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"content": "\u003cp>There are a lot of Pride Month reading lists out there right now—and yes, you should absolutely read \u003ca href=\"https://www.npr.org/2013/12/28/257375561/a-young-seminarian-found-comfort-in-giovannis-melancholy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Giovanni’s Room\u003c/em>\u003c/a> if you haven’t already—but we wanted to go beyond the classics, and maybe find some new ones.\u003c/p>\n\u003cp>So we invited author Akwaeke Emezi to tell us about a few books they love that showcase voices you might not have heard before. But first, we asked them about their new book, \u003cem>Dear Senthuran: A Black Spirit Memoir\u003c/em>.\u003c/p>\n\u003cp>“It’s a story of a very specific part of my life, but told through the lens of spirit—like, spirit-first. I wanted to give as much as I could in the book, and there’s a lot in it,” they say. “The parts about the publishing industry are things that I would teach if I taught. I don’t like teaching in general, so I don’t teach workshops. I don’t teach craft. But with \u003cem>Dear Senthuran\u003c/em>, I thought, what would I like to teach if I did teach? And it wasn’t, oh, this is how you structure a story, or this is how you structure a novel. It was things like, this is how you finish a novel.\u003c/p>\n\u003cp>“It’s not as simple as saying, ‘You just force time every day and you sit down and do it.’ There’s a lot more that comes up emotionally and psychologically to be able to finish a book. And so I try to create a balance with that in the memoir, and show while my career looks lovely and shiny on the surface, that these were the things I was dealing with behind the scenes. These were the real costs of being visible and being shiny and being prolific. And it was brutal.”\u003c/p>\n\u003cp>Emezi’s reading recommendations begin with a coming-of-age novel about a young girl growing up in Nigeria in the 1960s, just after the country gained independence from Britain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Under the Udala Trees\u003c/strong>, by Chinelo Okparanta\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898472 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c.jpg\" alt=\"\" width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c-160x242.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“The thing that made this book so special to me is that it’s set during the Biafran war, which is a seminal moment in Nigerian history, especially for Igbo people. Chinelo’s book stands out because it’s a queer story. And so to see a queer story set during that time places queer Nigerians in our own history. And Chinelo Okparanta is an author I have immense respect for, because now you can see a lot of young Nigerian writers, myself included, writing queer literature. But she was really one of the vanguard for it.”\u003c/p>\n\u003cp>\u003cstrong>She Called Me Woman: Nigeria’s Queer Women Speak\u003c/strong>, edited by Azeenarh Mohammed, Chitra Nagarajan and Rafeeat Aliyu\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898473 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b.jpg\" alt=\"\" width=\"200\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b-160x256.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“To me, it was such a big deal that the editors had curated this space for people to tell their first hand accounts of what they were dealing with, what they were living with. Quite honestly, when we get to hear accounts of what it is to be Black and queer and from Nigeria, it skews towards men. And so having this book that created a space for the women, that was edited by women, I think it’s hugely important. And for a lot of the queer women who live back home, there really isn’t the space to tell these stories. I think it’s crucial to read these accounts, and not just for queer Nigerian women, but I think it’s crucial for queer Black people. We are often very focused on the queer community in the United States, but the larger queer community is… we’re all connected.”\u003c/p>\n\u003cp>\u003cstrong>of colour\u003c/strong>, by Katherine Agyemaa Agard\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898474 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b.jpg\" alt=\"\" width=\"200\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b-160x192.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“It’s written by a queer Black woman from Trinidad and from Ghana. And I love it because Katherine Agyemaa Agard is one of my favorite thinkers and I wanted to recommend it because who we are informs how we think. It informs the work we make; the perspectives we come from as we make that work. Traveling through this book was one of the most surreal, catalyzing experiences I’ve had encountering a book, because it is so many things. And I wanted to recommend it because I think part of me wants people to understand that Black queer literature has a wide spectrum of what it can be.”\u003c/p>\n\u003cp>\u003cstrong>How to Find a Princess\u003c/strong>, by Alyssa Cole\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898475 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3.jpg\" alt=\"\" width=\"200\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3-160x253.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“I adore Alyssa Cole’s work. And I think that, quite honestly, people need to put a bit more respect on the genre of romance. But I chose this particular book, \u003cem>How to Find a Princess\u003c/em>, because it’s a Black queer love story. And I think that as the world is continually on fire around us, more and more people are looking for books to give them escape. I love romance because I don’t want to read books and see how terrible the world is reflected in the books. I don’t read the kind of books that I write, because if I was to read the type of books that I write, I would be depressed all the time … You need an escape. You need a soft, safe place to land.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Avery Keatley and adapted for the web by Petra Mayer\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=4+Books+To+Broaden+Your+Pride+Month+Reading+List&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"headline": "4 Books That Center Queer, Black Characters, as Recommended by Akwaeke Emezi",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are a lot of Pride Month reading lists out there right now—and yes, you should absolutely read \u003ca href=\"https://www.npr.org/2013/12/28/257375561/a-young-seminarian-found-comfort-in-giovannis-melancholy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Giovanni’s Room\u003c/em>\u003c/a> if you haven’t already—but we wanted to go beyond the classics, and maybe find some new ones.\u003c/p>\n\u003cp>So we invited author Akwaeke Emezi to tell us about a few books they love that showcase voices you might not have heard before. But first, we asked them about their new book, \u003cem>Dear Senthuran: A Black Spirit Memoir\u003c/em>.\u003c/p>\n\u003cp>“It’s a story of a very specific part of my life, but told through the lens of spirit—like, spirit-first. I wanted to give as much as I could in the book, and there’s a lot in it,” they say. “The parts about the publishing industry are things that I would teach if I taught. I don’t like teaching in general, so I don’t teach workshops. I don’t teach craft. But with \u003cem>Dear Senthuran\u003c/em>, I thought, what would I like to teach if I did teach? And it wasn’t, oh, this is how you structure a story, or this is how you structure a novel. It was things like, this is how you finish a novel.\u003c/p>\n\u003cp>“It’s not as simple as saying, ‘You just force time every day and you sit down and do it.’ There’s a lot more that comes up emotionally and psychologically to be able to finish a book. And so I try to create a balance with that in the memoir, and show while my career looks lovely and shiny on the surface, that these were the things I was dealing with behind the scenes. These were the real costs of being visible and being shiny and being prolific. And it was brutal.”\u003c/p>\n\u003cp>Emezi’s reading recommendations begin with a coming-of-age novel about a young girl growing up in Nigeria in the 1960s, just after the country gained independence from Britain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Under the Udala Trees\u003c/strong>, by Chinelo Okparanta\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898472 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c.jpg\" alt=\"\" width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/51zenx99nwl_custom-2969b982389830bc24073f843a9249872fc3cd6c-160x242.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“The thing that made this book so special to me is that it’s set during the Biafran war, which is a seminal moment in Nigerian history, especially for Igbo people. Chinelo’s book stands out because it’s a queer story. And so to see a queer story set during that time places queer Nigerians in our own history. And Chinelo Okparanta is an author I have immense respect for, because now you can see a lot of young Nigerian writers, myself included, writing queer literature. But she was really one of the vanguard for it.”\u003c/p>\n\u003cp>\u003cstrong>She Called Me Woman: Nigeria’s Queer Women Speak\u003c/strong>, edited by Azeenarh Mohammed, Chitra Nagarajan and Rafeeat Aliyu\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898473 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b.jpg\" alt=\"\" width=\"200\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/81th9vxqj-l_custom-05a586df4539e8ad70030ebfaed035d645c8218b-160x256.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“To me, it was such a big deal that the editors had curated this space for people to tell their first hand accounts of what they were dealing with, what they were living with. Quite honestly, when we get to hear accounts of what it is to be Black and queer and from Nigeria, it skews towards men. And so having this book that created a space for the women, that was edited by women, I think it’s hugely important. And for a lot of the queer women who live back home, there really isn’t the space to tell these stories. I think it’s crucial to read these accounts, and not just for queer Nigerian women, but I think it’s crucial for queer Black people. We are often very focused on the queer community in the United States, but the larger queer community is… we’re all connected.”\u003c/p>\n\u003cp>\u003cstrong>of colour\u003c/strong>, by Katherine Agyemaa Agard\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898474 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b.jpg\" alt=\"\" width=\"200\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/815qw7ln6kl_custom-b2ba91d6028181513996b2ad740a418165b4245b-160x192.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“It’s written by a queer Black woman from Trinidad and from Ghana. And I love it because Katherine Agyemaa Agard is one of my favorite thinkers and I wanted to recommend it because who we are informs how we think. It informs the work we make; the perspectives we come from as we make that work. Traveling through this book was one of the most surreal, catalyzing experiences I’ve had encountering a book, because it is so many things. And I wanted to recommend it because I think part of me wants people to understand that Black queer literature has a wide spectrum of what it can be.”\u003c/p>\n\u003cp>\u003cstrong>How to Find a Princess\u003c/strong>, by Alyssa Cole\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898475 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3.jpg\" alt=\"\" width=\"200\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/91hdzbip-tl_custom-234e06a06da11e57095c6dd52301e19f53bdc3a3-160x253.jpg 160w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\">“I adore Alyssa Cole’s work. And I think that, quite honestly, people need to put a bit more respect on the genre of romance. But I chose this particular book, \u003cem>How to Find a Princess\u003c/em>, because it’s a Black queer love story. And I think that as the world is continually on fire around us, more and more people are looking for books to give them escape. I love romance because I don’t want to read books and see how terrible the world is reflected in the books. I don’t read the kind of books that I write, because if I was to read the type of books that I write, I would be depressed all the time … You need an escape. You need a soft, safe place to land.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Avery Keatley and adapted for the web by Petra Mayer\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=4+Books+To+Broaden+Your+Pride+Month+Reading+List&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "An Anti-Vaccine Film Targeted to Black Americans Spreads False Information",
"headTitle": "An Anti-Vaccine Film Targeted to Black Americans Spreads False Information | KQED",
"content": "\u003cp>When a filmmaker asked medical historian Naomi Rogers to appear in a new documentary, the \u003ca href=\"https://medicine.yale.edu/profile/naomi_rogers/\" target=\"_blank\" rel=\"noopener noreferrer\">Yale professor\u003c/a> didn’t blink. She had done these “talking head” interviews many times before.\u003c/p>\n\u003cp>She assumed her comments would end up in a straightforward documentary that addressed some of the most pressing concerns of the pandemic, such as the legacy of racism in medicine and how that plays into current mistrust in some communities of color. The subject of vaccines was also mentioned, but the focus wasn’t clear to Rogers.\u003c/p>\n\u003cp>The director wanted something more polished than a Zoom call, so a well-outfitted camera crew arrived at Rogers’ home in Connecticut in the fall. They showed up wearing masks and gloves. Before the interview, crew members cleaned the room thoroughly. Then they spent about an hour interviewing Rogers. She discussed her research and in particular controversial figures such as Dr. James Marion Sims, who was influential in the field of gynecology but who \u003ca href=\"https://www.npr.org/transcripts/513764158\" target=\"_blank\" rel=\"noopener noreferrer\">performed experimental surgery on enslaved Black women\u003c/a> during the 1800s without anesthesia.\u003c/p>\n\u003cp>[aside postid='arts_13884294']“We were talking about issues of racism and experimentation, and they seemed to be handled appropriately,” Rogers recalls. At the time, there were few indications that anything was out of the ordinary—except one. During a short break, she asked who else was being interviewed for the film. The producer’s response struck Rogers as curiously vague.\u003c/p>\n\u003cp>“They said, ‘Well, there’s ‘a guy’ in New York, and we talked to ‘somebody in New Jersey, and California,’ ” Rogers told NPR. “I thought it’s so odd that they wouldn’t tell me who these people were.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t until this March that Rogers would stumble upon the answer.\u003c/p>\n\u003cp>She received an email from a group called Children’s Health Defense—prominent in the anti-vaccine movement—promoting its new film, \u003cem>Medical Racism: The New Apartheid\u003c/em>.\u003c/p>\n\u003cp>When she clicked on the link and began watching the 57-minute film, she was shocked to discover \u003cem>this \u003c/em>was the movie she had sat down for back in October.\u003c/p>\n\u003cp>“I was naive, certainly, in assuming that this was actually a documentary, which I would say it is not. I think that it is an advocacy piece for anti-vaxxers,” Rogers says. “I’m still very angry. I feel that I was used.”\u003c/p>\n\u003cp>The free, online film is the latest effort by Robert F. Kennedy Jr., the founder of Children’s Health Defense. (He’s the son of the former U.S. Attorney General Robert “Bobby” Kennedy and nephew of President John F. Kennedy.) With this film, Kennedy and his allies in the anti-vaccine movement \u003ca href=\"https://www.factcheck.org/2021/03/scicheck-rfk-jr-video-pushes-known-vaccine-misrepresentations/\" target=\"_blank\" rel=\"noopener noreferrer\">resurface and promote disproven claims\u003c/a> about the dangers of vaccines, but it’s aimed squarely at a specific demographic: Black Americans.\u003c/p>\n\u003cp>The film draws a line from the real and disturbing history of racism and atrocities in the medical field—such as the \u003ca href=\"https://www.cdc.gov/tuskegee/timeline.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Tuskegee syphilis study\u003c/a>—to interviews with anti-vaccine activists who warn communities of color to be suspicious of modern-day vaccines.\u003c/p>\n\u003cp>At one point in \u003cem>Medical Racism\u003c/em>, viewers are warned that “in Black communities something is very sinister” and “the same thing that happened in the 1930s \u003ca href=\"https://www.npr.org/sections/itsallpolitics/2015/08/14/432080520/fact-check-was-planned-parenthood-started-to-control-the-black-population\" target=\"_blank\" rel=\"noopener noreferrer\">during the eugenics movement\u003c/a>” is happening again.\u003c/p>\n\u003cp>There is lengthy discussion of the \u003ca href=\"https://www.cdc.gov/vaccinesafety/concerns/autism.html\" target=\"_blank\" rel=\"noopener noreferrer\">thoroughly disproven link\u003c/a> between \u003ca href=\"https://academic.oup.com/cid/article/48/4/456/284219\" target=\"_blank\" rel=\"noopener noreferrer\">autism and vaccines\u003c/a>. For example, the film references a study from the \u003ca href=\"https://pediatrics.aappublications.org/content/113/2/259\" target=\"_blank\" rel=\"noopener noreferrer\">Centers for Disease Control and Prevention \u003c/a>about the measles, mumps and rubella vaccine and autism rates as evidence that African American children are being particularly harmed, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-reviews/anti-vaccine-doc-vaxxed-a-882651/\" target=\"_blank\" rel=\"noopener noreferrer\">but in reality the study did not conclude that African Americans\u003c/a> are at increased risk of autism because of vaccination.\u003c/p>\n\u003cp>The movie then displays a chart claiming to use that same CDC data—obtained through a Freedom of Information Act request—to make a connection between vaccinating Black children and autism risk. The findings in the chart closely resemble another study sometimes mentioned by anti-vaccine activists, but the medical journal \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4183946/\" target=\"_blank\" rel=\"noopener noreferrer\">later retracted\u003c/a> the study, because of “undeclared competing interests on the part of the author” and “concerns about the validity of the methods and statistical analysis.” (That study’s author was also a paid independent contractor for Kennedy’s group as of 2020 and sits \u003ca href=\"https://childrenshealthdefense.org/about-us/board-directors/\" target=\"_blank\" rel=\"noopener noreferrer\">on its board of directors\u003c/a>.)\u003c/p>\n\u003cp>The film also\u003ca href=\"https://newsnetwork.mayoclinic.org/discussion/mayo-clinic-discovers-african-americans-respond-better-to-rubella-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\"> brings up a 2014 study from the Mayo Clinic\u003c/a> that showed Somali Americans and African Americans have a more robust immune response to the rubella vaccine than Caucasians and Hispanic Americans. One of those interviewed in Kennedy’s film then asks, “So if you have that process that could be caused by vaccines, why wouldn’t there be a link between vaccines and developmental delays?”\u003c/p>\n\u003cp>But the study’s own author and leading vaccine researcher, Dr. Gregory Poland, says this conjecture is not accurate.\u003c/p>\n\u003cp>[aside postid='arts_13894324']According to a statement provided to NPR by the Mayo Clinic, the study demonstrated “higher protective immune responses in African-American subjects with no evidence of increased vaccine side effects” and that any claim of “‘increased vulnerability’ among African-Americans who receive the rubella vaccine is simply not supported by either this study or the science.”\u003c/p>\n\u003cp>For her part, Rogers, the Yale professor, only appears for about 14 seconds in the film. Her quotes are accurate. But her remarks are embedded in a wider narrative that she had “enormous problems with”—namely that the anti-vaccine movement is heroically engaged in a new civil rights campaign, one meant to stop experimentation on the Black community.\u003c/p>\n\u003cp>Rogers says the film uses many of the ideas that she holds “passionately, like health disparities, fighting racism in health, working against discrimination, and it’s been twisted for the purposes of this anti-vax movement.”\u003c/p>\n\u003cp>Another credible expert from mainstream medicine also appears in the film: \u003ca href=\"https://www.nmanet.org/page/OliverBrooks-Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Oliver Brooks\u003c/a>, the immediate past president of the \u003ca href=\"https://www.nmanet.org\" target=\"_blank\" rel=\"noopener noreferrer\">National Medical Association\u003c/a>. The group is the largest organization representing African American physicians in the United States.\u003c/p>\n\u003cp>Brooks says he agreed to be in the film because he wanted to provide balance, but, after seeing it, he now regrets doing the interview.\u003c/p>\n\u003cp>“The crux of the documentary is generally don’t get vaccinated,” Brooks told NPR in a recent interview. “There \u003cem>is \u003c/em>an understandable concern in the African American community regarding vaccines—however, in the end, my position is you look past those, have an understanding of those and still get vaccinated … That nuance was not felt or presented in the documentary.”\u003c/p>\n\u003cp>Kennedy’s group released the film in early March, just as the COVID-19 vaccine was becoming widely available to the American public.