostly to college students and insomniacs long before video clips on the internet could spread awareness beyond those who watched it on NBC.\u003c/p>\n\u003cp>His version of \u003cem>Late Night\u003c/em> eventually won over critics and the public, fueled by quirky bits like a guy in a bear suit who couldn’t stop fondling himself dubbed the “Masturbating Bear.” But when it came time for O’Brien to take over the venerated \u003cem>Tonight Show\u003c/em> from Jay Leno many years later in 2009, the cutthroat politics of late night TV intervened.\u003c/p>\n\u003cp>Leno didn’t actually leave NBC when O’Brien moved up. Instead, Leno got the network to give him a primetime show at 10 p.m. Ratings for both Leno and O’Brien cratered; months later, O’Brien was leaving NBC with a payout reportedly north of $30 million.\u003c/p>\n\u003cp>It’s worth noting that, along with his own talents—including rapid-fire wit and fearlessness as a performer—O’Brien has had some outside help crafting his unique showbiz journey.\u003c/p>\n\u003cp>[aside postid='arts_10138746']After \u003cem>Saturday Night Live\u003c/em> empresario Lorne Michaels picked O’Brien to take over \u003cem>Late Night\u003c/em>, I marveled at how much time NBC gave him to pull that show together. When O’Brien needed a place to land after leaving the \u003cem>Tonight Show\u003c/em>, TBS convinced George Lopez to move his existing talk show back one hour to midnight and make room for Conan. (The midnight edition of \u003cem>Lopez Tonight\u003c/em> would be canceled less than a year later, ending the journey for a pioneering Latino late night TV host).\u003c/p>\n\u003cp>I always wondered where late night TV diversity would be if hosts of color got similar support in the past.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These days, despite nearly three decades in the trenches of late night TV, it’s tough to zero in on the legacy O’Brien will leave. In the end, it may just be the story of an irrepressible talent who always found a way to shine wherever he landed, fueled by his own quirky comedy sense and relentless drive, regardless of what was going on around him.\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=After+28+Quirky+Years%2C+Conan+O%27Brien+Is+Leaving+Late+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conan O’Brien keeps saying this goodbye is a good thing.\u003c/p>\n\u003cp>After 28 years as a late night talk show host, spanning three different shows on two networks, he leaves the nightly grind tonight. He’ll sign off from his TBS show \u003cem>Conan\u003c/em>, presumably for good.\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/x8_KsatcC8c'\n title='//www.youtube.com/embed/x8_KsatcC8c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But in watching a run of half-hour episodes leading up to tonight’s finale, it seems there’s something else going on underneath the smiles, nostalgia and good times.\u003c/p>\n\u003cp>Featuring a roster of longtime pals, the final episodes can’t help feeling a little like a wake—if a fun and good-natured one. Seth Rogen let it slip that he was about 12 years old when he first watched O’Brien on TV back in the mid ’90s; another sign of how influential the host has been for a generation of comics in ways that are rarely credited.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is the kind of thing you do when you know it’s over for you,” O’Brien joked during Rogen’s visit, as he lit up a joint that the actor and cannabis entrepreneur brought with him.\u003c/p>\n\u003cp>Given that O’Brien will soon lose his status as late night’s longest tenured current host, it was easy to read a double meaning in that moment.\u003c/p>\n\u003ch3>TV’s late night misfit\u003c/h3>\n\u003cp>To me, despite his longevity, Conan O’Brien has always seemed like a host who never fit in easily on television—perhaps, at least in part, by design.