\u003c/p>\n\u003cp>The movie begins with a string of ominous news clips about the pandemic and the COVID-19 vaccines and includes short interviews with people of color who talk about COVID-19 being “propaganda” and why they don’t trust the vaccine. Kennedy also appears to offer \u003ca href=\"https://childrenshealthdefense.org/transcripts/medical-racism-the-new-apartheid/\" target=\"_blank\" rel=\"noopener noreferrer\">a warning to viewers\u003c/a> about vaccines: “Don’t listen to me. Don’t listen to Tony Fauci. Hey, and don’t listen to your doctor.”\u003c/p>\n\u003cp>In addition to Kennedy, other producers helped make and market the film, including a prominent figure in the Nation of Islam, and a wealthy entrepreneur who recently made headlines when a private school he co-founded in Miami \u003ca href=\"https://www.nytimes.com/2021/05/02/us/miami-centner-academy-coronavirus-vaccine.html\" target=\"_blank\" rel=\"noopener noreferrer\">prohibited teachers\u003c/a> who got the COVID-19 vaccine from returning to the classroom.\u003c/p>\n\u003cp>Children’s Health Defense made one of the film’s co-producers, Curtis Cost, available to talk with NPR. He is a longtime anti-vaccine activist, who has previously \u003ca href=\"https://www.voiceamerica.com/episode/103726/the-hivaids-hoax\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> that “viruses do not cause anything, it’s a hoax, it’s a myth … whether you are talking about HIV virus, the flu virus or any other virus.”\u003c/p>\n\u003cp>Cost says the film does not explicitly tell people to refuse the COVID-19 vaccine, but it “goes all the way to the present experimentations and bad things have been done by the medical establishment in America and in Africa and other parts of the world.”\u003c/p>\n\u003cp>“The film basically wants people to recognize this history that leads right into the present, and especially when they’re facing decisions about whether they should take any vaccine, including COVID,” he says.\u003c/p>\n\u003cp>In an email statement, a spokesperson for Children’s Health Defense denies that the film is misinformation and says it contains “peer reviewed science and historical data.”\u003c/p>\n\u003cp>[aside postid='arts_13881679']The movie is “a classic example of the anti-vaccine industry with a highly targeted message using sophisticated marketing techniques and building alliances with affiliate organizations,” says Imran Ahmed, chief executive officer of the nonprofit Center for Countering Digital Hate, which has \u003ca href=\"https://252f2edd-1c8b-49f5-9bb2-cb57bb47e4ba.filesusr.com/ugd/f4d9b9_fddbfb2a0c05461cb4bdce2892f3cad0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extensively researched figures such as Kennedy\u003c/a>.\u003c/p>\n\u003cp>“They’ve seen the opportunity to target a specifically African American audience,” he says, during a particular moment of heightened national attention on racial injustices and health disparities.\u003c/p>\n\u003cp>Black Americans have \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/covid-data/investigations-discovery/hospitalization-death-by-race-ethnicity.html\" target=\"_blank\" rel=\"noopener noreferrer\">twice the risk of dying from COVID-19\u003c/a> compared with white Americans. Racial disparities in \u003ca href=\"https://khn.org/news/article/covid-vaccination-stark-racial-disparities-persist-state-level-cdc-data/\" target=\"_blank\" rel=\"noopener noreferrer\">vaccination uptake persist\u003c/a> across the United States.\u003c/p>\n\u003cp>While there are \u003ca href=\"https://www.npr.org/sections/health-shots/2021/04/26/989962041/why-black-and-latino-people-still-lag-on-covid-vaccines-and-how-to-fix-it\" target=\"_blank\" rel=\"noopener noreferrer\">efforts \u003c/a>to improve access to the vaccine, media coverage has also focused heavily on historical reasons for vaccine skepticism—too much, \u003ca href=\"https://www.npr.org/sections/health-shots/2021/03/23/974059870/stop-blaming-tuskegee-critics-say-its-not-an-excuse-for-current-medical-racism\" target=\"_blank\" rel=\"noopener noreferrer\">some\u003c/a> scholars argue, when the focus should be on how Black Americans experience the impact of systemic racism in health care today—and how to fix those problems and improve trust.\u003c/p>\n\u003cp>“We’re in this moment where we’re having some necessary discussions about health equity,” says Victor Agbafe, a medical student at the University of Michigan. “It’s not a good thing to sort of exploit that as a means to undermine trust in the vaccine today, instead of focusing on how we can make the vaccine more accessible for all communities.”\u003c/p>\n\u003cp>Agbafe, who helps lead his school’s Black medical student association, was surprised to get an email from Children’s Health Defense asking him to promote the movie among his peers.\u003c/p>\n\u003cp>When it was released, the film did not seem to gain much traction on major social media platforms such as Twitter, although tracking how often this kind of video is being shared privately can be difficult, says \u003ca href=\"https://www.kolinakoltai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kolina Koltai\u003c/a>, a University of Washington researcher who studies the anti-vaccine movement online.\u003c/p>\n\u003cp>But Kennedy’s anti-vaccine activities during the pandemic involve more than this movie.\u003c/p>\n\u003cp>In February, he \u003ca href=\"https://apnews.com/article/rjf-jr-banned-instagram-vaccine-misinfo-d72913572f04ec9b23cec58881bc32d9\" target=\"_blank\" rel=\"noopener noreferrer\">was banned\u003c/a> from Instagram for posting misinformation on vaccines, but he still has a home on Facebook and Twitter. Ahmed’s organization has labeled Kennedy one of the \u003ca href=\"https://www.npr.org/2021/05/13/996570855/disinformation-dozen-test-facebooks-twitters-ability-to-curb-vaccine-hoaxes\" target=\"_blank\" rel=\"noopener noreferrer\">“disinformation dozen”\u003c/a>—a group of people responsible for 65% of the shares of anti-vaccine misinformation on social media platforms.\u003c/p>\n\u003cp>In a recent \u003ca href=\"https://childrenshealthdefense.org/defender/webinar-rfk-jr-medical-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">webinar\u003c/a> about the film, Kennedy said those who agree with the film need to use “the tools of advocacy that Martin Luther King Jr. talked about” and promote it “guerilla-style” against the “darkening cloud of totalitarianism.”\u003c/p>\n\u003cp>Although more than half of American adults have gotten the COVID-19 vaccine, demand is falling fast, and polls \u003ca href=\"https://www.kff.org/coronavirus-covid-19/poll-finding/kff-covid-19-vaccine-monitor-may-2021/\">show\u003c/a> almost one-third of adults still either want to “wait and see” or do not want to get the shot. When asked why, many say the vaccine is unsafe, based on false conspiracy theories.\u003c/p>\n\u003cp>[aside postid='arts_13891832']\u003cem>“\u003c/em>I see the downstream ripple effects of disinformation every day in practice, every day in the patient’s lives I treat,” says \u003ca href=\"https://www.linkedin.com/in/atul-nakhasi/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Atul Nakhasi\u003c/a> with the Los Angeles County Department of Health Services and co-founder of the online campaign \u003ca href=\"https://thisisourshot.info/\" target=\"_blank\" rel=\"noopener noreferrer\">#ThisIsOurShot\u003c/a>, which aims to encourage trust in the COVID-19 vaccine.\u003c/p>\n\u003cp>“We know people have uncertainties, and we need to acknowledge that and have humble, respectful conversations, but for someone to actively subvert that trust is unconscionable,” Nakhasi says.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.counterhate.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Countering Digital Hate\u003c/a>, the ideal strategy for stopping the spread of online misinformation is to cut it off at the source: meaning “deplatform” the most notorious spreaders of that information so they can’t gain a following on social media in the first place. But Ahmed says that all too often, tech companies don’t take those steps themselves. In that case, the next best tactic is to try to “inoculate” people against false and misleading claims.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You tell people in advance, ‘Hey, something terrible is happening, be careful, they’re targeting you,’ ” Ahmed says.\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=An+Anti-Vaccine+Film+Targeted+To+Black+Americans+Spreads+False+Information&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When a filmmaker asked medical historian Naomi Rogers to appear in a new documentary, the \u003ca href=\"https://medicine.yale.edu/profile/naomi_rogers/\" target=\"_blank\" rel=\"noopener noreferrer\">Yale professor\u003c/a> didn’t blink. She had done these “talking head” interviews many times before.\u003c/p>\n\u003cp>She assumed her comments would end up in a straightforward documentary that addressed some of the most pressing concerns of the pandemic, such as the legacy of racism in medicine and how that plays into current mistrust in some communities of color. The subject of vaccines was also mentioned, but the focus wasn’t clear to Rogers.\u003c/p>\n\u003cp>The director wanted something more polished than a Zoom call, so a well-outfitted camera crew arrived at Rogers’ home in Connecticut in the fall. They showed up wearing masks and gloves. Before the interview, crew members cleaned the room thoroughly. Then they spent about an hour interviewing Rogers. She discussed her research and in particular controversial figures such as Dr. James Marion Sims, who was influential in the field of gynecology but who \u003ca href=\"https://www.npr.org/transcripts/513764158\" target=\"_blank\" rel=\"noopener noreferrer\">performed experimental surgery on enslaved Black women\u003c/a> during the 1800s without anesthesia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We were talking about issues of racism and experimentation, and they seemed to be handled appropriately,” Rogers recalls. At the time, there were few indications that anything was out of the ordinary—except one. During a short break, she asked who else was being interviewed for the film. The producer’s response struck Rogers as curiously vague.\u003c/p>\n\u003cp>“They said, ‘Well, there’s ‘a guy’ in New York, and we talked to ‘somebody in New Jersey, and California,’ ” Rogers told NPR. “I thought it’s so odd that they wouldn’t tell me who these people were.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t until this March that Rogers would stumble upon the answer.\u003c/p>\n\u003cp>She received an email from a group called Children’s Health Defense—prominent in the anti-vaccine movement—promoting its new film, \u003cem>Medical Racism: The New Apartheid\u003c/em>.\u003c/p>\n\u003cp>When she clicked on the link and began watching the 57-minute film, she was shocked to discover \u003cem>this \u003c/em>was the movie she had sat down for back in October.\u003c/p>\n\u003cp>“I was naive, certainly, in assuming that this was actually a documentary, which I would say it is not. I think that it is an advocacy piece for anti-vaxxers,” Rogers says. “I’m still very angry. I feel that I was used.”\u003c/p>\n\u003cp>The free, online film is the latest effort by Robert F. Kennedy Jr., the founder of Children’s Health Defense. (He’s the son of the former U.S. Attorney General Robert “Bobby” Kennedy and nephew of President John F. Kennedy.) With this film, Kennedy and his allies in the anti-vaccine movement \u003ca href=\"https://www.factcheck.org/2021/03/scicheck-rfk-jr-video-pushes-known-vaccine-misrepresentations/\" target=\"_blank\" rel=\"noopener noreferrer\">resurface and promote disproven claims\u003c/a> about the dangers of vaccines, but it’s aimed squarely at a specific demographic: Black Americans.\u003c/p>\n\u003cp>The film draws a line from the real and disturbing history of racism and atrocities in the medical field—such as the \u003ca href=\"https://www.cdc.gov/tuskegee/timeline.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Tuskegee syphilis study\u003c/a>—to interviews with anti-vaccine activists who warn communities of color to be suspicious of modern-day vaccines.\u003c/p>\n\u003cp>At one point in \u003cem>Medical Racism\u003c/em>, viewers are warned that “in Black communities something is very sinister” and “the same thing that happened in the 1930s \u003ca href=\"https://www.npr.org/sections/itsallpolitics/2015/08/14/432080520/fact-check-was-planned-parenthood-started-to-control-the-black-population\" target=\"_blank\" rel=\"noopener noreferrer\">during the eugenics movement\u003c/a>” is happening again.\u003c/p>\n\u003cp>There is lengthy discussion of the \u003ca href=\"https://www.cdc.gov/vaccinesafety/concerns/autism.html\" target=\"_blank\" rel=\"noopener noreferrer\">thoroughly disproven link\u003c/a> between \u003ca href=\"https://academic.oup.com/cid/article/48/4/456/284219\" target=\"_blank\" rel=\"noopener noreferrer\">autism and vaccines\u003c/a>. For example, the film references a study from the \u003ca href=\"https://pediatrics.aappublications.org/content/113/2/259\" target=\"_blank\" rel=\"noopener noreferrer\">Centers for Disease Control and Prevention \u003c/a>about the measles, mumps and rubella vaccine and autism rates as evidence that African American children are being particularly harmed, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-reviews/anti-vaccine-doc-vaxxed-a-882651/\" target=\"_blank\" rel=\"noopener noreferrer\">but in reality the study did not conclude that African Americans\u003c/a> are at increased risk of autism because of vaccination.\u003c/p>\n\u003cp>The movie then displays a chart claiming to use that same CDC data—obtained through a Freedom of Information Act request—to make a connection between vaccinating Black children and autism risk. The findings in the chart closely resemble another study sometimes mentioned by anti-vaccine activists, but the medical journal \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4183946/\" target=\"_blank\" rel=\"noopener noreferrer\">later retracted\u003c/a> the study, because of “undeclared competing interests on the part of the author” and “concerns about the validity of the methods and statistical analysis.” (That study’s author was also a paid independent contractor for Kennedy’s group as of 2020 and sits \u003ca href=\"https://childrenshealthdefense.org/about-us/board-directors/\" target=\"_blank\" rel=\"noopener noreferrer\">on its board of directors\u003c/a>.)\u003c/p>\n\u003cp>The film also\u003ca href=\"https://newsnetwork.mayoclinic.org/discussion/mayo-clinic-discovers-african-americans-respond-better-to-rubella-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\"> brings up a 2014 study from the Mayo Clinic\u003c/a> that showed Somali Americans and African Americans have a more robust immune response to the rubella vaccine than Caucasians and Hispanic Americans. One of those interviewed in Kennedy’s film then asks, “So if you have that process that could be caused by vaccines, why wouldn’t there be a link between vaccines and developmental delays?”\u003c/p>\n\u003cp>But the study’s own author and leading vaccine researcher, Dr. Gregory Poland, says this conjecture is not accurate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to a statement provided to NPR by the Mayo Clinic, the study demonstrated “higher protective immune responses in African-American subjects with no evidence of increased vaccine side effects” and that any claim of “‘increased vulnerability’ among African-Americans who receive the rubella vaccine is simply not supported by either this study or the science.”\u003c/p>\n\u003cp>For her part, Rogers, the Yale professor, only appears for about 14 seconds in the film. Her quotes are accurate. But her remarks are embedded in a wider narrative that she had “enormous problems with”—namely that the anti-vaccine movement is heroically engaged in a new civil rights campaign, one meant to stop experimentation on the Black community.\u003c/p>\n\u003cp>Rogers says the film uses many of the ideas that she holds “passionately, like health disparities, fighting racism in health, working against discrimination, and it’s been twisted for the purposes of this anti-vax movement.”\u003c/p>\n\u003cp>Another credible expert from mainstream medicine also appears in the film: \u003ca href=\"https://www.nmanet.org/page/OliverBrooks-Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Oliver Brooks\u003c/a>, the immediate past president of the \u003ca href=\"https://www.nmanet.org\" target=\"_blank\" rel=\"noopener noreferrer\">National Medical Association\u003c/a>. The group is the largest organization representing African American physicians in the United States.\u003c/p>\n\u003cp>Brooks says he agreed to be in the film because he wanted to provide balance, but, after seeing it, he now regrets doing the interview.\u003c/p>\n\u003cp>“The crux of the documentary is generally don’t get vaccinated,” Brooks told NPR in a recent interview. “There \u003cem>is \u003c/em>an understandable concern in the African American community regarding vaccines—however, in the end, my position is you look past those, have an understanding of those and still get vaccinated … That nuance was not felt or presented in the documentary.”\u003c/p>\n\u003cp>Kennedy’s group released the film in early March, just as the COVID-19 vaccine was becoming widely available to the American public.\u003c/p>\n\u003cp>The movie begins with a string of ominous news clips about the pandemic and the COVID-19 vaccines and includes short interviews with people of color who talk about COVID-19 being “propaganda” and why they don’t trust the vaccine. Kennedy also appears to offer \u003ca href=\"https://childrenshealthdefense.org/transcripts/medical-racism-the-new-apartheid/\" target=\"_blank\" rel=\"noopener noreferrer\">a warning to viewers\u003c/a> about vaccines: “Don’t listen to me. Don’t listen to Tony Fauci. Hey, and don’t listen to your doctor.”\u003c/p>\n\u003cp>In addition to Kennedy, other producers helped make and market the film, including a prominent figure in the Nation of Islam, and a wealthy entrepreneur who recently made headlines when a private school he co-founded in Miami \u003ca href=\"https://www.nytimes.com/2021/05/02/us/miami-centner-academy-coronavirus-vaccine.html\" target=\"_blank\" rel=\"noopener noreferrer\">prohibited teachers\u003c/a> who got the COVID-19 vaccine from returning to the classroom.\u003c/p>\n\u003cp>Children’s Health Defense made one of the film’s co-producers, Curtis Cost, available to talk with NPR. He is a longtime anti-vaccine activist, who has previously \u003ca href=\"https://www.voiceamerica.com/episode/103726/the-hivaids-hoax\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> that “viruses do not cause anything, it’s a hoax, it’s a myth … whether you are talking about HIV virus, the flu virus or any other virus.”\u003c/p>\n\u003cp>Cost says the film does not explicitly tell people to refuse the COVID-19 vaccine, but it “goes all the way to the present experimentations and bad things have been done by the medical establishment in America and in Africa and other parts of the world.”\u003c/p>\n\u003cp>“The film basically wants people to recognize this history that leads right into the present, and especially when they’re facing decisions about whether they should take any vaccine, including COVID,” he says.\u003c/p>\n\u003cp>In an email statement, a spokesperson for Children’s Health Defense denies that the film is misinformation and says it contains “peer reviewed science and historical data.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The movie is “a classic example of the anti-vaccine industry with a highly targeted message using sophisticated marketing techniques and building alliances with affiliate organizations,” says Imran Ahmed, chief executive officer of the nonprofit Center for Countering Digital Hate, which has \u003ca href=\"https://252f2edd-1c8b-49f5-9bb2-cb57bb47e4ba.filesusr.com/ugd/f4d9b9_fddbfb2a0c05461cb4bdce2892f3cad0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extensively researched figures such as Kennedy\u003c/a>.\u003c/p>\n\u003cp>“They’ve seen the opportunity to target a specifically African American audience,” he says, during a particular moment of heightened national attention on racial injustices and health disparities.\u003c/p>\n\u003cp>Black Americans have \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/covid-data/investigations-discovery/hospitalization-death-by-race-ethnicity.html\" target=\"_blank\" rel=\"noopener noreferrer\">twice the risk of dying from COVID-19\u003c/a> compared with white Americans. Racial disparities in \u003ca href=\"https://khn.org/news/article/covid-vaccination-stark-racial-disparities-persist-state-level-cdc-data/\" target=\"_blank\" rel=\"noopener noreferrer\">vaccination uptake persist\u003c/a> across the United States.\u003c/p>\n\u003cp>While there are \u003ca href=\"https://www.npr.org/sections/health-shots/2021/04/26/989962041/why-black-and-latino-people-still-lag-on-covid-vaccines-and-how-to-fix-it\" target=\"_blank\" rel=\"noopener noreferrer\">efforts \u003c/a>to improve access to the vaccine, media coverage has also focused heavily on historical reasons for vaccine skepticism—too much, \u003ca href=\"https://www.npr.org/sections/health-shots/2021/03/23/974059870/stop-blaming-tuskegee-critics-say-its-not-an-excuse-for-current-medical-racism\" target=\"_blank\" rel=\"noopener noreferrer\">some\u003c/a> scholars argue, when the focus should be on how Black Americans experience the impact of systemic racism in health care today—and how to fix those problems and improve trust.\u003c/p>\n\u003cp>“We’re in this moment where we’re having some necessary discussions about health equity,” says Victor Agbafe, a medical student at the University of Michigan. “It’s not a good thing to sort of exploit that as a means to undermine trust in the vaccine today, instead of focusing on how we can make the vaccine more accessible for all communities.”