\u003c/p>\n\u003cp>His history with \u003cem>Conan\u003c/em> on TBS seems a poignant example. Created in 2010 as his landing spot after getting maneuvered out of hosting NBC’s\u003cem> Tonight Show\u003c/em>, the then-hour long show developed a robust online presence and filmed episodes in Cuba, Armenia and South Korea, evolving into his \u003ca href=\"https://teamcoco.com/conanwithoutborders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Conan Without Borders\u003c/em>\u003c/a> specials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it never developed Nielsen ratings to match what O’Brien could access on a broadcast network (The Wrap website \u003ca href=\"https://www.thewrap.com/conan-tv-ratings-down-final-show-canceled/\" target=\"_blank\" rel=\"noopener noreferrer\">reported this week\u003c/a> \u003cem>Conan\u003c/em>‘s ratings have declined 29 percent during the current TV season, averaging about 282,000 viewers a night). Instead, the show has leaned into creating online content for fans to consume on YouTube and through his website, mirroring how many viewers now seem to connect with talk show content.\u003c/p>\n\u003cp>\u003cem>Conan\u003c/em> went on hiatus in 2018, coming back months later as a stripped-down half-hour show without a band. Now, O’Brien is leaving TBS altogether, with plans to debut a weekly variety show on corporate sibling HBO Max. He’s also got loads of multimedia projects going under his \u003ca href=\"https://teamcoco.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Team Coco banner\u003c/a>, including podcasts (\u003cem>Conan O’Brien Needs a Friend, Literally with Rob Lowe\u003c/em>), stand-up specials from other comics, merchandising and more.\u003c/p>\n\u003cp>O’Brien told WHYY’s \u003cem>Fresh Air\u003c/em> \u003ca href=\"https://www.npr.org/2020/11/26/938521404/conan-obrien-on-late-night-tv-all-i-ever-wanted-to-do-was-make-people-laugh\" target=\"_blank\" rel=\"noopener noreferrer\">back in 2019\u003c/a> that “what I don’t want to do is sleepwalk my way through my career at this stage,” hinting at a restless spirit which has powered many of his recent projects.\u003c/p>\n\u003cp>Still, this transition feels like an odd combination of O’Brien leaving late night TV as the genre leaves him. His smartly silly comedy—disconnected from politics, celebrity worship or anything resembling showbiz cool—is now beloved by a sliver of the TV audience too small to sustain a regular gig, even on standard cable.\u003c/p>\n\u003cp>Even as new voices like Amber Ruffin, Desus and Mero and Ziwe try to reinvent late night talk for a new generation, O’Brien is headed for the exit, seemingly eager to redefine himself before the industry does it for him.\u003c/p>\n\u003ch3>Carving and sustaining a distinctive voice\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I remember that O’Brien also didn’t seem to quite fit in when he first entered the late night talk arena way back in 1993, taking over NBC’s \u003cem>Late Night\u003c/em> show after David Letterman left for CBS.\u003c/p>\n\u003cp>Despite stints as a writer on both \u003cem>The Simpsons\u003c/em> and \u003cem>Saturday Night Live\u003c/em>, O’Brien seemed an untested talent back then who hadn’t built his persona in public, like the former standup comics who hosted all the other late night talk shows.\u003c/p>\n\u003cp>It took years for his version of \u003cem>Late Night\u003c/em> to gel, as the network initially hedged its bets by refusing to give him a long-term contract. Airing at 12:30 p.m., he was on the fringe of late night, speaking mostly to college students and insomniacs long before video clips on the internet could spread awareness beyond those who watched it on NBC.\u003c/p>\n\u003cp>His version of \u003cem>Late Night\u003c/em> eventually won over critics and the public, fueled by quirky bits like a guy in a bear suit who couldn’t stop fondling himself dubbed the “Masturbating Bear.” But when it came time for O’Brien to take over the venerated \u003cem>Tonight Show\u003c/em> from Jay Leno many years later in 2009, the cutthroat politics of late night TV intervened.\u003c/p>\n\u003cp>Leno didn’t actually leave NBC when O’Brien moved up. Instead, Leno got the network to give him a primetime show at 10 p.m. Ratings for both Leno and O’Brien cratered; months later, O’Brien was leaving NBC with a payout reportedly north of $30 million.\u003c/p>\n\u003cp>It’s worth noting that, along with his own talents—including rapid-fire wit and fearlessness as a performer—O’Brien has had some outside help crafting his unique showbiz journey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After \u003cem>Saturday Night Live\u003c/em> empresario Lorne Michaels picked O’Brien to take over \u003cem>Late Night\u003c/em>, I marveled at how much time NBC gave him to pull that show together. When O’Brien needed a place to land after leaving the \u003cem>Tonight Show\u003c/em>, TBS convinced George Lopez to move his existing talk show back one hour to midnight and make room for Conan. (The midnight edition of \u003cem>Lopez Tonight\u003c/em> would be canceled less than a year later, ending the journey for a pioneering Latino late night TV host).\u003c/p>\n\u003cp>I always wondered where late night TV diversity would be if hosts of color got similar support in the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sometimes, a trailer drops that instantly catches the attention of one’s Twitter feed, and I started seeing discussions of \u003cem>Sexy Beasts \u003c/em>as soon as Netflix put the spot out there. And that makes sense, since it opens with a scene where a woman wearing a panda head talks to a man made up to look like a bull with Carrot Top’s hair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IJO5m6EFL6A\u003c/p>\n\u003cp>The woman with the panda head is concerned about whether Bull Who Is Also Carrot Top has health insurance. “Could you fall in love with someone based on personality alone?” asks the narrator, as we watch scenes of people who can see every part of each other’s bodies except for their heads.\u003c/p>\n\u003cp>“Ass first, personality second,” says a man dressed as, I’m going to say, a beaver (I’m so sorry) as he neatly renders the show pointless, given that the costumes do not obscure either the ass or the personality, meaning he can continue to prioritize them exactly as he did before.\u003c/p>\n\u003cp>You should not think that because this is a show in which everyone is dressed like a scarecrow or a dolphin (I think she’s a dolphin?) or a devil, that the people don’t have real feelings. “This is going to be really hard for me,” says the dolphin, presumably before she breaks the heart of … who knows, an owl or a mongoose or Frankenstein’s monster. (I want to stress that if you are a person who likes to dress up like an owl or Frankenstein’s monster as part of your chosen romantic life, this has nothing to do with you. This has to do with replacing your head with a bunny’s head as part of a bizarre experiment to see whether someone would still kiss you if you had a bunny’s head.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay, look. Not to torpedo the logic of a show where a panda goes on an axe-throwing date, but all these people are hot! If you want to find out whether hot people can fall in love while not being able to see each other’s heads, attend any Halloween party with high-quality masks. (There was a similar issue with \u003cem>Love is Blind, \u003c/em>a Netflix show from last year where attractive people flirted from separate rooms.) Has Netflix simply reinvented the elite masquerade ball? These are all conventionally attractive people (because you eventually do see them) who would do very well on a dating app called Eh, Personalities Are Overrated. They were all doing fine, most likely, in our regular world in which we all go out with our own heads on.\u003c/p>\n\u003cp>That said, I’m rooting for the dolphin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sexy Beasts arrives on Netflix on July 21. \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=%27Sexy+Beasts%27+Is+Coming+To+Netflix%2C+And+We+Have+...+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, a trailer drops that instantly catches the attention of one’s Twitter feed, and I started seeing discussions of \u003cem>Sexy Beasts \u003c/em>as soon as Netflix put the spot out there. And that makes sense, since it opens with a scene where a woman wearing a panda head talks to a man made up to look like a bull with Carrot Top’s hair.\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/IJO5m6EFL6A'\n title='//www.youtube.com/embed/IJO5m6EFL6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The woman with the panda head is concerned about whether Bull Who Is Also Carrot Top has health insurance. “Could you fall in love with someone based on personality alone?” asks the narrator, as we watch scenes of people who can see every part of each other’s bodies except for their heads.\u003c/p>\n\u003cp>“Ass first, personality second,” says a man dressed as, I’m going to say, a beaver (I’m so sorry) as he neatly renders the show pointless, given that the costumes do not obscure either the ass or the personality, meaning he can continue to prioritize them exactly as he did before.