\u003c/p>\n\u003cp>Agbafe, who helps lead his school’s Black medical student association, was surprised to get an email from Children’s Health Defense asking him to promote the movie among his peers.\u003c/p>\n\u003cp>When it was released, the film did not seem to gain much traction on major social media platforms such as Twitter, although tracking how often this kind of video is being shared privately can be difficult, says \u003ca href=\"https://www.kolinakoltai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kolina Koltai\u003c/a>, a University of Washington researcher who studies the anti-vaccine movement online.\u003c/p>\n\u003cp>But Kennedy’s anti-vaccine activities during the pandemic involve more than this movie.\u003c/p>\n\u003cp>In February, he \u003ca href=\"https://apnews.com/article/rjf-jr-banned-instagram-vaccine-misinfo-d72913572f04ec9b23cec58881bc32d9\" target=\"_blank\" rel=\"noopener noreferrer\">was banned\u003c/a> from Instagram for posting misinformation on vaccines, but he still has a home on Facebook and Twitter. Ahmed’s organization has labeled Kennedy one of the \u003ca href=\"https://www.npr.org/2021/05/13/996570855/disinformation-dozen-test-facebooks-twitters-ability-to-curb-vaccine-hoaxes\" target=\"_blank\" rel=\"noopener noreferrer\">“disinformation dozen”\u003c/a>—a group of people responsible for 65% of the shares of anti-vaccine misinformation on social media platforms.\u003c/p>\n\u003cp>In a recent \u003ca href=\"https://childrenshealthdefense.org/defender/webinar-rfk-jr-medical-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">webinar\u003c/a> about the film, Kennedy said those who agree with the film need to use “the tools of advocacy that Martin Luther King Jr. talked about” and promote it “guerilla-style” against the “darkening cloud of totalitarianism.”\u003c/p>\n\u003cp>Although more than half of American adults have gotten the COVID-19 vaccine, demand is falling fast, and polls \u003ca href=\"https://www.kff.org/coronavirus-covid-19/poll-finding/kff-covid-19-vaccine-monitor-may-2021/\">show\u003c/a> almost one-third of adults still either want to “wait and see” or do not want to get the shot. When asked why, many say the vaccine is unsafe, based on false conspiracy theories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>“\u003c/em>I see the downstream ripple effects of disinformation every day in practice, every day in the patient’s lives I treat,” says \u003ca href=\"https://www.linkedin.com/in/atul-nakhasi/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Atul Nakhasi\u003c/a> with the Los Angeles County Department of Health Services and co-founder of the online campaign \u003ca href=\"https://thisisourshot.info/\" target=\"_blank\" rel=\"noopener noreferrer\">#ThisIsOurShot\u003c/a>, which aims to encourage trust in the COVID-19 vaccine.\u003c/p>\n\u003cp>“We know people have uncertainties, and we need to acknowledge that and have humble, respectful conversations, but for someone to actively subvert that trust is unconscionable,” Nakhasi says.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.counterhate.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Countering Digital Hate\u003c/a>, the ideal strategy for stopping the spread of online misinformation is to cut it off at the source: meaning “deplatform” the most notorious spreaders of that information so they can’t gain a following on social media in the first place. But Ahmed says that all too often, tech companies don’t take those steps themselves. In that case, the next best tactic is to try to “inoculate” people against false and misleading claims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You tell people in advance, ‘Hey, something terrible is happening, be careful, they’re targeting you,’ ” Ahmed says.\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=An+Anti-Vaccine+Film+Targeted+To+Black+Americans+Spreads+False+Information&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Rita Moreno on 'West Side Story' and Becoming the Role Model She Needed",
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"content": "\u003cp>Actor Rita Moreno never had an on-screen, Latina role model as a child. “There was no such thing then,” she says. “Certainly not for little Puerto Rican girls like me.”\u003c/p>\n\u003cp>That changed when Moreno, who moved with her mother to the U.S. mainland from Puerto Rico in 1936 and spent years working as a contract player for MGM, landed her breakout role as Anita in the 1961 film \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>“What was important about Anita to me—and still is—is that Anita, believe it or not, was the only part I ever remember where I represented Hispanics in a dignified and positive way,” she says. “It represented a lot of breakthroughs for young actors of Hispanic origin.”\u003c/p>\n\u003cp>But Moreno nearly didn’t take the part. Just before she signed the \u003cem>West Side Story \u003c/em>contract, she remembered a troubling verse in the song “\u003ca href=\"https://www.youtube.com/watch?v=tNN4WsEk984\" target=\"_blank\" rel=\"noopener noreferrer\">America\u003c/a>” in which she’d have to sing: “Puerto Rico. You ugly island, island of tropic diseases.”\u003c/p>\n\u003cp>“And it suddenly occurred to me, Oh my God, I can’t sing that! … I can’t do this to my people,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moreno says she was “this close” to turning the role down before Stephen Sondheim, at the request of a producer, changed the lyric to: “Puerto Rico, my heart’s devotion, let it sink back in the ocean.”\u003c/p>\n\u003cp>“And that’s how Stephen Sondheim saved me from turning down this magnificent role,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YhSKk-cvblc\u003c/p>\n\u003cp>After becoming the first Latina actor to win an Oscar for \u003cem>West Side Story, \u003c/em>Moreno expected more opportunities to follow. Instead, she was offered stereotyped roles as gang members and housewives.\u003c/p>\n\u003cp>“It was the heartbreak of my life,” Moreno says. She turned down the parts she thought were offensive or too insignificant, and wound up not making another movie for seven years.\u003c/p>\n\u003cp>But eventually Moreno’s career got back on track. She appeared on Broadway, was an original cast member of the children’s show \u003cem>The Electric Company\u003c/em> and later co-starred in the HBO prison series \u003cem>Oz\u003c/em>. In 1977 she became the first Latina performer to achieve EGOT status as a winner of an Emmy, Grammy, Oscar and Tony Award.\u003c/p>\n\u003cp>The new PBS \u003cem>American Masters\u003c/em> documentary, \u003ca href=\"https://www.pbs.org/wnet/americanmasters/rita-moreno-the-girl-who-decided-to-go-for-it-about/11654/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Just a\u003c/em> \u003cem>Girl Who Decided to Go for It,\u003c/em>\u003c/a>\u003cem> c\u003c/em>hronicles Moreno’s early life and her storied career. In it, she opens up about her experiences with racism and sexual assault in Hollywood\u003cem>. \u003c/em>Moreno appears in the forthcoming Steven Spielberg film adaptation of \u003cem>West Side Story, \u003c/em>for which she also serves as an executive producer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t84GEdvTLVQ\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the roles MGM cast her in at the beginning of her career\u003c/strong>\u003c/p>\n\u003cp>I got native girls. I got Pacific Island parts, I got Egyptian girl parts, anything but just acting roles. They were all very specific. They all called for an accent or two that I wasn’t even familiar with. So I made up my own accents, thinking that that would enhance the parts. They all sounded Puerto Rican, actually. … I always sounded like this because it’s the only accent I understood and nobody ever said, “What are you doing? What the hell is that?” Because I would have answered, “Well, I’m trying to provide a foundation for this, this girl, this part.” But nobody asked. Nobody cared. It’s so odd when I look back.\u003c/p>\n\u003cp>\u003cstrong>On how the 1961 version of \u003c/strong>\u003cem>\u003cstrong>West Side Story\u003c/strong>\u003c/em>\u003cstrong> resonated\u003c/strong>\u003c/p>\n\u003cp>The fact that there was a person playing a \u003cem>Puertorriqueña\u003c/em> in a huge, successful musical was enough for a lot of Hispanics—not just Puerto Ricans—in this country to be thrilled to pieces. The fact that there were mistakes made … was also almost beyond the point, because we were just so glad to be paid attention to for a change. This was an extraordinary, extraordinary experience in every possible way. And it helped to inform a lot of people who were not Hispanic about what we were about—and that was important and absolutely fabulous. There were people, particularly in Puerto Rico, who were not thrilled because they felt that depicting Puerto Ricans as gang members was offensive and insulting. I think they missed the part about \u003cem>Romeo and Juliet, \u003c/em>which I thought was the genius of this. And here we are many, many, many years later with another edition of this film about to be released in December—by the way, when I will, literally, the day before we open, be 90 years old.\u003c/p>\n\u003cp>\u003cstrong>On having to darken her skin for film roles \u003c/strong>\u003c/p>\n\u003cp>I rarely, rarely ever saw my own color when I did movies. When I first went to MGM, I played a Cajun girl from New Orleans. So they actually used my own skin color. But as I got older and had more of a career, I kept getting darker and darker and darker. … [\u003cem>West Side Story\u003c/em>] was worse. That was like mud. … It was so thick and it was so dark that our faces would streak and show our real color underneath. And I remember saying to a makeup man once, “I don’t know why I have to be this color. … This is not my color.” And he actually said to me as he was making me up, “What are you, racist?” Well, talk about nonplussed. I didn’t even know what to say to him.\u003c/p>\n\u003cp>\u003cstrong>On the allegation that her Hollywood agent raped her early in her career\u003c/strong>\u003c/p>\n\u003cp>The very first time I spoke about it was when I did the documentary. I mentioned it in my book, also my biography, but it’s heartbreaking. By the way, I ran into this man, this agent, about five years ago in Palm Springs because it turned out he had booked me in a concert that I was going to do there. And I saw his face and I thought, oh, my God, it’s him. And you know what he told me without being asked? He said, “I’m sorry I didn’t make you pregnant, because that was the whole idea. … Then you would be beholden to me forever.” … I was speechless. I was absolutely speechless, I just said, “Excuse me.” And I left the room. I was dumbstruck. What do you say? “You cur, you bastard, you son of a bitch.” What do you say? … You know what, I’m glad I didn’t [say anything], because that would have probably opened too many doors.\u003c/p>\n\u003cp>\u003cstrong>On dating Marlon Brando and Elvis Presley \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13881446']I saw [Marlon Brando] as a person who was very strong. I had a very warped and twisted notion of what a real man was like. To me, that was Marlon. He was it. He was the king of movies and the king of everything. And on top of that, we had an extraordinary sexual relationship. So that kind of helped. …\u003c/p>\n\u003cp>I dated Elvis to make Marlon jealous. So for a short while there, I had the two kings of different things, show business royalty. And it was to make Marlon jealous, really. And he was a sweet fellow. He was very simple and he was boring, Elvis.\u003c/p>\n\u003cp>\u003cstrong>On her toxic relationship with Brando and her attempted suicide \u003c/strong>\u003c/p>\n\u003cp>My relationship with Marlon depended on what was happening at my psychotherapist’s. He would be very helpful. And then I would succumb to Marlon’s charms and go back to him for the 20th time. The only thing that really stopped it—and that was my intention at the time—was my attempted suicide. I couldn’t take being humiliated anymore. And I found that I was my own worst enemy. So it was my intention. The objective of this attempted suicide was to get rid of this relationship. …\u003c/p>\n\u003cp>[When I survived] I would never try that again. I absolutely knew I would never, ever try such a thing again. It’s so against my nature. And my doctor said to me, my therapist, he said, “You can never, ever, ever see Marlon again, because the next time you may not be as lucky.” And he made Marlon write me a letter about, “This is it, Rita, I’m sorry for everything, all the things I’ve done. This is a letter of goodbye. I will never see you again.” By the way, six months later, he called me on the phone and we became friends.\u003c/p>\n\u003cp>\u003cstrong>On being unhappy in her marriage to Leonard Gordon\u003c/strong>\u003c/p>\n\u003cp>I really did love him, but what happened was … sometimes people make contracts with each other that are never verbalized or spoken. In my case, it was “I’ll be a wonderful little girl and amuse you and make you happy if you will be my daddy and my protector and take care of me.” That’s what our contract really was, and the day that I decided I wanted to start growing up is when the marriage got into trouble, and that literally started in our seventh year. I remember talking divorce with him at that time. And of course, we didn’t, and I didn’t and that was that. But I was unhappy for a very, very, very long time.\u003c/p>\n\u003cp>\u003cstrong>On being on her own after Gordon died\u003c/strong>\u003c/p>\n\u003cp>I blossomed. I absolutely blossomed. I’m a person whose biggest hobby is laughing. Truly, I love laughter. I love humor. I love being raucous, which is one of the things that really annoyed my husband. He called it “my show business self.” And all of that was now up for grabs. I could be anyone I wanted to be. I could be what I felt. I wanted to be what I needed to be. And it was grand. Absolutely. I didn’t look back. Not one second, which is fascinating to me. I have not looked back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 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=Rita+Moreno+On+%27West+Side+Story%27+And+Becoming+The+Role+Model+She+Needed+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Rita Moreno never had an on-screen, Latina role model as a child. “There was no such thing then,” she says. “Certainly not for little Puerto Rican girls like me.”\u003c/p>\n\u003cp>That changed when Moreno, who moved with her mother to the U.S. mainland from Puerto Rico in 1936 and spent years working as a contract player for MGM, landed her breakout role as Anita in the 1961 film \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>“What was important about Anita to me—and still is—is that Anita, believe it or not, was the only part I ever remember where I represented Hispanics in a dignified and positive way,” she says. “It represented a lot of breakthroughs for young actors of Hispanic origin.”\u003c/p>\n\u003cp>But Moreno nearly didn’t take the part. Just before she signed the \u003cem>West Side Story \u003c/em>contract, she remembered a troubling verse in the song “\u003ca href=\"https://www.youtube.com/watch?v=tNN4WsEk984\" target=\"_blank\" rel=\"noopener noreferrer\">America\u003c/a>” in which she’d have to sing: “Puerto Rico. You ugly island, island of tropic diseases.”\u003c/p>\n\u003cp>“And it suddenly occurred to me, Oh my God, I can’t sing that! … I can’t do this to my people,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moreno says she was “this close” to turning the role down before Stephen Sondheim, at the request of a producer, changed the lyric to: “Puerto Rico, my heart’s devotion, let it sink back in the ocean.”\u003c/p>\n\u003cp>“And that’s how Stephen Sondheim saved me from turning down this magnificent role,” she says.\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/YhSKk-cvblc'\n title='//www.youtube.com/embed/YhSKk-cvblc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After becoming the first Latina actor to win an Oscar for \u003cem>West Side Story, \u003c/em>Moreno expected more opportunities to follow. Instead, she was offered stereotyped roles as gang members and housewives.\u003c/p>\n\u003cp>“It was the heartbreak of my life,” Moreno says. She turned down the parts she thought were offensive or too insignificant, and wound up not making another movie for seven years.\u003c/p>\n\u003cp>But eventually Moreno’s career got back on track. She appeared on Broadway, was an original cast member of the children’s show \u003cem>The Electric Company\u003c/em> and later co-starred in the HBO prison series \u003cem>Oz\u003c/em>. In 1977 she became the first Latina performer to achieve EGOT status as a winner of an Emmy, Grammy, Oscar and Tony Award.\u003c/p>\n\u003cp>The new PBS \u003cem>American Masters\u003c/em> documentary, \u003ca href=\"https://www.pbs.org/wnet/americanmasters/rita-moreno-the-girl-who-decided-to-go-for-it-about/11654/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Just a\u003c/em> \u003cem>Girl Who Decided to Go for It,\u003c/em>\u003c/a>\u003cem> c\u003c/em>hronicles Moreno’s early life and her storied career. In it, she opens up about her experiences with racism and sexual assault in Hollywood\u003cem>. \u003c/em>Moreno appears in the forthcoming Steven Spielberg film adaptation of \u003cem>West Side Story, \u003c/em>for which she also serves as an executive producer.\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/t84GEdvTLVQ'\n title='//www.youtube.com/embed/t84GEdvTLVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the roles MGM cast her in at the beginning of her career\u003c/strong>\u003c/p>\n\u003cp>I got native girls. I got Pacific Island parts, I got Egyptian girl parts, anything but just acting roles. They were all very specific. They all called for an accent or two that I wasn’t even familiar with. So I made up my own accents, thinking that that would enhance the parts. They all sounded Puerto Rican, actually. … I always sounded like this because it’s the only accent I understood and nobody ever said, “What are you doing? What the hell is that?” Because I would have answered, “Well, I’m trying to provide a foundation for this, this girl, this part.” But nobody asked. Nobody cared. It’s so odd when I look back.\u003c/p>\n\u003cp>\u003cstrong>On how the 1961 version of \u003c/strong>\u003cem>\u003cstrong>West Side Story\u003c/strong>\u003c/em>\u003cstrong> resonated\u003c/strong>\u003c/p>\n\u003cp>The fact that there was a person playing a \u003cem>Puertorriqueña\u003c/em> in a huge, successful musical was enough for a lot of Hispanics—not just Puerto Ricans—in this country to be thrilled to pieces. The fact that there were mistakes made … was also almost beyond the point, because we were just so glad to be paid attention to for a change. This was an extraordinary, extraordinary experience in every possible way. And it helped to inform a lot of people who were not Hispanic about what we were about—and that was important and absolutely fabulous. There were people, particularly in Puerto Rico, who were not thrilled because they felt that depicting Puerto Ricans as gang members was offensive and insulting. I think they missed the part about \u003cem>Romeo and Juliet, \u003c/em>which I thought was the genius of this. And here we are many, many, many years later with another edition of this film about to be released in December—by the way, when I will, literally, the day before we open, be 90 years old.\u003c/p>\n\u003cp>\u003cstrong>On having to darken her skin for film roles \u003c/strong>\u003c/p>\n\u003cp>I rarely, rarely ever saw my own color when I did movies. When I first went to MGM, I played a Cajun girl from New Orleans. So they actually used my own skin color. But as I got older and had more of a career, I kept getting darker and darker and darker. … [\u003cem>West Side Story\u003c/em>] was worse. That was like mud. … It was so thick and it was so dark that our faces would streak and show our real color underneath. And I remember saying to a makeup man once, “I don’t know why I have to be this color. … This is not my color.” And he actually said to me as he was making me up, “What are you, racist?” Well, talk about nonplussed. I didn’t even know what to say to him.\u003c/p>\n\u003cp>\u003cstrong>On the allegation that her Hollywood agent raped her early in her career\u003c/strong>\u003c/p>\n\u003cp>The very first time I spoke about it was when I did the documentary. I mentioned it in my book, also my biography, but it’s heartbreaking. By the way, I ran into this man, this agent, about five years ago in Palm Springs because it turned out he had booked me in a concert that I was going to do there. And I saw his face and I thought, oh, my God, it’s him. And you know what he told me without being asked? He said, “I’m sorry I didn’t make you pregnant, because that was the whole idea. … Then you would be beholden to me forever.” … I was speechless. I was absolutely speechless, I just said, “Excuse me.” And I left the room. I was dumbstruck. What do you say? “You cur, you bastard, you son of a bitch.” What do you say? … You know what, I’m glad I didn’t [say anything], because that would have probably opened too many doors.\u003c/p>\n\u003cp>\u003cstrong>On dating Marlon Brando and Elvis Presley \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I saw [Marlon Brando] as a person who was very strong. I had a very warped and twisted notion of what a real man was like. To me, that was Marlon. He was it. He was the king of movies and the king of everything. And on top of that, we had an extraordinary sexual relationship. So that kind of helped. …\u003c/p>\n\u003cp>I dated Elvis to make Marlon jealous. So for a short while there, I had the two kings of different things, show business royalty. And it was to make Marlon jealous, really. And he was a sweet fellow. He was very simple and he was boring, Elvis.