\u003c/p>\n\u003cp>You should not think that because this is a show in which everyone is dressed like a scarecrow or a dolphin (I think she’s a dolphin?) or a devil, that the people don’t have real feelings. “This is going to be really hard for me,” says the dolphin, presumably before she breaks the heart of … who knows, an owl or a mongoose or Frankenstein’s monster. (I want to stress that if you are a person who likes to dress up like an owl or Frankenstein’s monster as part of your chosen romantic life, this has nothing to do with you. This has to do with replacing your head with a bunny’s head as part of a bizarre experiment to see whether someone would still kiss you if you had a bunny’s head.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay, look. Not to torpedo the logic of a show where a panda goes on an axe-throwing date, but all these people are hot! If you want to find out whether hot people can fall in love while not being able to see each other’s heads, attend any Halloween party with high-quality masks. (There was a similar issue with \u003cem>Love is Blind, \u003c/em>a Netflix show from last year where attractive people flirted from separate rooms.) Has Netflix simply reinvented the elite masquerade ball? These are all conventionally attractive people (because you eventually do see them) who would do very well on a dating app called Eh, Personalities Are Overrated. They were all doing fine, most likely, in our regular world in which we all go out with our own heads on.\u003c/p>\n\u003cp>That said, I’m rooting for the dolphin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sexy Beasts arrives on Netflix on July 21. \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=%27Sexy+Beasts%27+Is+Coming+To+Netflix%2C+And+We+Have+...+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Britney Spears is Headed to Court to Address Her Conservatorship. Here's What to Know",
"headTitle": "Britney Spears is Headed to Court to Address Her Conservatorship. Here’s What to Know | KQED",
"content": "\u003cp>Pop star \u003ca href=\"https://www.britneyspears.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Britney Spears\u003c/a> hasn’t been in charge of her personal life or her finances for 13 years—that’s how long she has been in a court-dictated legal arrangement called a conservatorship.\u003c/p>\n\u003cp>But on Wednesday, the artist will be speaking directly, albeit from a remote location, to a Los Angeles Superior Court judge about her situation. What exactly she intends to say in her appearance and what her goals might be are anyone’s guess.\u003c/p>\n\u003cp>Before then, here’s a quick look at what conservatorships are and why they exist, the specifics of Spears’ arrangements, the \u003ca href=\"https://twitter.com/hashtag/freebritney?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener noreferrer\">#FreeBritney\u003c/a> movement and what Spears and others have said publicly—and privately—about her conservatorship.\u003c/p>\n\u003cp>\u003cstrong>What is a conservatorship, and why does one get put in place?\u003c/strong>\u003c/p>\n\u003cp>Typically, legal and financial conservatorships are arranged for people who are unable to make their own decisions in their own best self-interest, such as in the case of an elderly person or someone with some kind of cognitive impairment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Why does Britney Spears have one?\u003c/strong>\u003c/p>\n\u003cp>The exact reasons that the 39-year-old Spears is under a conservatorship have not been publicly disclosed. She lost her autonomy 13 years ago, in 2008, after apparently suffering a mental health crisis.\u003c/p>\n\u003cp>During the time that Spears has lived under this arrangement, though, she has released four albums (two of which, 2008’s \u003cem>Circus\u003c/em> and 2011’s \u003cem>Femme Fatale,\u003c/em> achieved platinum sales); appeared as a judge on both \u003cem>The X Factor\u003c/em> and \u003cem>American Idol\u003c/em>; and had a four-year residency in Las Vegas that reportedly grossed close to \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8491648/highest-grossing-las-vegas-residencies\">$138 million\u003c/a>. Those accomplishments don’t exactly line up with the typical profile of someone unable to look after themselves.\u003c/p>\n\u003cp>\u003cstrong>What does Spears’ conservatorship cover?\u003c/strong>\u003c/p>\n\u003cp>Essentially, it controls all the major aspects of Spears’ life, including decisions regarding her financial, medical and personal well-being. The conservators also oversee visitation arrangements with her two teenage sons, who are under the full custody of her ex-husband, Kevin Federline.\u003c/p>\n\u003cp>According to \u003cem>Forbes,\u003c/em> Spears’ current net worth is around \u003ca href=\"https://www.forbes.com/sites/maddieberg/2021/02/17/britney-spears-net-worth-revealed--and-its-shockingly-low-compared-to-her-pop-peers/?sh=245268a518ac\" target=\"_blank\" rel=\"noopener noreferrer\">$60 million\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Who controls Spears’ conservatorship?\u003c/strong>\u003c/p>\n\u003cp>Up until recently, both the financial and personal arms of the conservatorship were controlled by Spears’ father, Jamie Spears.\u003c/p>\n\u003cp>[aside postid='pop_111253']In 2020, her lawyer, Samuel D. Ingham III, stated in a filing that Spears “strongly opposed” her father as conservator and that she refused to perform if he remained in charge of her career. Spears asked the court for her father to be suspended from his role as conservator. (He had temporarily stepped away in 2019 for health reasons.)\u003c/p>\n\u003cp>In February, Los Angeles Superior Court Judge Brenda Penny \u003ca href=\"https://www.npr.org/2021/02/11/967176455/judge-rules-against-britney-spears-father-in-conservatorship-dispute\" target=\"_blank\" rel=\"noopener noreferrer\">overruled\u003c/a> an objection from Jamie Spears to having a third party help look after his daughter’s financial affairs. A wealth-management company, Bessemer Trust, is now a co-conservator for the financial side of Spears’ situation. But Jamie Spears is still the main conservator for all other aspects of Spears’ arrangement.\u003c/p>\n\u003cp>\u003cstrong>Why is Spears planning to talk to the court now?\u003c/strong>\u003c/p>\n\u003cp>Back in April, Spears’ legal team \u003ca href=\"https://apnews.com/article/entertainment-los-angeles-britney-spears-arts-and-entertainment-73a26ccdfe9cb244aa7d894e0d585c4c\" target=\"_blank\" rel=\"noopener noreferrer\">asked\u003c/a> Penny to allow her to speak to the court directly about the conservatorship, and they agreed that June 23 would be the date for this to happen. At the time, Ingham did not disclose why Spears wants to speak or what she intends to say.\u003c/p>\n\u003cp>\u003cstrong>Has Spears ever asked for the conservatorship to end?\u003c/strong>\u003c/p>\n\u003cp>Up until now, Spears has never voiced a desire for the conservatorship to be removed completely—at least not publicly. In a court filing, she has \u003ca href=\"https://apnews.com/article/explaining-britney-spears-court-conservatorship-hearing-48451f0cb51d7c646a51f2e10e97fb61\" target=\"_blank\" rel=\"noopener noreferrer\">stated\u003c/a> that the conservatorship “rescued her from a collapse, exploitation by predatory individuals and financial ruin” and allowed her to “regain her position as a world class entertainer.”\u003c/p>\n\u003cp>But on Tuesday afternoon, \u003ca href=\"https://www.nytimes.com/2021/06/22/arts/music/britney-spears-conservatorship.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a> reported that it had obtained confidential court records that purport to show that Spears has opposed the conservatorship privately for years. The \u003cem>Times \u003c/em>quoted a 2016 report from a court investigator assigned to Spears’ case, in which the investigator wrote that Spears told her that the conservatorship had “become an oppressive and controlling tool against her” and that she wanted the arrangement to end quickly.\u003c/p>\n\u003cp>According to the \u003cem>Times\u003c/em>, Spears told the court in 2019 that the conservatorship had forced her into a stay at a mental health facility, as well as into making public performances against her will. The article further reported that the conservatorship had dictated Spears’ friendships, her dating life and her spending habits, even preventing her from refinishing kitchen cabinets according to her taste.\u003c/p>\n\u003cp>As early as 2014, the article states, Spears wanted to consider removing her father from his prime role in the conservatorship, citing his reportedly heavy drinking.\u003c/p>\n\u003cp>\u003cstrong>Does Spears herself support the #FreeBritney movement?