\u003c/p>\n\u003cp>\u003cstrong>On her toxic relationship with Brando and her attempted suicide \u003c/strong>\u003c/p>\n\u003cp>My relationship with Marlon depended on what was happening at my psychotherapist’s. He would be very helpful. And then I would succumb to Marlon’s charms and go back to him for the 20th time. The only thing that really stopped it—and that was my intention at the time—was my attempted suicide. I couldn’t take being humiliated anymore. And I found that I was my own worst enemy. So it was my intention. The objective of this attempted suicide was to get rid of this relationship. …\u003c/p>\n\u003cp>[When I survived] I would never try that again. I absolutely knew I would never, ever try such a thing again. It’s so against my nature. And my doctor said to me, my therapist, he said, “You can never, ever, ever see Marlon again, because the next time you may not be as lucky.” And he made Marlon write me a letter about, “This is it, Rita, I’m sorry for everything, all the things I’ve done. This is a letter of goodbye. I will never see you again.” By the way, six months later, he called me on the phone and we became friends.\u003c/p>\n\u003cp>\u003cstrong>On being unhappy in her marriage to Leonard Gordon\u003c/strong>\u003c/p>\n\u003cp>I really did love him, but what happened was … sometimes people make contracts with each other that are never verbalized or spoken. In my case, it was “I’ll be a wonderful little girl and amuse you and make you happy if you will be my daddy and my protector and take care of me.” That’s what our contract really was, and the day that I decided I wanted to start growing up is when the marriage got into trouble, and that literally started in our seventh year. I remember talking divorce with him at that time. And of course, we didn’t, and I didn’t and that was that. But I was unhappy for a very, very, very long time.\u003c/p>\n\u003cp>\u003cstrong>On being on her own after Gordon died\u003c/strong>\u003c/p>\n\u003cp>I blossomed. I absolutely blossomed. I’m a person whose biggest hobby is laughing. Truly, I love laughter. I love humor. I love being raucous, which is one of the things that really annoyed my husband. He called it “my show business self.” And all of that was now up for grabs. I could be anyone I wanted to be. I could be what I felt. I wanted to be what I needed to be. And it was grand. Absolutely. I didn’t look back. Not one second, which is fascinating to me. I have not looked back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 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=Rita+Moreno+On+%27West+Side+Story%27+And+Becoming+The+Role+Model+She+Needed+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the sensational 2018 thriller \u003ca href=\"https://www.npr.org/2018/04/05/598796456/a-quiet-place-will-leave-you-shhhhhhaken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Quiet Place\u003c/em>\u003c/a>, humanity has been ravaged by hideous alien predators with extraordinary powers of hearing. The story follows the Abbotts, a family of survivors who must stay quiet at all times, unable to talk or sneeze or step on a creaky floorboard or they’ll likely be dead.\u003c/p>\n\u003cp>It was a killer word-of-mouth hook: Here was a movie you \u003cem>had\u003c/em> to watch in a theater in your own state of silence, with no slurping or popcorn crunching allowed.\u003c/p>\n\u003cp>\u003cem>A Quiet Place \u003c/em>became a huge success, and its filmmaker and star, John Krasinski, wrote and directed a sequel that was supposed to open in March 2020. But then the COVID-19 pandemic forced theaters to close, and the movie’s release was postponed.\u003c/p>\n\u003cp>[aside postid='pop_110691']Now, more than a year later, theaters have reopened, and \u003cem>A Quiet Place Part II \u003c/em>is drawing large audiences. Is it too soon to go back to theaters, with the pandemic not yet fully subsided? I wondered as much when I watched the film at a recent media screening. I felt pretty safe: I was wearing a mask in a nearly empty theater and had been fully vaccinated weeks earlier. But I also felt privileged to be seeing a film on a big screen with strict precautions in place.\u003c/p>\n\u003cp>Whether you go to see it now or wait until it begins streaming, \u003cem>A Quiet Place Part II \u003c/em>is likely to make you a little jumpy. It doesn’t have the same claustrophobic intensity as its predecessor, but it’s just as taut, suspenseful and beautifully made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BpdDN9d9Jio\u003c/p>\n\u003cp>As before, Krasinski doesn’t explain why the aliens are here in the first place. But he does give us an opening flashback to the terrible day they arrived, laying waste to the Abbotts’ small town in upstate New York—and other towns and cities all over the globe. Many people die, but the Abbotts survive, mainly because they’re quick to realize that the monsters hunt by sound.\u003c/p>\n\u003cp>Then the movie flashes forward many months, picking up right after the events of the first film. Krasinski’s character, Lee Abbott, has been tragically killed, leaving behind his wife, Evelyn, played by a fierce \u003ca href=\"https://www.npr.org/2014/12/21/372117734/desperate-to-speak-how-emily-blunt-found-her-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Blunt\u003c/a>, and their children. (Krasinski and Blunt are married in real life.)\u003c/p>\n\u003cp>The family is shaken but resilient: They’ve finally discovered the aliens’ fatal weakness, and they’re curious about making contact with other survivors. And so they set out from their farmhouse and make their way across an overgrown post-apocalyptic landscape where danger lurks around every corner.\u003c/p>\n\u003cp>The fact that the characters can’t speak out loud is one reason the \u003cem>Quiet Place\u003c/em> movies are so effective: Not being able to fall back on verbal exposition has forced Krasinski to become a ruthlessly efficient visual storyteller. It’s often said that Alfred Hitchcock’s movies are so sharply directed, you could turn the sound off and still follow the action—a truth that applies to these movies as well.\u003c/p>\n\u003cp>[aside postid='pop_6114']It helps that the Abbotts are fluent in American Sign Language since their oldest child, Regan, is deaf—as is the actor who plays her, the remarkable Millicent Simmonds. As in the first film, Regan emerges as the story’s truest hero: She’s tough, courageous and determined to help as many other people as she can. Less eager to take action is her traumatized younger brother, Marcus, heartbreakingly played by Noah Jupe.\u003c/p>\n\u003cp>Eventually the Abbotts take temporary shelter in an abandoned steel factory where they reunite with an old family friend, Emmett, played by a grave Cillian Murphy. Emmett is grieving the loss of his family and has become deeply cynical about humanity, at one point saying, “The people that are left … they’re not worth saving.” Regan disagrees; not only are people worth saving, she says, but if enough of them join forces, they might be able to fight back against the aliens.\u003c/p>\n\u003cp>The movie seems to think they both have a point. As Regan and Emmett embark on a perilous journey in search of survivors, they find themselves in situations that give rise to both hope and despair. Some of the people they meet are as predatory as the monsters; others are as brave and compassionate as Regan. That makes \u003cem>A Quiet Place Part II\u003c/em> an unexpectedly resonant film for the present moment as this country slowly emerges from a crisis that—while surely less terrifying than an alien apocalypse—has revealed humanity at its best and its worst.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie ends on an inconclusive note, leaving the door open for another sequel, which is both frustrating and heartening. I’m already looking forward to finding out what happens next—hopefully in a dark theater, watching as quietly as I can.\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=Listen+Carefully%3A+The+Tense+%27Quiet+Place%27+Sequel+Speaks+To+Our+Present+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the sensational 2018 thriller \u003ca href=\"https://www.npr.org/2018/04/05/598796456/a-quiet-place-will-leave-you-shhhhhhaken\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Quiet Place\u003c/em>\u003c/a>, humanity has been ravaged by hideous alien predators with extraordinary powers of hearing. The story follows the Abbotts, a family of survivors who must stay quiet at all times, unable to talk or sneeze or step on a creaky floorboard or they’ll likely be dead.\u003c/p>\n\u003cp>It was a killer word-of-mouth hook: Here was a movie you \u003cem>had\u003c/em> to watch in a theater in your own state of silence, with no slurping or popcorn crunching allowed.\u003c/p>\n\u003cp>\u003cem>A Quiet Place \u003c/em>became a huge success, and its filmmaker and star, John Krasinski, wrote and directed a sequel that was supposed to open in March 2020. But then the COVID-19 pandemic forced theaters to close, and the movie’s release was postponed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, more than a year later, theaters have reopened, and \u003cem>A Quiet Place Part II \u003c/em>is drawing large audiences. Is it too soon to go back to theaters, with the pandemic not yet fully subsided? I wondered as much when I watched the film at a recent media screening. I felt pretty safe: I was wearing a mask in a nearly empty theater and had been fully vaccinated weeks earlier. But I also felt privileged to be seeing a film on a big screen with strict precautions in place.\u003c/p>\n\u003cp>Whether you go to see it now or wait until it begins streaming, \u003cem>A Quiet Place Part II \u003c/em>is likely to make you a little jumpy. It doesn’t have the same claustrophobic intensity as its predecessor, but it’s just as taut, suspenseful and beautifully made.\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/BpdDN9d9Jio'\n title='//www.youtube.com/embed/BpdDN9d9Jio'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As before, Krasinski doesn’t explain why the aliens are here in the first place. But he does give us an opening flashback to the terrible day they arrived, laying waste to the Abbotts’ small town in upstate New York—and other towns and cities all over the globe. Many people die, but the Abbotts survive, mainly because they’re quick to realize that the monsters hunt by sound.\u003c/p>\n\u003cp>Then the movie flashes forward many months, picking up right after the events of the first film. Krasinski’s character, Lee Abbott, has been tragically killed, leaving behind his wife, Evelyn, played by a fierce \u003ca href=\"https://www.npr.org/2014/12/21/372117734/desperate-to-speak-how-emily-blunt-found-her-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Blunt\u003c/a>, and their children. (Krasinski and Blunt are married in real life.)\u003c/p>\n\u003cp>The family is shaken but resilient: They’ve finally discovered the aliens’ fatal weakness, and they’re curious about making contact with other survivors. And so they set out from their farmhouse and make their way across an overgrown post-apocalyptic landscape where danger lurks around every corner.\u003c/p>\n\u003cp>The fact that the characters can’t speak out loud is one reason the \u003cem>Quiet Place\u003c/em> movies are so effective: Not being able to fall back on verbal exposition has forced Krasinski to become a ruthlessly efficient visual storyteller. It’s often said that Alfred Hitchcock’s movies are so sharply directed, you could turn the sound off and still follow the action—a truth that applies to these movies as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps that the Abbotts are fluent in American Sign Language since their oldest child, Regan, is deaf—as is the actor who plays her, the remarkable Millicent Simmonds. As in the first film, Regan emerges as the story’s truest hero: She’s tough, courageous and determined to help as many other people as she can. Less eager to take action is her traumatized younger brother, Marcus, heartbreakingly played by Noah Jupe.\u003c/p>\n\u003cp>Eventually the Abbotts take temporary shelter in an abandoned steel factory where they reunite with an old family friend, Emmett, played by a grave Cillian Murphy. Emmett is grieving the loss of his family and has become deeply cynical about humanity, at one point saying, “The people that are left … they’re not worth saving.” Regan disagrees; not only are people worth saving, she says, but if enough of them join forces, they might be able to fight back against the aliens.\u003c/p>\n\u003cp>The movie seems to think they both have a point. As Regan and Emmett embark on a perilous journey in search of survivors, they find themselves in situations that give rise to both hope and despair. Some of the people they meet are as predatory as the monsters; others are as brave and compassionate as Regan. That makes \u003cem>A Quiet Place Part II\u003c/em> an unexpectedly resonant film for the present moment as this country slowly emerges from a crisis that—while surely less terrifying than an alien apocalypse—has revealed humanity at its best and its worst.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie ends on an inconclusive note, leaving the door open for another sequel, which is both frustrating and heartening. I’m already looking forward to finding out what happens next—hopefully in a dark theater, watching as quietly as I can.\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=Listen+Carefully%3A+The+Tense+%27Quiet+Place%27+Sequel+Speaks+To+Our+Present+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bo Burnham's 'Inside' is a Musical Fantasy About Terrible Realities",
"headTitle": "Bo Burnham’s ‘Inside’ is a Musical Fantasy About Terrible Realities | KQED",
"content": "\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='arts_13886679']\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hio87bsTopM\u003c/p>\n\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>[aside postid='arts_13892543']None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\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=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\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/Hio87bsTopM'\n title='//www.youtube.com/embed/Hio87bsTopM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\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=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Historian Uncovers the Racist Roots of the 2nd Amendment",
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"content": "\u003cp>Do Black people have full Second Amendment rights?\u003c/p>\n\u003cp>That’s the question historian Carol Anderson set out to answer after Minnesota police killed \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/07/485066807/police-stop-ends-in-black-mans-death-aftermath-is-livestreamed-online-video\" target=\"_blank\" rel=\"noopener noreferrer\">Philando Castile\u003c/a>, a Black man with a license to carry a gun, during a 2016 traffic stop.\u003c/p>\n\u003cp>“Here was a Black man who was pulled over by the police and the police officer asked to see his identification. Philando Castile, using the NRA guidelines, alerts to the officer that he has a licensed weapon with him,” she says. “[And] the police officer began shooting.”\u003c/p>\n\u003cp>In the 1990s, after the assault on the \u003ca href=\"https://www.npr.org/2013/04/20/178063471/two-decades-later-some-branch-davidians-still-believe\" target=\"_blank\" rel=\"noopener noreferrer\">Branch Davidian compound\u003c/a> in Waco, Texas, the National Rifle Association condemned federal authorities as “jack-booted government thugs.” But Anderson says the organization “went virtually silent” when when it came to Castile’s case, issuing a \u003ca href=\"https://www.facebook.com/NationalRifleAssociation/photos/10154483218346833/\" target=\"_blank\" rel=\"noopener noreferrer\">tepid statement\u003c/a> that did not mention Castile by name.\u003c/p>\n\u003cp>In her new book \u003cem>The Second: Race and Guns in a Fatally Unequal America,\u003c/em> Anderson traces racial distinctions in Americans’ treatment of gun ownership back to the founding of the country and the Second Amendment, which states:\u003c/p>\n\u003cblockquote>\u003cp>“A well-regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.”\u003c/p>\u003c/blockquote>\n\u003cp>The language of the amendment, Anderson says, was crafted to ensure slave owners could quickly crush any rebellion or resistance from those they’d enslaved. And she says the right to bear arms, presumably guaranteed to all citizens, has been repeatedly denied to Black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the things that I argue throughout this book is that it is just being Black that is the threat. And so when you mix that being Black as the threat with bearing arms, it’s an exponential fear,” she says. “This isn’t an anti-gun or a pro-gun book. This is a book about African Americans’ rights.”\u003c/p>\n\u003cfigure id=\"attachment_13898177\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898177\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9.jpg\" alt=\"'The Second: Race and Guns in a Fatally Unequal America,' by Carol Anderson.\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9-160x120.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘The Second: Race and Guns in a Fatally Unequal America,’ by Carol Anderson. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the crafting of the Second Amendment at the Constitutional Convention \u003c/strong>\u003c/p>\n\u003cp>It was in response to the concerns coming out of the Virginia ratification convention for the Constitution, led by Patrick Henry and George Mason, that a militia that was controlled solely by the federal government would not be there to protect the slave owners from an enslaved uprising. And … James Madison crafted that language in order to mollify the concerns coming out of Virginia and the anti-Federalists, that they would still have full control over their state militias—and those militias were used in order to quell slave revolts. … The Second Amendment really provided the cover, the assurances that Patrick Henry and George Mason needed, that the militias would not be controlled by the federal government, but that they would be controlled by the states and at the beck and call of the states to be able to put down these uprisings.\u003c/p>\n\u003cp>\u003cstrong>On Black peoples’ access to arms after the American Revolution \u003c/strong>\u003c/p>\n\u003cp>You saw incredible restrictions being put in place about limiting access to arms. And this is across the board for free Blacks and, particularly, for the enslaved. And with each uprising, the laws became even more strict, even more definitive about who could and who could not bear arms. And so free Blacks were particularly proscribed. And so we see this, for instance, in Georgia, where Georgia had a law that restricted the carrying of guns.\u003c/p>\n\u003cp>\u003cstrong>On the founding fathers’ fear of a slave revolt, which was stoked by the Haitian revolution \u003c/strong>\u003c/p>\n\u003cp>When Haiti began to overthrow the French colonial masters and were seizing that country for themselves, when Blacks were seizing that country for themselves, the violence of the Haitian revolution, the existence of the Haitian revolution, just sent basically an earthquake of fear throughout the United States. You had George Washington lamenting the violence. You had Thomas Jefferson talking about [how] he was fearful that those ideas over there, if they get here, it’s going to be fire. You had James Madison worried. …\u003c/p>\n\u003cp>[aside postid='arts_13870538']Whites … were fleeing Haiti and were bringing their enslaved populations with them, their enslaved people with them. … [There was a fear that] the ideas that these Black Haitians would have, that somehow those ideas of revolution, those ideas of racial justice, those ideas of freedom and democracy would just metastasize throughout Virginia’s Black enslaved population and cause a revolt. You had that same fear coming out of Baltimore that then began to open up the public armory to whites saying, ‘You are justified in being armed because they’re bringing too many of these Black Haitians, these enslaved Haitians up here who have these ideas that Black people can be free.’\u003c/p>\n\u003cp>\u003cstrong>On how the Black Panthers responded to restrictions in Black people’s ability to bear arms in the 1960s\u003c/strong>\u003c/p>\n\u003cp>What the Black Panthers were dealing with was massive police brutality. Just beating on Black people, killing Black people at will with impunity. And the Panthers decided that they would police the police. Huey P. Newton, who was the co-founder of the Black Panthers along with Bobby Seale, … knew the law and he knew what the law said about being able to open carry weapons and the types of weapons you were able to openly carry and how far you had to stand away from the police arresting somebody or interrogating somebody. … And the police did not like having these aggressive Black men and women doing that work of policing the police. And the response was a thing called the Mulford Act, and the Mulford Act set out to ban open carrying of weapons. And it was drafted by a conservative assemblyman in California with the support and help of an NRA representative and eagerly signed by Gov. Ronald Reagan as a way to make illegal what the Panthers were legally doing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\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=Historian+Uncovers+The+Racist+Roots+Of+The+2nd+Amendment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do Black people have full Second Amendment rights?