\u003c/strong>\u003c/p>\n\u003cp>Certain Spears fans have organized themselves into a grassroots movement—#FreeBritney—to help Spears regain autonomy over her life. The dynamics between Spears and her dedicated #FreeBritney fans are murky, as are her various declarations on social media.\u003c/p>\n\u003cp>In a court filing last September, her lawyer, Ingham, \u003ca href=\"https://www.bbc.com/news/entertainment-arts-54024740\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a>: “At this point in her life when she is trying to regain some measure of personal autonomy, Britney welcomes and appreciates the informed support of her many fans.”\u003c/p>\n\u003cp>On the other hand, Spears to date has never publicly asked to be released from the conservatorship and regain her autonomy—which is the main goal of #FreeBritney.\u003c/p>\n\u003cp>[aside postid='arts_13892744']A very sympathetic \u003cem>New York Times\u003c/em> television documentary, \u003ca href=\"https://www.nytimes.com/article/framing-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Framing Britney Spears\u003c/em>\u003c/a>, debuted on FX in February. The project reckons with the way the media, comedians and the music industry itself characterized Spears during her ascent to global fame and during her later, very public struggles—and it also profiles some #FreeBritney activists.\u003c/p>\n\u003cp>After it aired, Spears wrote \u003ca href=\"https://www.instagram.com/tv/CND5B1RArtK/?utm_source=ig_embed&ig_rid=f6fd8fa1-2de5-406e-a0e1-75ff7b683d26\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>: “My life has always been very speculated [\u003cem>sic\u003c/em>] … watched … and judged really my whole life !!! … I didn’t watch the documentary but from what I did see of it I was embarrassed by the light they put me in … I cried for two weeks and well …. I still cry sometimes !!!!”\u003c/p>\n\u003cp>Some #FreeBritney supporters don’t believe Spears writes her own Instagram messages, leaving them to speculate about the pop star’s true feelings. But Spears reportedly told \u003ca href=\"https://www.tmz.com/2021/04/02/britney-spears-writes-social-media-posts-instagram-framing-documentary/\" target=\"_blank\" rel=\"noopener noreferrer\">TMZ\u003c/a> in April that she writes her own captions.\u003c/p>\n\u003cp>\u003cstrong>What’s next for Britney Spears?\u003c/strong>\u003c/p>\n\u003cp>Unclear. In an\u003ca href=\"https://www.instagram.com/p/CQPB1hmg6xV/\" target=\"_blank\" rel=\"noopener noreferrer\"> Instagram video\u003c/a> posted last week, a visibly jittery Spears professed to be answering fans’ most burning questions, including her shoe size and her favorite business trip (answer: “a trip to Italy [to] Donatella Versace. … She fined [\u003cem>sic\u003c/em>] and dined us”).\u003c/p>\n\u003cp>The last question Spears put forward to herself was a crucial one: Would she ever return to the stage again?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I have no idea,” she said. “I’m having fun right now. I’m in transition in my life, and I’m enjoying myself.”\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=Britney+Spears+Is+Headed+To+Court+To+Address+Her+Conservatorship.+Here%27s+What+To+Know&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pop star \u003ca href=\"https://www.britneyspears.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Britney Spears\u003c/a> hasn’t been in charge of her personal life or her finances for 13 years—that’s how long she has been in a court-dictated legal arrangement called a conservatorship.\u003c/p>\n\u003cp>But on Wednesday, the artist will be speaking directly, albeit from a remote location, to a Los Angeles Superior Court judge about her situation. What exactly she intends to say in her appearance and what her goals might be are anyone’s guess.\u003c/p>\n\u003cp>Before then, here’s a quick look at what conservatorships are and why they exist, the specifics of Spears’ arrangements, the \u003ca href=\"https://twitter.com/hashtag/freebritney?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener noreferrer\">#FreeBritney\u003c/a> movement and what Spears and others have said publicly—and privately—about her conservatorship.\u003c/p>\n\u003cp>\u003cstrong>What is a conservatorship, and why does one get put in place?\u003c/strong>\u003c/p>\n\u003cp>Typically, legal and financial conservatorships are arranged for people who are unable to make their own decisions in their own best self-interest, such as in the case of an elderly person or someone with some kind of cognitive impairment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Why does Britney Spears have one?\u003c/strong>\u003c/p>\n\u003cp>The exact reasons that the 39-year-old Spears is under a conservatorship have not been publicly disclosed. She lost her autonomy 13 years ago, in 2008, after apparently suffering a mental health crisis.\u003c/p>\n\u003cp>During the time that Spears has lived under this arrangement, though, she has released four albums (two of which, 2008’s \u003cem>Circus\u003c/em> and 2011’s \u003cem>Femme Fatale,\u003c/em> achieved platinum sales); appeared as a judge on both \u003cem>The X Factor\u003c/em> and \u003cem>American Idol\u003c/em>; and had a four-year residency in Las Vegas that reportedly grossed close to \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8491648/highest-grossing-las-vegas-residencies\">$138 million\u003c/a>. Those accomplishments don’t exactly line up with the typical profile of someone unable to look after themselves.\u003c/p>\n\u003cp>\u003cstrong>What does Spears’ conservatorship cover?\u003c/strong>\u003c/p>\n\u003cp>Essentially, it controls all the major aspects of Spears’ life, including decisions regarding her financial, medical and personal well-being. The conservators also oversee visitation arrangements with her two teenage sons, who are under the full custody of her ex-husband, Kevin Federline.\u003c/p>\n\u003cp>According to \u003cem>Forbes,\u003c/em> Spears’ current net worth is around \u003ca href=\"https://www.forbes.com/sites/maddieberg/2021/02/17/britney-spears-net-worth-revealed--and-its-shockingly-low-compared-to-her-pop-peers/?sh=245268a518ac\" target=\"_blank\" rel=\"noopener noreferrer\">$60 million\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Who controls Spears’ conservatorship?\u003c/strong>\u003c/p>\n\u003cp>Up until recently, both the financial and personal arms of the conservatorship were controlled by Spears’ father, Jamie Spears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 2020, her lawyer, Samuel D. Ingham III, stated in a filing that Spears “strongly opposed” her father as conservator and that she refused to perform if he remained in charge of her career. Spears asked the court for her father to be suspended from his role as conservator. (He had temporarily stepped away in 2019 for health reasons.)\u003c/p>\n\u003cp>In February, Los Angeles Superior Court Judge Brenda Penny \u003ca href=\"https://www.npr.org/2021/02/11/967176455/judge-rules-against-britney-spears-father-in-conservatorship-dispute\" target=\"_blank\" rel=\"noopener noreferrer\">overruled\u003c/a> an objection from Jamie Spears to having a third party help look after his daughter’s financial affairs. A wealth-management company, Bessemer Trust, is now a co-conservator for the financial side of Spears’ situation. But Jamie Spears is still the main conservator for all other aspects of Spears’ arrangement.\u003c/p>\n\u003cp>\u003cstrong>Why is Spears planning to talk to the court now?\u003c/strong>\u003c/p>\n\u003cp>Back in April, Spears’ legal team \u003ca href=\"https://apnews.com/article/entertainment-los-angeles-britney-spears-arts-and-entertainment-73a26ccdfe9cb244aa7d894e0d585c4c\" target=\"_blank\" rel=\"noopener noreferrer\">asked\u003c/a> Penny to allow her to speak to the court directly about the conservatorship, and they agreed that June 23 would be the date for this to happen. At the time, Ingham did not disclose why Spears wants to speak or what she intends to say.\u003c/p>\n\u003cp>\u003cstrong>Has Spears ever asked for the conservatorship to end?\u003c/strong>\u003c/p>\n\u003cp>Up until now, Spears has never voiced a desire for the conservatorship to be removed completely—at least not publicly. In a court filing, she has \u003ca href=\"https://apnews.com/article/explaining-britney-spears-court-conservatorship-hearing-48451f0cb51d7c646a51f2e10e97fb61\" target=\"_blank\" rel=\"noopener noreferrer\">stated\u003c/a> that the conservatorship “rescued her from a collapse, exploitation by predatory individuals and financial ruin” and allowed her to “regain her position as a world class entertainer.”\u003c/p>\n\u003cp>But on Tuesday afternoon, \u003ca href=\"https://www.nytimes.com/2021/06/22/arts/music/britney-spears-conservatorship.