\u003c/p>\n\u003cp>That’s the question historian Carol Anderson set out to answer after Minnesota police killed \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/07/485066807/police-stop-ends-in-black-mans-death-aftermath-is-livestreamed-online-video\" target=\"_blank\" rel=\"noopener noreferrer\">Philando Castile\u003c/a>, a Black man with a license to carry a gun, during a 2016 traffic stop.\u003c/p>\n\u003cp>“Here was a Black man who was pulled over by the police and the police officer asked to see his identification. Philando Castile, using the NRA guidelines, alerts to the officer that he has a licensed weapon with him,” she says. “[And] the police officer began shooting.”\u003c/p>\n\u003cp>In the 1990s, after the assault on the \u003ca href=\"https://www.npr.org/2013/04/20/178063471/two-decades-later-some-branch-davidians-still-believe\" target=\"_blank\" rel=\"noopener noreferrer\">Branch Davidian compound\u003c/a> in Waco, Texas, the National Rifle Association condemned federal authorities as “jack-booted government thugs.” But Anderson says the organization “went virtually silent” when when it came to Castile’s case, issuing a \u003ca href=\"https://www.facebook.com/NationalRifleAssociation/photos/10154483218346833/\" target=\"_blank\" rel=\"noopener noreferrer\">tepid statement\u003c/a> that did not mention Castile by name.\u003c/p>\n\u003cp>In her new book \u003cem>The Second: Race and Guns in a Fatally Unequal America,\u003c/em> Anderson traces racial distinctions in Americans’ treatment of gun ownership back to the founding of the country and the Second Amendment, which states:\u003c/p>\n\u003cblockquote>\u003cp>“A well-regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.”\u003c/p>\u003c/blockquote>\n\u003cp>The language of the amendment, Anderson says, was crafted to ensure slave owners could quickly crush any rebellion or resistance from those they’d enslaved. And she says the right to bear arms, presumably guaranteed to all citizens, has been repeatedly denied to Black people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the things that I argue throughout this book is that it is just being Black that is the threat. And so when you mix that being Black as the threat with bearing arms, it’s an exponential fear,” she says. “This isn’t an anti-gun or a pro-gun book. This is a book about African Americans’ rights.”\u003c/p>\n\u003cfigure id=\"attachment_13898177\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898177\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9.jpg\" alt=\"'The Second: Race and Guns in a Fatally Unequal America,' by Carol Anderson.\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/9781635574258-2ea460de0e43a1d016ac2f2c3fa40491e0ce53d9-160x120.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘The Second: Race and Guns in a Fatally Unequal America,’ by Carol Anderson. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the crafting of the Second Amendment at the Constitutional Convention \u003c/strong>\u003c/p>\n\u003cp>It was in response to the concerns coming out of the Virginia ratification convention for the Constitution, led by Patrick Henry and George Mason, that a militia that was controlled solely by the federal government would not be there to protect the slave owners from an enslaved uprising. And … James Madison crafted that language in order to mollify the concerns coming out of Virginia and the anti-Federalists, that they would still have full control over their state militias—and those militias were used in order to quell slave revolts. … The Second Amendment really provided the cover, the assurances that Patrick Henry and George Mason needed, that the militias would not be controlled by the federal government, but that they would be controlled by the states and at the beck and call of the states to be able to put down these uprisings.\u003c/p>\n\u003cp>\u003cstrong>On Black peoples’ access to arms after the American Revolution \u003c/strong>\u003c/p>\n\u003cp>You saw incredible restrictions being put in place about limiting access to arms. And this is across the board for free Blacks and, particularly, for the enslaved. And with each uprising, the laws became even more strict, even more definitive about who could and who could not bear arms. And so free Blacks were particularly proscribed. And so we see this, for instance, in Georgia, where Georgia had a law that restricted the carrying of guns.\u003c/p>\n\u003cp>\u003cstrong>On the founding fathers’ fear of a slave revolt, which was stoked by the Haitian revolution \u003c/strong>\u003c/p>\n\u003cp>When Haiti began to overthrow the French colonial masters and were seizing that country for themselves, when Blacks were seizing that country for themselves, the violence of the Haitian revolution, the existence of the Haitian revolution, just sent basically an earthquake of fear throughout the United States. You had George Washington lamenting the violence. You had Thomas Jefferson talking about [how] he was fearful that those ideas over there, if they get here, it’s going to be fire. You had James Madison worried. …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Whites … were fleeing Haiti and were bringing their enslaved populations with them, their enslaved people with them. … [There was a fear that] the ideas that these Black Haitians would have, that somehow those ideas of revolution, those ideas of racial justice, those ideas of freedom and democracy would just metastasize throughout Virginia’s Black enslaved population and cause a revolt. You had that same fear coming out of Baltimore that then began to open up the public armory to whites saying, ‘You are justified in being armed because they’re bringing too many of these Black Haitians, these enslaved Haitians up here who have these ideas that Black people can be free.’\u003c/p>\n\u003cp>\u003cstrong>On how the Black Panthers responded to restrictions in Black people’s ability to bear arms in the 1960s\u003c/strong>\u003c/p>\n\u003cp>What the Black Panthers were dealing with was massive police brutality. Just beating on Black people, killing Black people at will with impunity. And the Panthers decided that they would police the police. Huey P. Newton, who was the co-founder of the Black Panthers along with Bobby Seale, … knew the law and he knew what the law said about being able to open carry weapons and the types of weapons you were able to openly carry and how far you had to stand away from the police arresting somebody or interrogating somebody. … And the police did not like having these aggressive Black men and women doing that work of policing the police. And the response was a thing called the Mulford Act, and the Mulford Act set out to ban open carrying of weapons. And it was drafted by a conservative assemblyman in California with the support and help of an NRA representative and eagerly signed by Gov. Ronald Reagan as a way to make illegal what the Panthers were legally doing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\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=Historian+Uncovers+The+Racist+Roots+Of+The+2nd+Amendment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Documentaries You Should Watch About the Tulsa Race Massacre",
"headTitle": "3 Documentaries You Should Watch About the Tulsa Race Massacre | KQED",
"content": "\u003cp>If all you know about the \u003ca href=\"https://www.tulsahistory.org/exhibit/1921-tulsa-race-massacre/\" target=\"_blank\" rel=\"noopener noreferrer\">Tulsa Race Massacre\u003c/a> is the re-creations of the attack featured in HBO series like \u003ca href=\"https://www.npr.org/2019/10/22/771998690/watchmen-creator-damon-lindelof-not-talking-about-race-felt-irresponsible\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/03/30/982668346/lovecraft-country-creator-aims-to-reclaim-the-horror-genre-for-people-of-color\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lovecraft Country\u003c/em>\u003c/a>, prepare yourself for a serious education over the next few weeks.\u003c/p>\n\u003cp>Monday marked the 100th anniversary for one of the worst acts of racial violence in American history, the Tulsa Race Massacre. Back in 1921, a mob of white people tore down and burned the Greenwood district of Tulsa, Okla.—a segregated part of the city so prosperous and bustling, it was known as Black Wall Street.\u003c/p>\n\u003cp>[aside postid='arts_13881199']According to some historians, over 1,200 homes and buildings were \u003ca href=\"https://www.tulsalibrary.org/tulsa-race-riot-1921\" target=\"_blank\" rel=\"noopener noreferrer\">destroyed by the violence,\u003c/a> killing between 100 and 300 people. But thanks to white-dominated power structures in the city of Tulsa and state of Oklahoma, news about the massacre was wiped from many official sources for decades (several fans of \u003cem>Watchmen\u003c/em> and \u003cem>Lovecraft Country\u003c/em> have told me they had never heard of the massacre before these fictional TV shows dramatized the attack during their episodes last year and in 2019).\u003c/p>\n\u003cp>All that will likely change over the next week and beyond, as a flood of programs centered on the Tulsa Race Massacre come to television. From enterprise reporting efforts at ABC, CBS and NBC to projects on National Geographic, CNN, The History Channel and PBS, there are a wide array of documentary films and TV programs aimed at reminding Americans just how deadly unchecked racism can be.\u003c/p>\n\u003cp>After watching the films offered by \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">The History Channel\u003c/a>, \u003ca href=\"https://www.cnn.com/shows/dreamland-cnn-films\" target=\"_blank\" rel=\"noopener noreferrer\">CNN\u003c/a> and \u003ca href=\"https://www.pbs.org/show/tulsa-fire-and-forgotten/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS\u003c/a>, I saw common themes emerge. First was the power of white society to control what history is recognized, to erase uncomfortable truths and resist efforts to dig up the truth (sometimes literally, as when officials ended early attempts to find mass graves of massacre victims in 1999). Several films featured comments from longtime white residents of Tulsa, including its current mayor, G.T. Bynum, who said they didn’t even learn the Tulsa Race Massacre had happened until they were adults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Such insistence on erasing Black pain from a community’s official history creates, by necessity, a shadow history kept among people of color and passed along, often by word of mouth. White America may have tried to forget Tulsa, but the massacre’s details lived in the stories of Black survivors and their descendants, handed down like bitter family heirlooms.\u003c/p>\n\u003cp>(Even worse, for a journalist like me, was to realize the role the media played back then—both in whipping up white fears about Black people through horrifically racist films and newspaper stories, while disappearing news of attacks and lynchings once white people took action.)\u003c/p>\n\u003cp>The second painful truth was the lasting damage such attacks can have on a people. According to CNN’s film, 191 Black-owned businesses stood in the Greenwood district before the massacre, including one of the finest hotels in the country. These days, there are fewer than a dozen Black-owned businesses in that same area, now reduced to a block-long main drag with modest establishments like a barbershop, health clinic and coffee shop.\u003c/p>\n\u003cp>Generations of Black wealth were erased in the massacre. Tulsa’s racial segregation and the struggle of its Black community remains.\u003c/p>\n\u003cp>Some people pop up in multiple documentaries, including the \u003ca href=\"http://robertturnerministries.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Robert Turner,\u003c/a> the sharp-dressing pastor of Historic Vernon AME Church. His church’s basement hid survivors of the massacre 100 years ago; more recently, Turner is shown regularly visiting Tulsa’s City Hall with a bullhorn, reminding residents of the need for memory and reparations.\u003c/p>\n\u003cp>“Pastoring a church where the members died and the survivors never saw justice, that aggravated my spirit,” Turner says in the \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">History Channel documentary\u003c/a>. “It’s an embarrassment that we have never had a district attorney investigate the worst crime in this city’s history.”\u003c/p>\n\u003cp>[aside postid='arts_13890558']Historian Hannibal B. Johnson talks about how Black people enslaved by Native Americans were freed and given land, forming the early basis for the Greenwood district’s wealth. And several experts also speak of the effort to find the rumored unmarked mass graves where Black people who were killed in the massacre may have been interred.\u003c/p>\n\u003cp>Most importantly, the films show how history’s broad trends can feed into a singular disaster. As Southern states ratcheted up racialized violence and racially oppressive laws to snatch back Black voting rights, a generation of Black veterans who had served America in World War I were no longer willing to accept the indignities of indiscriminate racial oppression.\u003c/p>\n\u003cp>When a large group of Black people showed up in Tulsa to stop the lynching of a young Black man unfairly accused of sexually assaulting a white female elevator operator—white crowds had been incited by incendiary, \u003ca href=\"https://www.okhistory.org/learn/trm3\" target=\"_blank\" rel=\"noopener noreferrer\">unfair coverage from\u003c/a> \u003cem>The Tulsa Tribune\u003c/em>—a white man tried to grab a gun from a Black man. A struggle ensued, the gun went off, and the white mob had their excuse to obliterate Black Wall Street over two days of brutal violence.\u003c/p>\n\u003cp>Here are capsule reviews of three powerful films I found most compelling, from The History Channel, CNN and PBS. Watch at least one of them to learn the kind of American history that should have been taught in classrooms and from schoolbooks nationwide for the past 100 years.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa Burning: The 1921 Race Massacre,\u003c/strong>\u003c/em>\u003cstrong> airing on The History Channel (May 30)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bHrQouNrzBI&t=1s\u003c/p>\n\u003cp>This is easily the most cinematic of the three documentaries—small surprise, given its pedigree. Co-directed and executive produced by Emmy-winner \u003ca href=\"https://www.npr.org/2018/02/18/586958598/-tell-them-we-are-rising-tackles-impact-of-historically-black-colleges\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Nelson\u003c/a> (\u003ca href=\"https://www.npr.org/2011/05/05/136025553/freedom-riders-risked-their-lives-for-equality\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Freedom Riders\u003c/em>\u003c/a>), the film is also executive produced by NBA superstar Russell Westbrook, featuring original music from Branford Marsalis. The story begins with words from Rev. Turner’s bullhorn, unspooling into an epic tale of how Black people migrated to Tulsa and built a bustling, successful business district, keeping dollars in the Black community until two days of mob violence destroyed it all. Archival footage of Greenwood, looking impossibly clear and vivid, appears next to photos and inspired commentary from experts like \u003cem>The New York Times\u003c/em> columnist Brent Staples and historian Scott Ellsworth. The result is a detailed, evocative story of the massacre and its connection to modern Tulsa, including a renewed, modern effort to find mass graves. This compelling film is also paired with a six-part podcast produced by The History Channel and WNYC Studios in collaboration with KOSU public radio in Oklahoma, dubbed \u003ca href=\"https://www.wnycstudios.org/podcasts/blindspot\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blindspot: Tulsa Burning\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dreamland: The Burning of Black Wall Street, \u003c/strong>\u003c/em>\u003cstrong>debuting on CNN and streaming on HBO Max (May 31)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bkz0dcqr3w8&t=1s\u003c/p>\n\u003cp>This film features another NBA star, LeBron James, as an executive producer, adding evocative animation sequences to newsreel footage and archival photos to re-create scenes from 100 years ago. CNN’s film traces a history similar to \u003cem>Tulsa Burning\u003c/em>, bringing cameras to modern Tulsa’s modest Greenwood district to show off small businesses continuing a historic legacy, as detailed maps display how much the area has shrunk from its successful heights 100 years ago. While Black people in 1921 enjoyed a community one expert says was like Bourbon Street, Harlem and Washington D.C. rolled into one, racist and resentful white Tulsans used pejorative phrases like “Little Africa” and “N*****town” to describe the area. Named for a popular theater in the Greenwood district, \u003cem>Dreamland\u003c/em> uses actors to read powerful quotes from politicians and publications of the time, including Tulsa’s mayor during the massacre, T. D. Evans, who blamed the Black victims of the attack for “instigating” a “negro uprising.” Rev. Turner also shows up here, pointing out areas in his church’s basement where victims huddled while the top floors of the church were destroyed. “I believe there is no expiration date on morality,” the pastor says, explaining why he remains an aggressive advocate for uncovering the mass graves and finding justice for the city’s Black community.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa: The Fire and the Forgotten,\u003c/strong>\u003c/em>\u003cstrong> premiering on PBS (May 31)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=diyUd6vsRV0\u003c/p>\n\u003cp>For a more personal story, consider this film, focused on the work of longtime \u003cem>Washington Post\u003c/em> journalist DeNeen L. Brown, \u003ca href=\"https://www.washingtonpost.com/people/deneen-l-brown/\" target=\"_blank\" rel=\"noopener noreferrer\">whose reporting\u003c/a> on the Tulsa Race Massacre has spread word about the history of the attack. Brown, whose father lives in Tulsa and is a pastor at a Baptist church in town, is shown interviewing descendants of attack victims and experts leading the modern effort to find and exhume unmarked graves. She also serves as a producer on the film, alongside human rights investigator Eric Stover, who is featured in interviews as an expert source; the film is narrated by NPR’s own Michel Martin, weekend host of\u003cem> All Things Considered\u003c/em>. Viewers learn of failed efforts to sue the government for failing to protect the community—descendants were told the statute of limitations had passed. And the film shows how graphic photos of the destruction were turned into postcards and distributed by some white people. Here, the search for evidence of unmarked graves is presented as a bit of a cliffhanger, as experts work to identify likely areas for the remains, hoping to prove they are the discarded bodies of massacre victims. “Oftentimes, Black people are called on camera after something racist occurs to explain racism … to explain what happened,” Brown says in one moment. “But I can’t explain why white people hate Black people so much.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the web by Eric Deggans and Petra Mayer.\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=3+Documentaries+You+Should+Watch+About+The+Tulsa+Race+Massacre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If all you know about the \u003ca href=\"https://www.tulsahistory.org/exhibit/1921-tulsa-race-massacre/\" target=\"_blank\" rel=\"noopener noreferrer\">Tulsa Race Massacre\u003c/a> is the re-creations of the attack featured in HBO series like \u003ca href=\"https://www.npr.org/2019/10/22/771998690/watchmen-creator-damon-lindelof-not-talking-about-race-felt-irresponsible\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/03/30/982668346/lovecraft-country-creator-aims-to-reclaim-the-horror-genre-for-people-of-color\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lovecraft Country\u003c/em>\u003c/a>, prepare yourself for a serious education over the next few weeks.\u003c/p>\n\u003cp>Monday marked the 100th anniversary for one of the worst acts of racial violence in American history, the Tulsa Race Massacre. Back in 1921, a mob of white people tore down and burned the Greenwood district of Tulsa, Okla.—a segregated part of the city so prosperous and bustling, it was known as Black Wall Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to some historians, over 1,200 homes and buildings were \u003ca href=\"https://www.tulsalibrary.org/tulsa-race-riot-1921\" target=\"_blank\" rel=\"noopener noreferrer\">destroyed by the violence,\u003c/a> killing between 100 and 300 people. But thanks to white-dominated power structures in the city of Tulsa and state of Oklahoma, news about the massacre was wiped from many official sources for decades (several fans of \u003cem>Watchmen\u003c/em> and \u003cem>Lovecraft Country\u003c/em> have told me they had never heard of the massacre before these fictional TV shows dramatized the attack during their episodes last year and in 2019).\u003c/p>\n\u003cp>All that will likely change over the next week and beyond, as a flood of programs centered on the Tulsa Race Massacre come to television. From enterprise reporting efforts at ABC, CBS and NBC to projects on National Geographic, CNN, The History Channel and PBS, there are a wide array of documentary films and TV programs aimed at reminding Americans just how deadly unchecked racism can be.\u003c/p>\n\u003cp>After watching the films offered by \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">The History Channel\u003c/a>, \u003ca href=\"https://www.cnn.com/shows/dreamland-cnn-films\" target=\"_blank\" rel=\"noopener noreferrer\">CNN\u003c/a> and \u003ca href=\"https://www.pbs.org/show/tulsa-fire-and-forgotten/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS\u003c/a>, I saw common themes emerge. First was the power of white society to control what history is recognized, to erase uncomfortable truths and resist efforts to dig up the truth (sometimes literally, as when officials ended early attempts to find mass graves of massacre victims in 1999). Several films featured comments from longtime white residents of Tulsa, including its current mayor, G.T. Bynum, who said they didn’t even learn the Tulsa Race Massacre had happened until they were adults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Such insistence on erasing Black pain from a community’s official history creates, by necessity, a shadow history kept among people of color and passed along, often by word of mouth. White America may have tried to forget Tulsa, but the massacre’s details lived in the stories of Black survivors and their descendants, handed down like bitter family heirlooms.\u003c/p>\n\u003cp>(Even worse, for a journalist like me, was to realize the role the media played back then—both in whipping up white fears about Black people through horrifically racist films and newspaper stories, while disappearing news of attacks and lynchings once white people took action.)\u003c/p>\n\u003cp>The second painful truth was the lasting damage such attacks can have on a people. According to CNN’s film, 191 Black-owned businesses stood in the Greenwood district before the massacre, including one of the finest hotels in the country. These days, there are fewer than a dozen Black-owned businesses in that same area, now reduced to a block-long main drag with modest establishments like a barbershop, health clinic and coffee shop.\u003c/p>\n\u003cp>Generations of Black wealth were erased in the massacre. Tulsa’s racial segregation and the struggle of its Black community remains.\u003c/p>\n\u003cp>Some people pop up in multiple documentaries, including the \u003ca href=\"http://robertturnerministries.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Robert Turner,\u003c/a> the sharp-dressing pastor of Historic Vernon AME Church. His church’s basement hid survivors of the massacre 100 years ago; more recently, Turner is shown regularly visiting Tulsa’s City Hall with a bullhorn, reminding residents of the need for memory and reparations.\u003c/p>\n\u003cp>“Pastoring a church where the members died and the survivors never saw justice, that aggravated my spirit,” Turner says in the \u003ca href=\"https://www.history.com/specials/tulsa-burning-the-1921-race-massacre\" target=\"_blank\" rel=\"noopener noreferrer\">History Channel documentary\u003c/a>. “It’s an embarrassment that we have never had a district attorney investigate the worst crime in this city’s history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Historian Hannibal B. Johnson talks about how Black people enslaved by Native Americans were freed and given land, forming the early basis for the Greenwood district’s wealth. And several experts also speak of the effort to find the rumored unmarked mass graves where Black people who were killed in the massacre may have been interred.\u003c/p>\n\u003cp>Most importantly, the films show how history’s broad trends can feed into a singular disaster. As Southern states ratcheted up racialized violence and racially oppressive laws to snatch back Black voting rights, a generation of Black veterans who had served America in World War I were no longer willing to accept the indignities of indiscriminate racial oppression.\u003c/p>\n\u003cp>When a large group of Black people showed up in Tulsa to stop the lynching of a young Black man unfairly accused of sexually assaulting a white female elevator operator—white crowds had been incited by incendiary, \u003ca href=\"https://www.okhistory.org/learn/trm3\" target=\"_blank\" rel=\"noopener noreferrer\">unfair coverage from\u003c/a> \u003cem>The Tulsa Tribune\u003c/em>—a white man tried to grab a gun from a Black man. A struggle ensued, the gun went off, and the white mob had their excuse to obliterate Black Wall Street over two days of brutal violence.\u003c/p>\n\u003cp>Here are capsule reviews of three powerful films I found most compelling, from The History Channel, CNN and PBS. Watch at least one of them to learn the kind of American history that should have been taught in classrooms and from schoolbooks nationwide for the past 100 years.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa Burning: The 1921 Race Massacre,\u003c/strong>\u003c/em>\u003cstrong> airing on The History Channel (May 30)\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/bHrQouNrzBI'\n title='//www.youtube.com/embed/bHrQouNrzBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is easily the most cinematic of the three documentaries—small surprise, given its pedigree. Co-directed and executive produced by Emmy-winner \u003ca href=\"https://www.npr.org/2018/02/18/586958598/-tell-them-we-are-rising-tackles-impact-of-historically-black-colleges\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Nelson\u003c/a> (\u003ca href=\"https://www.npr.org/2011/05/05/136025553/freedom-riders-risked-their-lives-for-equality\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Freedom Riders\u003c/em>\u003c/a>), the film is also executive produced by NBA superstar Russell Westbrook, featuring original music from Branford Marsalis. The story begins with words from Rev. Turner’s bullhorn, unspooling into an epic tale of how Black people migrated to Tulsa and built a bustling, successful business district, keeping dollars in the Black community until two days of mob violence destroyed it all. Archival footage of Greenwood, looking impossibly clear and vivid, appears next to photos and inspired commentary from experts like \u003cem>The New York Times\u003c/em> columnist Brent Staples and historian Scott Ellsworth. The result is a detailed, evocative story of the massacre and its connection to modern Tulsa, including a renewed, modern effort to find mass graves. This compelling film is also paired with a six-part podcast produced by The History Channel and WNYC Studios in collaboration with KOSU public radio in Oklahoma, dubbed \u003ca href=\"https://www.wnycstudios.org/podcasts/blindspot\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blindspot: Tulsa Burning\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dreamland: The Burning of Black Wall Street, \u003c/strong>\u003c/em>\u003cstrong>debuting on CNN and streaming on HBO Max (May 31)\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/bkz0dcqr3w8'\n title='//www.youtube.com/embed/bkz0dcqr3w8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This film features another NBA star, LeBron James, as an executive producer, adding evocative animation sequences to newsreel footage and archival photos to re-create scenes from 100 years ago. CNN’s film traces a history similar to \u003cem>Tulsa Burning\u003c/em>, bringing cameras to modern Tulsa’s modest Greenwood district to show off small businesses continuing a historic legacy, as detailed maps display how much the area has shrunk from its successful heights 100 years ago. While Black people in 1921 enjoyed a community one expert says was like Bourbon Street, Harlem and Washington D.C. rolled into one, racist and resentful white Tulsans used pejorative phrases like “Little Africa” and “N*****town” to describe the area. Named for a popular theater in the Greenwood district, \u003cem>Dreamland\u003c/em> uses actors to read powerful quotes from politicians and publications of the time, including Tulsa’s mayor during the massacre, T. D. Evans, who blamed the Black victims of the attack for “instigating” a “negro uprising.” Rev. Turner also shows up here, pointing out areas in his church’s basement where victims huddled while the top floors of the church were destroyed. “I believe there is no expiration date on morality,” the pastor says, explaining why he remains an aggressive advocate for uncovering the mass graves and finding justice for the city’s Black community.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Tulsa: The Fire and the Forgotten,\u003c/strong>\u003c/em>\u003cstrong> premiering on PBS (May 31)\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/diyUd6vsRV0'\n title='//www.youtube.com/embed/diyUd6vsRV0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For a more personal story, consider this film, focused on the work of longtime \u003cem>Washington Post\u003c/em> journalist DeNeen L. Brown, \u003ca href=\"https://www.washingtonpost.com/people/deneen-l-brown/\" target=\"_blank\" rel=\"noopener noreferrer\">whose reporting\u003c/a> on the Tulsa Race Massacre has spread word about the history of the attack. Brown, whose father lives in Tulsa and is a pastor at a Baptist church in town, is shown interviewing descendants of attack victims and experts leading the modern effort to find and exhume unmarked graves. She also serves as a producer on the film, alongside human rights investigator Eric Stover, who is featured in interviews as an expert source; the film is narrated by NPR’s own Michel Martin, weekend host of\u003cem> All Things Considered\u003c/em>. Viewers learn of failed efforts to sue the government for failing to protect the community—descendants were told the statute of limitations had passed. And the film shows how graphic photos of the destruction were turned into postcards and distributed by some white people. Here, the search for evidence of unmarked graves is presented as a bit of a cliffhanger, as experts work to identify likely areas for the remains, hoping to prove they are the discarded bodies of massacre victims. “Oftentimes, Black people are called on camera after something racist occurs to explain racism … to explain what happened,” Brown says in one moment. “But I can’t explain why white people hate Black people so much.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the web by Eric Deggans and Petra Mayer.\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=3+Documentaries+You+Should+Watch+About+The+Tulsa+Race+Massacre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Plan B' is a Winning Comedy Infused With Some Painful Truths",
"headTitle": "‘Plan B’ is a Winning Comedy Infused With Some Painful Truths | KQED",
"content": "\u003cp>Few films walk a tonal tightrope as tricky as the one undertaken by \u003cem>Plan B\u003c/em>, a terrific out-all-night comedy now available on Hulu that manages to combine \u003ca href=\"https://www.npr.org/2019/05/30/728293028/a-wild-night-with-booksmart\" target=\"_blank\" rel=\"noopener noreferrer\">the energy of \u003cem>Booksmart\u003c/em>\u003c/a> with the compassion for teenagers and their parents \u003ca href=\"https://www.npr.org/2018/08/14/638605002/blockers-and-game-night-playing-catch-up-on-comedies-we-missed\" target=\"_blank\" rel=\"noopener noreferrer\">of \u003cem>Blockers\u003c/em>\u003c/a>. It adds, however, a refreshing and rare—at least until recently—willingness to tell a story about one of the things that can genuinely create a desperate situation for a girl this age: access to reproductive health care.\u003c/p>\n\u003cp>In this case, Sunny (Kuhoo Verma) is a South Dakota high school student whose first sexual encounter is unsatisfying and regrettable even before she realizes that a birth-control mishap means she’s at risk of getting pregnant. (It’s worth noting that out of all the birth-control mishaps you’ve seen in movies, this is one of the least shown but most plausible, particularly for teenagers whose sex education has been patchy and incomplete.) She knows her best chance to guard against pregnancy at this point is the morning-after pill (the titular Plan B), but when she goes with her best friend Lupe (Victoria Moroles) to get it, she’s denied by the local pharmacist for the simple reason that he doesn’t wish to give it to her. He explains that under South Dakota law, that means he doesn’t have to—even if she has no other option. “My hands are tied, morally speaking,” he says with a smile.\u003c/p>\n\u003cp>[aside postid='pop_112069']Thus begins a trek to a Planned Parenthood location three hours away in Rapid City, with the girls up against a clock that’s constantly ticking, since Sunny needs to take the pill within a relatively short time. As it does in any good buddy road movie, fate intercedes to throw all kinds of obstacles in front of Sunny and Lupe, from an unexpected encounter with Lupe’s online crush to a guy selling random pills out of a toolbox to problems with the van they’re driving and cell-service dead zones that require them to try to figure out how to read a paper map.\u003c/p>\n\u003cp>Wacky set pieces? Check! A horror send-up as the girls escape a dodgy party house? Check! An encounter with a quirky convenience store clerk (Edi Patterson) who gives incomprehensible directions? Check! These are the things that you expect from a film like this, and it delivers them with style and good humor.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=spIGWUdCVzA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But what a breath of fresh air it is to see all this comfortably alongside such frank consideration of the position in which Sunny finds herself. There’s a smart and understated scene that serves to underscore the fact that because Sunny has to worry about getting pregnant, she doesn’t get to reflect on this sexual experience in the unguarded way the boy who was involved in it does: as a simple matter of whether she regrets it in any personal or moral or ethical sense. Instead, she has to spend her time on concrete problems, like whether she’s going to get pregnant. And as we discover, much of her world has been built to make pregnancy \u003cem>more\u003c/em> likely once she has sex at all. She seems to have had spotty education about birth control for a 17-year-old, she’s unable to get the backup method she asks for, and her relationship with her mother—who could help, if going to her seemed like an option—is complicated by how they both feel about sex.\u003c/p>\n\u003cp>The \u003cem>Plan B \u003c/em>script is from collaborators Prathi Srinivasan and Joshua Levy, who have worked on projects including the YouTube series \u003cem>Bollyweird\u003c/em> (and who both worked on \u003cem>iZombie\u003c/em>). It’s directed by actress Natalie Morales, who also directed the film \u003cem>Language Lessons\u003c/em>, which she and Mark Duplass wrote and starred in together. (Filmed during the pandemic, it won a Narrative Spotlight award at South by Southwest in March and is expected to be released later this year.) The creators and the cast deserve enormous credit for how deftly the broader comedy here is balanced with genuine fear and frustration, and how unexpectedly parts of the film unfold. A lot of it is somehow structurally familiar but specifically surprising.\u003c/p>\n\u003cp>[aside postid='arts_13897161']One example: There is a charmer of a scene in a diner that’s simply a boy and a girl eating and talking, and it advances the plot far less than it infuses the film with a generosity toward everyone in it, not just Sunny and Lupe. There are moments for these girls that are terrible, but also ones that are heartening and touching. And there’s still plenty of time for the raunchy comedy that gives the film its TV-MA rating. (Although as always, the obligatory note: Ratings are chuckle-headed, for the most part! Your teenager would be way better off watching this, for my money, than the countless dopey shootouts that wiggle in under the TV-14/PG-13 banner.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is a gentle, goofy, sweet \u003cem>and \u003c/em>frank story about the importance of your best friends, the fact that people often love you more than you fear they will, and the concrete consequences of public policy debates that often don’t even include the people who will navigate those consequences. Sunny and Lupe are marvelous and rootable protagonists, and they would be even if the emergency they face seemed fanciful, as it is when people wind up running from criminals or misunderstandings. But, of course, it’s not. And the film is more valuable for it.\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=%27Plan+B%27+Is+A+Winning+Comedy+With+Some+Painful+Truths&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But what a breath of fresh air it is to see all this comfortably alongside such frank consideration of the position in which Sunny finds herself. There’s a smart and understated scene that serves to underscore the fact that because Sunny has to worry about getting pregnant, she doesn’t get to reflect on this sexual experience in the unguarded way the boy who was involved in it does: as a simple matter of whether she regrets it in any personal or moral or ethical sense. Instead, she has to spend her time on concrete problems, like whether she’s going to get pregnant. And as we discover, much of her world has been built to make pregnancy \u003cem>more\u003c/em> likely once she has sex at all. She seems to have had spotty education about birth control for a 17-year-old, she’s unable to get the backup method she asks for, and her relationship with her mother—who could help, if going to her seemed like an option—is complicated by how they both feel about sex.\u003c/p>\n\u003cp>The \u003cem>Plan B \u003c/em>script is from collaborators Prathi Srinivasan and Joshua Levy, who have worked on projects including the YouTube series \u003cem>Bollyweird\u003c/em> (and who both worked on \u003cem>iZombie\u003c/em>). It’s directed by actress Natalie Morales, who also directed the film \u003cem>Language Lessons\u003c/em>, which she and Mark Duplass wrote and starred in together. (Filmed during the pandemic, it won a Narrative Spotlight award at South by Southwest in March and is expected to be released later this year.) The creators and the cast deserve enormous credit for how deftly the broader comedy here is balanced with genuine fear and frustration, and how unexpectedly parts of the film unfold. A lot of it is somehow structurally familiar but specifically surprising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One example: There is a charmer of a scene in a diner that’s simply a boy and a girl eating and talking, and it advances the plot far less than it infuses the film with a generosity toward everyone in it, not just Sunny and Lupe. There are moments for these girls that are terrible, but also ones that are heartening and touching. And there’s still plenty of time for the raunchy comedy that gives the film its TV-MA rating. (Although as always, the obligatory note: Ratings are chuckle-headed, for the most part! Your teenager would be way better off watching this, for my money, than the countless dopey shootouts that wiggle in under the TV-14/PG-13 banner.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is a gentle, goofy, sweet \u003cem>and \u003c/em>frank story about the importance of your best friends, the fact that people often love you more than you fear they will, and the concrete consequences of public policy debates that often don’t even include the people who will navigate those consequences. Sunny and Lupe are marvelous and rootable protagonists, and they would be even if the emergency they face seemed fanciful, as it is when people wind up running from criminals or misunderstandings. But, of course, it’s not. And the film is more valuable for it.\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=%27Plan+B%27+Is+A+Winning+Comedy+With+Some+Painful+Truths&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Kinder 'Cruella'? Film Reimagines the Dalmatian Villain With Spotty Success",
"headTitle": "A Kinder ‘Cruella’? Film Reimagines the Dalmatian Villain With Spotty Success | KQED",