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New York Times\u003c/em>\u003c/a> reported that it had obtained confidential court records that purport to show that Spears has opposed the conservatorship privately for years. The \u003cem>Times \u003c/em>quoted a 2016 report from a court investigator assigned to Spears’ case, in which the investigator wrote that Spears told her that the conservatorship had “become an oppressive and controlling tool against her” and that she wanted the arrangement to end quickly.\u003c/p>\n\u003cp>According to the \u003cem>Times\u003c/em>, Spears told the court in 2019 that the conservatorship had forced her into a stay at a mental health facility, as well as into making public performances against her will. The article further reported that the conservatorship had dictated Spears’ friendships, her dating life and her spending habits, even preventing her from refinishing kitchen cabinets according to her taste.\u003c/p>\n\u003cp>As early as 2014, the article states, Spears wanted to consider removing her father from his prime role in the conservatorship, citing his reportedly heavy drinking.\u003c/p>\n\u003cp>\u003cstrong>Does Spears herself support the #FreeBritney movement?\u003c/strong>\u003c/p>\n\u003cp>Certain Spears fans have organized themselves into a grassroots movement—#FreeBritney—to help Spears regain autonomy over her life. The dynamics between Spears and her dedicated #FreeBritney fans are murky, as are her various declarations on social media.\u003c/p>\n\u003cp>In a court filing last September, her lawyer, Ingham, \u003ca href=\"https://www.bbc.com/news/entertainment-arts-54024740\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a>: “At this point in her life when she is trying to regain some measure of personal autonomy, Britney welcomes and appreciates the informed support of her many fans.”\u003c/p>\n\u003cp>On the other hand, Spears to date has never publicly asked to be released from the conservatorship and regain her autonomy—which is the main goal of #FreeBritney.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A very sympathetic \u003cem>New York Times\u003c/em> television documentary, \u003ca href=\"https://www.nytimes.com/article/framing-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Framing Britney Spears\u003c/em>\u003c/a>, debuted on FX in February. The project reckons with the way the media, comedians and the music industry itself characterized Spears during her ascent to global fame and during her later, very public struggles—and it also profiles some #FreeBritney activists.\u003c/p>\n\u003cp>After it aired, Spears wrote \u003ca href=\"https://www.instagram.com/tv/CND5B1RArtK/?utm_source=ig_embed&ig_rid=f6fd8fa1-2de5-406e-a0e1-75ff7b683d26\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>: “My life has always been very speculated [\u003cem>sic\u003c/em>] … watched … and judged really my whole life !!! … I didn’t watch the documentary but from what I did see of it I was embarrassed by the light they put me in … I cried for two weeks and well …. I still cry sometimes !!!!”\u003c/p>\n\u003cp>Some #FreeBritney supporters don’t believe Spears writes her own Instagram messages, leaving them to speculate about the pop star’s true feelings. But Spears reportedly told \u003ca href=\"https://www.tmz.com/2021/04/02/britney-spears-writes-social-media-posts-instagram-framing-documentary/\" target=\"_blank\" rel=\"noopener noreferrer\">TMZ\u003c/a> in April that she writes her own captions.\u003c/p>\n\u003cp>\u003cstrong>What’s next for Britney Spears?\u003c/strong>\u003c/p>\n\u003cp>Unclear. In an\u003ca href=\"https://www.instagram.com/p/CQPB1hmg6xV/\" target=\"_blank\" rel=\"noopener noreferrer\"> Instagram video\u003c/a> posted last week, a visibly jittery Spears professed to be answering fans’ most burning questions, including her shoe size and her favorite business trip (answer: “a trip to Italy [to] Donatella Versace. … She fined [\u003cem>sic\u003c/em>] and dined us”).\u003c/p>\n\u003cp>The last question Spears put forward to herself was a crucial one: Would she ever return to the stage again?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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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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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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