"content": "\u003cp>Chalk it up to our eternal fascination with human evil or to a movie industry that’s short on original ideas, but it seems like almost every classic villain nowadays is guaranteed their own feature-length backstory. The results have been a mixed but not uninteresting bag, and they’ve allowed some fine actors to go entertainingly over-the-top: \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\" target=\"_blank\" rel=\"noopener noreferrer\">Joaquin Phoenix\u003c/a> won an Oscar for his psychic meltdown as the \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Joker\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/10/17/770272123/maleficent-mistress-of-evil-clips-angelina-jolie-s-wings\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Maleficent\u003c/em>\u003c/a>, a clever reframing of \u003cem>Sleeping Beauty\u003c/em>, remains one of only a few movies that have put Angelina Jolie’s otherworldly screen presence to effective use.\u003c/p>\n\u003cp>The latest example of this trend is \u003cem>Cruella\u003c/em>, and it’s, well, a mixed but not uninteresting bag. Like \u003cem>Maleficent\u003c/em>, it’s a Disney live-action movie inspired by an earlier Disney animated classic—in this case, \u003cem>One Hundred and One Dalmatians\u003c/em>. It’s set in 1970s London, and it means to show us the youthful origins of Cruella de Vil, that fascist fashionista who kidnapped a litter of Dalmatian puppies and tried to turn them into a spotted fur coat.\u003c/p>\n\u003cp>The thing is, though, that dog killers aren’t the most sympathetic protagonists, and this movie definitely wants us to sympathize. As a result, this Cruella doesn’t really seem evil enough to commit puppycide by movie’s end. She’s presented as a rebel—impatient, perpetually misunderstood and unwilling to play by the rules of a world that casts her aside at every turn.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gmRKv7n2If8\u003c/p>\n\u003cp>Cruella is already a mischief maker when we first meet her as a young girl named Estella. Her loving mother tries to put her on the straight and narrow, but after a series of tragic events, Estella is orphaned and left to fend for herself on the streets of London. A few years later, Estella, now played by Emma Stone, is a seasoned grifter committing robberies with her buddies Horace and Jasper. (They’re played by Paul Walter Hauser and Joel Fry.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13896604']Estella has an extraordinary eye for fashion; she sews amazing disguises for herself and her partners in crime, with a bit of inspiration from a vintage store owner, Artie, played by John McCrea. Before long, Estella lucks her way into a job as a designer for the Baroness, an imperious queen of couture who runs the most exclusive fashion label in London.\u003c/p>\n\u003cp>As the Baroness, the great \u003ca href=\"https://www.npr.org/2014/01/09/261044820/not-so-cheery-disposition-emma-thompson-on-poppins-cranky-creator\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Thompson \u003c/a>gives a performance of diabolical wit—she’s half wicked stepmother, half Miranda Priestly from \u003cem>The Devil Wears Prada\u003c/em>. The Baroness brings out a madly competitive streak in Estella, who soon unleashes her pent-up alter ego, Cruella, as a kind of glam-punk performance artist of the fashion world.\u003c/p>\n\u003cp>Determined to upstage her nemesis while still guarding her secret identity as Estella, Cruella begins crashing the Baroness’ galas and parties in attention-grabbing gowns—the work of the brilliant costume designer Jenny Beavan, in her biggest showcase since \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Emma-vs.-Emma matchup is as irresistible onscreen as it must have been on paper. But their rivalry also points out a conceptual weakness in the movie, and perhaps in the ongoing trend of trying to recast villains as sympathetic antiheroes. Thompson’s Baroness is flat-out monstrous in ways that put this Cruella to shame. In a movie that’s supposed to be about the rise of a great villain, the Baroness turns out to be the actual great villain.\u003c/p>\n\u003cp>Nonetheless, Stone gives it her all in a tricky role with echoes of the lowly young woman turned ruthless schemer she played in \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Favourite\u003c/em>\u003c/a>. Here, she’s frankly more interesting as Estella, smartly biding her time and plotting her next move, than she is as Cruella, who is often upstaged by her own wardrobe. Is Cruella meant to come off as misguided, unhinged or genuinely unscrupulous? The script tries to suggest a complicated mix of all three and winds up feeling mostly confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13892167']\u003cem>Cruella\u003c/em> was flashily directed by Craig Gillespie, who previously made the darkly comic Tonya Harding biopic \u003ca href=\"https://www.npr.org/2017/12/07/567460570/i-tonya-you-implicated\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tonya\u003c/em>\u003c/a>\u003cem>. \u003c/em>His filmmaking in \u003cem>Cruella\u003c/em> is all on the surface, but that surface is undeniably entertaining. The soaring, whooshing camerawork sometimes seems to be channeling \u003cem>Goodfellas\u003c/em>-era \u003ca href=\"https://www.npr.org/2020/01/15/796276592/can-a-person-change-martin-scorsese-on-gangsters-death-and-redemption\" target=\"_blank\" rel=\"noopener noreferrer\">Martin Scorsese\u003c/a>, and the rebellion-themed soundtrack is crammed with ’60s and ’70s hits from the Rolling Stones, the Doors, The Clash, Blondie and more. \u003cem>Cruella\u003c/em> is much too long and undisciplined at two hours and 14 minutes, but in its best moments, it surges with a rude punk energy. It’s not a bad movie, even if its protagonist isn’t nearly bad enough.\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=A+Kinder+%27Cruella%27%3F+Film+Reimagines+The+Dalmatian+Villain+With+Spotty+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chalk it up to our eternal fascination with human evil or to a movie industry that’s short on original ideas, but it seems like almost every classic villain nowadays is guaranteed their own feature-length backstory. The results have been a mixed but not uninteresting bag, and they’ve allowed some fine actors to go entertainingly over-the-top: \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\" target=\"_blank\" rel=\"noopener noreferrer\">Joaquin Phoenix\u003c/a> won an Oscar for his psychic meltdown as the \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Joker\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/10/17/770272123/maleficent-mistress-of-evil-clips-angelina-jolie-s-wings\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Maleficent\u003c/em>\u003c/a>, a clever reframing of \u003cem>Sleeping Beauty\u003c/em>, remains one of only a few movies that have put Angelina Jolie’s otherworldly screen presence to effective use.\u003c/p>\n\u003cp>The latest example of this trend is \u003cem>Cruella\u003c/em>, and it’s, well, a mixed but not uninteresting bag. Like \u003cem>Maleficent\u003c/em>, it’s a Disney live-action movie inspired by an earlier Disney animated classic—in this case, \u003cem>One Hundred and One Dalmatians\u003c/em>. It’s set in 1970s London, and it means to show us the youthful origins of Cruella de Vil, that fascist fashionista who kidnapped a litter of Dalmatian puppies and tried to turn them into a spotted fur coat.\u003c/p>\n\u003cp>The thing is, though, that dog killers aren’t the most sympathetic protagonists, and this movie definitely wants us to sympathize. As a result, this Cruella doesn’t really seem evil enough to commit puppycide by movie’s end. She’s presented as a rebel—impatient, perpetually misunderstood and unwilling to play by the rules of a world that casts her aside at every turn.\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/gmRKv7n2If8'\n title='//www.youtube.com/embed/gmRKv7n2If8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cruella is already a mischief maker when we first meet her as a young girl named Estella. Her loving mother tries to put her on the straight and narrow, but after a series of tragic events, Estella is orphaned and left to fend for herself on the streets of London. A few years later, Estella, now played by Emma Stone, is a seasoned grifter committing robberies with her buddies Horace and Jasper. (They’re played by Paul Walter Hauser and Joel Fry.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Estella has an extraordinary eye for fashion; she sews amazing disguises for herself and her partners in crime, with a bit of inspiration from a vintage store owner, Artie, played by John McCrea. Before long, Estella lucks her way into a job as a designer for the Baroness, an imperious queen of couture who runs the most exclusive fashion label in London.\u003c/p>\n\u003cp>As the Baroness, the great \u003ca href=\"https://www.npr.org/2014/01/09/261044820/not-so-cheery-disposition-emma-thompson-on-poppins-cranky-creator\" target=\"_blank\" rel=\"noopener noreferrer\">Emma Thompson \u003c/a>gives a performance of diabolical wit—she’s half wicked stepmother, half Miranda Priestly from \u003cem>The Devil Wears Prada\u003c/em>. The Baroness brings out a madly competitive streak in Estella, who soon unleashes her pent-up alter ego, Cruella, as a kind of glam-punk performance artist of the fashion world.\u003c/p>\n\u003cp>Determined to upstage her nemesis while still guarding her secret identity as Estella, Cruella begins crashing the Baroness’ galas and parties in attention-grabbing gowns—the work of the brilliant costume designer Jenny Beavan, in her biggest showcase since \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Emma-vs.-Emma matchup is as irresistible onscreen as it must have been on paper. But their rivalry also points out a conceptual weakness in the movie, and perhaps in the ongoing trend of trying to recast villains as sympathetic antiheroes. Thompson’s Baroness is flat-out monstrous in ways that put this Cruella to shame. In a movie that’s supposed to be about the rise of a great villain, the Baroness turns out to be the actual great villain.\u003c/p>\n\u003cp>Nonetheless, Stone gives it her all in a tricky role with echoes of the lowly young woman turned ruthless schemer she played in \u003ca href=\"https://www.npr.org/2018/11/28/670833369/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Favourite\u003c/em>\u003c/a>. Here, she’s frankly more interesting as Estella, smartly biding her time and plotting her next move, than she is as Cruella, who is often upstaged by her own wardrobe. Is Cruella meant to come off as misguided, unhinged or genuinely unscrupulous? The script tries to suggest a complicated mix of all three and winds up feeling mostly confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Cruella\u003c/em> was flashily directed by Craig Gillespie, who previously made the darkly comic Tonya Harding biopic \u003ca href=\"https://www.npr.org/2017/12/07/567460570/i-tonya-you-implicated\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I, Tonya\u003c/em>\u003c/a>\u003cem>. \u003c/em>His filmmaking in \u003cem>Cruella\u003c/em> is all on the surface, but that surface is undeniably entertaining. The soaring, whooshing camerawork sometimes seems to be channeling \u003cem>Goodfellas\u003c/em>-era \u003ca href=\"https://www.npr.org/2020/01/15/796276592/can-a-person-change-martin-scorsese-on-gangsters-death-and-redemption\" target=\"_blank\" rel=\"noopener noreferrer\">Martin Scorsese\u003c/a>, and the rebellion-themed soundtrack is crammed with ’60s and ’70s hits from the Rolling Stones, the Doors, The Clash, Blondie and more. \u003cem>Cruella\u003c/em> is much too long and undisciplined at two hours and 14 minutes, but in its best moments, it surges with a rude punk energy. It’s not a bad movie, even if its protagonist isn’t nearly bad enough.\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=A+Kinder+%27Cruella%27%3F+Film+Reimagines+The+Dalmatian+Villain+With+Spotty+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Central Park 'Exonerated 5' Member Reflects on Freedom and Forgiveness",
"headTitle": "Central Park ‘Exonerated 5’ Member Reflects on Freedom and Forgiveness | KQED",
"content": "\u003cp>In 1989, 15-year-old Yusef Salaam was one of five Black and Latino teenagers who were wrongly accused of assault and rape in the so-called Central Park jogger case.\u003c/p>\n\u003cp>At the time of his 1990 trial, Salaam, then out on bail, felt confident that the truth would come out and that he and the other teens would be proven innocent.\u003c/p>\n\u003cp>“I was on the phone with a friend of mine and I remember someone running up to me, [saying] ‘They got the verdict! They got the verdict!’ ” Salaam says. “And I told the person, ‘Hey, they got the verdict. I’ll see you in a little while. I’ll be right back. I’ll be home.’ And I didn’t come back until seven years later.”\u003c/p>\n\u003cp>[aside postid='arts_13858815']Each of the boys, then known as the “Central Park Five,” was convicted. It wasn’t until 2002—well after Salaam had completed his nearly seven-year prison sentence—that DNA evidence confirmed that they were all innocent. A serial rapist and murderer had acted alone in committing the crime.\u003c/p>\n\u003cp>“When the truth came out, that’s when we got our lives back,” Salaam says. “But for those of us who had five to 10 years prison sentences, we had done all of someone else’s time. … We will never know what our life would have been like had we not gone through this horrible experience.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Salaam now refers to himself, Antron McCray, Kevin Richardson, Raymond Santana and Korey Wise as the Exonerated Five. Their stories were told in a \u003ca href=\"https://www.npr.org/2012/09/08/160795008/tiff-12-the-central-park-five-revisits-a-storm-of-fear\" target=\"_blank\" rel=\"noopener noreferrer\">2012 documentary\u003c/a> by Ken Burns and in the 2019 Netflix series \u003ca href=\"https://www.npr.org/2019/06/01/728237648/horrors-and-humanity-in-ava-duvernays-gripping-when-they-see-us\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>When They See Us\u003c/em>\u003c/a>, directed by Ava DuVernay.\u003c/p>\n\u003cp>In the memoir, \u003cem>Better, Not Bitter, \u003c/em>Salaam reflects on his wrongful conviction and his efforts to forgive those responsible for his vilification.\u003c/p>\n\u003cp>“You have to be able to forgive so that you can cut yourself from the ball and chain that’s holding you back,” he says. “It has nothing to do with the individual who harmed you, but everything to do with yourself.”\u003c/p>\n\u003cfigure id=\"attachment_13897994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-800x1203.jpg\" alt=\"'Better, Not Bitter: Living on Purpose in the Pursuit of Racial Justice,' by Yusef Salaam.\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Better, Not Bitter: Living on Purpose in the Pursuit of Racial Justice,’ by Yusef Salaam. \u003ccite>(Grand Central Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On how the boys were forced to give false confessions \u003c/strong>\u003c/p>\n\u003cp>I remember when I was [at the precinct] with Korey [Wise] hearing him getting beat up in the next room. I remember hearing him yell out, “OK, OK, I’ll tell you!” And he made, if I’m not mistaken, four completely different confessions, four completely different ones. And the one that he implicated me in, they played at my trial and all we wanted to do was go home. This was a nightmare. We were delirious with hunger. We were delirious, because time was passing and we didn’t know what time it was, just a whole nightmare of the whole situation and I think what happened is, after a certain point, you break and in the breaking point, you say anything that will allow you to get out of that.\u003c/p>\n\u003cp>\u003cstrong>On the advice his mother gave him—which led him to not initially agree to the police’s narrative \u003c/strong>\u003c/p>\n\u003cp>[My mother] told me something that’s very important. And I think that the thing that she told me is something that I tell people often. She said to me, “Stop talking to them.” And then she said to me, “They need you to participate in whatever it is that they’re trying to do. Do not participate. Refuse.” And for me, it was one of the most powerful learning tools that I could ever imagine, because here I was on my own, being told to stand my ground and being told in many ways that it’s on me. “I can’t come into the room with you. I can’t fight for you. You have to fight for yourself. But I need you to know that whatever you do, they’re trying to get you to participate in your own destruction.”\u003c/p>\n\u003cp>\u003cstrong>On being in danger in prison because of how high profile his case was\u003c/strong>\u003c/p>\n\u003cp>I think all throughout our case, there was a knowledge of who we were. It was very difficult for us to hide. I’m saying “hide,” because we wanted to be anonymous, but we had been convicted of this heinous crime. We have been vilified in the media. Over 400 articles [were] written about us within the first few weeks. And our faces were on every single front page of every newspaper in New York City for a very, very long time. So by the time we got to prison, the inmates had already known who we were. …\u003c/p>\n\u003cp>You’re told the worst crime that you can go to prison for is rape. The only crime that trumps rape is child molestation. And then you feel all of the tension, all of the negative [energy] … you feel that, and you’re walking through that in these prisons and here are killers around you. Here are [rapists] around you. Here are child molesters around you, and they want justice. They want to do to you what you have been convicted of.\u003c/p>\n\u003cfigure id=\"attachment_13897995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897995\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-515328350-c683494613f64d22e90af6dd3dc5450e7371fa55-800x600.jpg\" alt=\"Salaam appears with Rev. Al Sharpton during his 1990 trial.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Salaam appears with Rev. Al Sharpton during his 1990 trial. \u003ccite>(Bettmann/Bettmann Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On his feelings toward the police and prosecutors who put him behind bars\u003c/strong>\u003c/p>\n\u003cp>The overwhelming feeling that I have towards the police and prosecutors is that they knew that we had not done this crime. They knew it, but yet they chose to move forward. They built their careers off of our backs, and the law of karma caught up to them. And they never imagined that they would have to contend with these crimes that they committed—because these are crimes. They’re supposed to be the upholders of law and they have things like prosecutorial immunity. But they were involved in prosecutorial misconduct. No one wants to be in a situation where the people at the highest level in life are the ones who are the most criminal. We want those people to be the most upstanding. They have to hold that truth in their minds and hearts as they move in the justice system because they’re changing people’s lives. … The people who are supposed to uphold the law, it is criminal when they do the exact opposite of that.\u003c/p>\n\u003cp>\u003cstrong>On his healing journey\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_111499']We’ve been able to make leaps and bounds in our healing, in our adjustments into society, but at the same time, it’s still there lurking in the background. The awful experience that we should have never gone through is really always the cloud over our heads. But the cool thing about it is that we now know how to deal with those emotions. We now can say, “This is how you get through any prison that you may be going through,” whether you’re physically in bondage or not. Making the choices that are meaningful, taking the time to breathe, meditating, creating vision boards, all of those things are necessary.\u003c/p>\n\u003cp>They say the imagination is the precursor of what’s to come, and so if you can imagine a future that is brighter than the one that you’re growing through—and I’m saying “growing through” on purpose, because when you get to that point, you realize that you’re not just going through something, but that you’re being prepared for greatness, that you need to know the lows in order to appreciate the highs in life. I think that when I look at my story, being able to look at it from the outside gives me the tremendous opportunity to describe in full what it is that I had gone through, and then going back in and being a participant in my growth and development is important because you have to marry those two things together. And it’s that that causes you to step forward with tremendous hope in the future, with tremendous faith in the future, knowing that it can only get better and not get worse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\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=Central+Park+%27Exonerated+5%27+Member+Reflects+On+Freedom+And+Forgiveness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Yusef Salaam was one of the five boys wrongly convicted in 1990. He tells his story in 'Better, Not Bitter.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1989, 15-year-old Yusef Salaam was one of five Black and Latino teenagers who were wrongly accused of assault and rape in the so-called Central Park jogger case.\u003c/p>\n\u003cp>At the time of his 1990 trial, Salaam, then out on bail, felt confident that the truth would come out and that he and the other teens would be proven innocent.\u003c/p>\n\u003cp>“I was on the phone with a friend of mine and I remember someone running up to me, [saying] ‘They got the verdict! They got the verdict!’ ” Salaam says. “And I told the person, ‘Hey, they got the verdict. I’ll see you in a little while. I’ll be right back. I’ll be home.’ And I didn’t come back until seven years later.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Each of the boys, then known as the “Central Park Five,” was convicted. It wasn’t until 2002—well after Salaam had completed his nearly seven-year prison sentence—that DNA evidence confirmed that they were all innocent. A serial rapist and murderer had acted alone in committing the crime.\u003c/p>\n\u003cp>“When the truth came out, that’s when we got our lives back,” Salaam says. “But for those of us who had five to 10 years prison sentences, we had done all of someone else’s time. … We will never know what our life would have been like had we not gone through this horrible experience.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Salaam now refers to himself, Antron McCray, Kevin Richardson, Raymond Santana and Korey Wise as the Exonerated Five. Their stories were told in a \u003ca href=\"https://www.npr.org/2012/09/08/160795008/tiff-12-the-central-park-five-revisits-a-storm-of-fear\" target=\"_blank\" rel=\"noopener noreferrer\">2012 documentary\u003c/a> by Ken Burns and in the 2019 Netflix series \u003ca href=\"https://www.npr.org/2019/06/01/728237648/horrors-and-humanity-in-ava-duvernays-gripping-when-they-see-us\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>When They See Us\u003c/em>\u003c/a>, directed by Ava DuVernay.\u003c/p>\n\u003cp>In the memoir, \u003cem>Better, Not Bitter, \u003c/em>Salaam reflects on his wrongful conviction and his efforts to forgive those responsible for his vilification.\u003c/p>\n\u003cp>“You have to be able to forgive so that you can cut yourself from the ball and chain that’s holding you back,” he says. “It has nothing to do with the individual who harmed you, but everything to do with yourself.”\u003c/p>\n\u003cfigure id=\"attachment_13897994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-800x1203.jpg\" alt=\"'Better, Not Bitter: Living on Purpose in the Pursuit of Racial Justice,' by Yusef Salaam.\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/salaam_custom-415d0ecdaf53c7e35a483a9d6b901f20f893acbf.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Better, Not Bitter: Living on Purpose in the Pursuit of Racial Justice,’ by Yusef Salaam. \u003ccite>(Grand Central Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On how the boys were forced to give false confessions \u003c/strong>\u003c/p>\n\u003cp>I remember when I was [at the precinct] with Korey [Wise] hearing him getting beat up in the next room. I remember hearing him yell out, “OK, OK, I’ll tell you!” And he made, if I’m not mistaken, four completely different confessions, four completely different ones. And the one that he implicated me in, they played at my trial and all we wanted to do was go home. This was a nightmare. We were delirious with hunger. We were delirious, because time was passing and we didn’t know what time it was, just a whole nightmare of the whole situation and I think what happened is, after a certain point, you break and in the breaking point, you say anything that will allow you to get out of that.\u003c/p>\n\u003cp>\u003cstrong>On the advice his mother gave him—which led him to not initially agree to the police’s narrative \u003c/strong>\u003c/p>\n\u003cp>[My mother] told me something that’s very important. And I think that the thing that she told me is something that I tell people often. She said to me, “Stop talking to them.” And then she said to me, “They need you to participate in whatever it is that they’re trying to do. Do not participate. Refuse.” And for me, it was one of the most powerful learning tools that I could ever imagine, because here I was on my own, being told to stand my ground and being told in many ways that it’s on me. “I can’t come into the room with you. I can’t fight for you. You have to fight for yourself. But I need you to know that whatever you do, they’re trying to get you to participate in your own destruction.”\u003c/p>\n\u003cp>\u003cstrong>On being in danger in prison because of how high profile his case was\u003c/strong>\u003c/p>\n\u003cp>I think all throughout our case, there was a knowledge of who we were. It was very difficult for us to hide. I’m saying “hide,” because we wanted to be anonymous, but we had been convicted of this heinous crime. We have been vilified in the media. Over 400 articles [were] written about us within the first few weeks. And our faces were on every single front page of every newspaper in New York City for a very, very long time. So by the time we got to prison, the inmates had already known who we were. …\u003c/p>\n\u003cp>You’re told the worst crime that you can go to prison for is rape. The only crime that trumps rape is child molestation. And then you feel all of the tension, all of the negative [energy] … you feel that, and you’re walking through that in these prisons and here are killers around you. Here are [rapists] around you. Here are child molesters around you, and they want justice. They want to do to you what you have been convicted of.\u003c/p>\n\u003cfigure id=\"attachment_13897995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897995\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/gettyimages-515328350-c683494613f64d22e90af6dd3dc5450e7371fa55-800x600.jpg\" alt=\"Salaam appears with Rev. Al Sharpton during his 1990 trial.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Salaam appears with Rev. Al Sharpton during his 1990 trial. \u003ccite>(Bettmann/Bettmann Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On his feelings toward the police and prosecutors who put him behind bars\u003c/strong>\u003c/p>\n\u003cp>The overwhelming feeling that I have towards the police and prosecutors is that they knew that we had not done this crime. They knew it, but yet they chose to move forward. They built their careers off of our backs, and the law of karma caught up to them. And they never imagined that they would have to contend with these crimes that they committed—because these are crimes. They’re supposed to be the upholders of law and they have things like prosecutorial immunity. But they were involved in prosecutorial misconduct. No one wants to be in a situation where the people at the highest level in life are the ones who are the most criminal. We want those people to be the most upstanding. They have to hold that truth in their minds and hearts as they move in the justice system because they’re changing people’s lives. … The people who are supposed to uphold the law, it is criminal when they do the exact opposite of that.\u003c/p>\n\u003cp>\u003cstrong>On his healing journey\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We’ve been able to make leaps and bounds in our healing, in our adjustments into society, but at the same time, it’s still there lurking in the background. The awful experience that we should have never gone through is really always the cloud over our heads. But the cool thing about it is that we now know how to deal with those emotions. We now can say, “This is how you get through any prison that you may be going through,” whether you’re physically in bondage or not. Making the choices that are meaningful, taking the time to breathe, meditating, creating vision boards, all of those things are necessary.\u003c/p>\n\u003cp>They say the imagination is the precursor of what’s to come, and so if you can imagine a future that is brighter than the one that you’re growing through—and I’m saying “growing through” on purpose, because when you get to that point, you realize that you’re not just going through something, but that you’re being prepared for greatness, that you need to know the lows in order to appreciate the highs in life. I think that when I look at my story, being able to look at it from the outside gives me the tremendous opportunity to describe in full what it is that I had gone through, and then going back in and being a participant in my growth and development is important because you have to marry those two things together. And it’s that that causes you to step forward with tremendous hope in the future, with tremendous faith in the future, knowing that it can only get better and not get worse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\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=Central+Park+%27Exonerated+5%27+Member+Reflects+On+Freedom+And+Forgiveness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New 'Master of None' Season Allows Aziz Ansari to Stay Off-Screen, and Unaccountable",
"headTitle": "New ‘Master of None’ Season Allows Aziz Ansari to Stay Off-Screen, and Unaccountable | KQED",
"content": "\u003cp>First, we must acknowledge that the third season of Netflix’s \u003cem>Master of None\u003c/em>, on some level, feels like a dodge.\u003c/p>\n\u003cp>That’s because this new crop of episodes isn’t focused on the character who dominated the first two seasons of the show; often-hapless actor Dev Shah, played by co-creator, co-writer and director \u003ca href=\"https://www.npr.org/2017/05/24/529815176/aziz-ansari-on-master-of-none-and-how-his-parents-feel-about-acting\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Ansari.\u003c/a> Instead, the third season highlights the marriage of Dev’s best friend Denise, \u003ca href=\"https://www.npr.org/2017/06/27/534457294/lena-waithe-from-master-of-none\" target=\"_blank\" rel=\"noopener noreferrer\">played by Lena Waithe\u003c/a>—a supporting character featured in the second season episode “Thanksgiving,” which won an Emmy for Outstanding Writing in a Comedy for Waithe and Ansari back in 2017 (Waithe made history as the first Black woman to win in the category).\u003c/p>\n\u003cp>This new season is a pensive, charming, deliberate exploration of how Denise’s marriage was affected by her wife Alicia’s suggestion that they have a baby. Co-written by Waithe and Ansari and directed by Ansari, it talks about success, failure, self-obsession and the masks we often wear in relationships. And it’s a low key, compelling look at an evolving relationship between two strong Black women.\u003c/p>\n\u003cp>[aside postid='pop_98503']But all of that comes with an asterisk, because\u003cem> Master of None\u003c/em>‘s new season drops three years after Ansari \u003ca href=\"https://www.npr.org/2018/01/16/578422491/the-fine-line-between-a-bad-date-and-sexual-assault-two-views-on-aziz-ansari\" target=\"_blank\" rel=\"noopener noreferrer\">was accused of sexual misconduct\u003c/a> by a woman featured in an \u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\" target=\"_blank\" rel=\"noopener noreferrer\">article on Babe.net\u003c/a>, who said he repeatedly pressured her into sexual acts on their only date.\u003c/p>\n\u003cp>It was a jarring allegation, in part, because so much of \u003cem>Master of None\u003c/em> focused on Dev’s attempts to find romance. Worse, the show’s second season ended with Dev pulled into a scandal after his co-host on a food/travel show is accused of sexual harassment. In his 2019 standup comedy special for Netflix, \u003cem>Aziz Ansari: Right Now\u003c/em>, the comic briefly addressed the #metoo-centered furor created by the Babe.net story, saying, “ultimately, I just felt terrible that this person felt this way. And after a year or so, I just hope it was a step forward.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, Ansari hasn’t spoken much publicly about the scandal, which led him to duck out of the limelight just after \u003cem>Master of None\u003c/em> had turned him into one of TV’s hottest talents. The five-episode season, titled “Moments in Love,” is out Sunday, about four years after the last season debuted. They feel a bit like the comic’s way of sneaking back into the premium TV universe without really addressing the scandal that led him to leave in the first place.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BQqh6yZaRNI\u003c/p>\n\u003cp>Which is a shame, because there is a lot to like in these new episodes. As the season opens, Denise and Alicia are living in a comfortably rustic home outside New York City—bought with the proceeds from Denise’s first book, a \u003cem>New York Times\u003c/em> bestseller.\u003c/p>\n\u003cp>At first glance, they have a perfect life, living in a charming home, gilded with touches of Afrocentric art and home design, nestled in a bucolic setting. Alicia has a Ph.D. in chemistry but hopes to build a career in interior design; Denise is working on a second book, her blunt charm balanced by Alicia’s playful charisma.\u003c/p>\n\u003cp>But Denise is struggling to balance her new fame with writing—she’s smoking a little too much weed and ignoring Alicia in the process. When Dev does show up, he visits their home with a girlfriend who seems a perfect match until their playful banter devolves into a bitter fight, through a clumsy bit of foreshadowing.\u003c/p>\n\u003cp>[aside postid='arts_11204159']Moments later, sitting outside with Denise, Dev reveals his embarrassment over being stuck in a dead-end job after his acting/hosting career collapsed. “We used to have it so good, running around New York, doing whatever we wanted, having fun every day,” Dev tells Denise, sounding a lot like he might be channeling the sentiments of Ansari himself. “I never realized how good I had it.”\u003c/p>\n\u003cp>It’s tough to describe many more details without spoiling important revelations. But British actress Naomi Ackie is a revelation as Alicia, bringing a grounded determination to her efforts to have a baby and build the life she wants. Waithe, whom I have often found a severely limited performer in other roles, does well inhabiting Denise—who seems her fictionalized doppelganger.\u003c/p>\n\u003cp>Still, the connection of the third season’s themes to Ansari’s own personal situation is irritating and persistent. \u003cem>Master of None\u003c/em>‘s creative team may have had valid reasons to wrench the show’s focus over to a supporting character. But in Denise’s rise and fall, the comic seems to be commenting on his own real-life travails in a way that allows him to avoid engaging with onetime fans who might feel betrayed or disappointed by his actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s as if Ansari is hiding behind the power of Denise and Alicia’s story, hoping the response to its quality might blunt any new attempt to cancel or criticize him. But this season of \u003cem>Master of None\u003c/em> deserves better; it shouldn’t come to viewers handicapped by residual ambivalence over a co-creator who has never fully explained himself.\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=%27Master+Of+None%27+Returns+With+Mixed+Results+%E2%80%94+And+Unanswered+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, we must acknowledge that the third season of Netflix’s \u003cem>Master of None\u003c/em>, on some level, feels like a dodge.\u003c/p>\n\u003cp>That’s because this new crop of episodes isn’t focused on the character who dominated the first two seasons of the show; often-hapless actor Dev Shah, played by co-creator, co-writer and director \u003ca href=\"https://www.npr.org/2017/05/24/529815176/aziz-ansari-on-master-of-none-and-how-his-parents-feel-about-acting\" target=\"_blank\" rel=\"noopener noreferrer\">Aziz Ansari.\u003c/a> Instead, the third season highlights the marriage of Dev’s best friend Denise, \u003ca href=\"https://www.npr.org/2017/06/27/534457294/lena-waithe-from-master-of-none\" target=\"_blank\" rel=\"noopener noreferrer\">played by Lena Waithe\u003c/a>—a supporting character featured in the second season episode “Thanksgiving,” which won an Emmy for Outstanding Writing in a Comedy for Waithe and Ansari back in 2017 (Waithe made history as the first Black woman to win in the category).\u003c/p>\n\u003cp>This new season is a pensive, charming, deliberate exploration of how Denise’s marriage was affected by her wife Alicia’s suggestion that they have a baby. Co-written by Waithe and Ansari and directed by Ansari, it talks about success, failure, self-obsession and the masks we often wear in relationships. And it’s a low key, compelling look at an evolving relationship between two strong Black women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But all of that comes with an asterisk, because\u003cem> Master of None\u003c/em>‘s new season drops three years after Ansari \u003ca href=\"https://www.npr.org/2018/01/16/578422491/the-fine-line-between-a-bad-date-and-sexual-assault-two-views-on-aziz-ansari\" target=\"_blank\" rel=\"noopener noreferrer\">was accused of sexual misconduct\u003c/a> by a woman featured in an \u003ca href=\"https://babe.net/2018/01/13/aziz-ansari-28355\" target=\"_blank\" rel=\"noopener noreferrer\">article on Babe.net\u003c/a>, who said he repeatedly pressured her into sexual acts on their only date.\u003c/p>\n\u003cp>It was a jarring allegation, in part, because so much of \u003cem>Master of None\u003c/em> focused on Dev’s attempts to find romance. Worse, the show’s second season ended with Dev pulled into a scandal after his co-host on a food/travel show is accused of sexual harassment. In his 2019 standup comedy special for Netflix, \u003cem>Aziz Ansari: Right Now\u003c/em>, the comic briefly addressed the #metoo-centered furor created by the Babe.net story, saying, “ultimately, I just felt terrible that this person felt this way. And after a year or so, I just hope it was a step forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Ansari hasn’t spoken much publicly about the scandal, which led him to duck out of the limelight just after \u003cem>Master of None\u003c/em> had turned him into one of TV’s hottest talents. The five-episode season, titled “Moments in Love,” is out Sunday, about four years after the last season debuted. They feel a bit like the comic’s way of sneaking back into the premium TV universe without really addressing the scandal that led him to leave in the first place.\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>Which is a shame, because there is a lot to like in these new episodes. As the season opens, Denise and Alicia are living in a comfortably rustic home outside New York City—bought with the proceeds from Denise’s first book, a \u003cem>New York Times\u003c/em> bestseller.\u003c/p>\n\u003cp>At first glance, they have a perfect life, living in a charming home, gilded with touches of Afrocentric art and home design, nestled in a bucolic setting. Alicia has a Ph.D. in chemistry but hopes to build a career in interior design; Denise is working on a second book, her blunt charm balanced by Alicia’s playful charisma.\u003c/p>\n\u003cp>But Denise is struggling to balance her new fame with writing—she’s smoking a little too much weed and ignoring Alicia in the process. When Dev does show up, he visits their home with a girlfriend who seems a perfect match until their playful banter devolves into a bitter fight, through a clumsy bit of foreshadowing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moments later, sitting outside with Denise, Dev reveals his embarrassment over being stuck in a dead-end job after his acting/hosting career collapsed. “We used to have it so good, running around New York, doing whatever we wanted, having fun every day,” Dev tells Denise, sounding a lot like he might be channeling the sentiments of Ansari himself. “I never realized how good I had it.”\u003c/p>\n\u003cp>It’s tough to describe many more details without spoiling important revelations. But British actress Naomi Ackie is a revelation as Alicia, bringing a grounded determination to her efforts to have a baby and build the life she wants. Waithe, whom I have often found a severely limited performer in other roles, does well inhabiting Denise—who seems her fictionalized doppelganger.\u003c/p>\n\u003cp>Still, the connection of the third season’s themes to Ansari’s own personal situation is irritating and persistent. \u003cem>Master of None\u003c/em>‘s creative team may have had valid reasons to wrench the show’s focus over to a supporting character. But in Denise’s rise and fall, the comic seems to be commenting on his own real-life travails in a way that allows him to avoid engaging with onetime fans who might feel betrayed or disappointed by his actions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s as if Ansari is hiding behind the power of Denise and Alicia’s story, hoping the response to its quality might blunt any new attempt to cancel or criticize him. But this season of \u003cem>Master of None\u003c/em> deserves better; it shouldn’t come to viewers handicapped by residual ambivalence over a co-creator who has never fully explained himself.\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=%27Master+Of+None%27+Returns+With+Mixed+Results+%E2%80%94+And+Unanswered+Questions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Gripping Marital Drama 'Killing of Two Lovers' is Brooding But Never Dull",
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"content": "\u003cp>Just about every era gets the great end-of-a-marriage movie it deserves, sometimes even more than one. The ’70s gave us \u003cem>Scenes From a Marriage\u003c/em> and \u003cem>Kramer vs. Kramer\u003c/em>; the past decade brought us the Iranian masterpiece \u003ca href=\"https://www.npr.org/2011/12/29/144405416/a-separation-in-tehran-houses-and-hearts-divided\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Separation\u003c/em> \u003c/a>and, more recently, the justly acclaimed \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Marriage Story\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While it doesn’t much resemble any of them, \u003cem>The Killing of Two Lovers\u003c/em> belongs in their company. It’s a tense, stripped-down, superbly acted drama about a family at a perilous moment of transition. While the movie is never as brutal as its title might suggest, the threat of brutality seems to loom over every frame.\u003c/p>\n\u003cp>Clayne Crawford and Sepideh Moafi play David and Niki, a small-town Utah couple who have recently agreed to a trial separation. David has moved in with his dad just down the road, close enough to drop in frequently on Niki and their four kids. He’s hoping for a reconciliation so that their family can get back together.\u003c/p>\n\u003cp>But Niki sees the marriage as pretty much over: She and David wed young, right out of high school, and after years of career setbacks, financial difficulties and the many challenges of raising a large family, she’s ready to move on. She’s already moved on, in fact, with a boyfriend named Derek, played by Chris Coy.\u003c/p>\n\u003cp>The terms of David and Niki’s separation allow them to see other people. But that’s small consolation for David, the story’s protagonist, who spends much of his time seething with fury. The movie begins with a scene in which you wonder if he really is going to kill the two lovers, whom he finds sleeping one morning in the bed that he used to share with his wife. Later he quietly stalks Derek around town, armed with a pistol that he looks all too willing to use. In both situations, though, his better judgment prevails and he backs down. David is capable of violence, as Crawford’s tightly wound performance makes clear. But he also turns out to be more complicated than he appears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In fact, the entire situation is more complicated than it appears. At one point David and Niki have an agreed-upon “date night,” and it’s clear from their tender, bittersweet conversation that they still love each other deeply. That doesn’t mean the movie is necessarily rooting for their reunion; while the story isn’t told from Niki’s point of view, Moafi’s smart, empathetic performance ensures that we see her side of it. The break-up is of course hard on the kids, whom David adores and tries to spend as much time with as possible, especially his moody teenage daughter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hqmVhNb6Z18\u003c/p>\n\u003cp>\u003cem>The Killing of Two Lovers\u003c/em> was written and directed by Robert Machoian, a Utah photography professor who’s been making films for more than a decade, sometimes with members of his own family. (Here, his three boys play David’s sons, and his own father plays David’s father.)\u003c/p>\n\u003cp>Machoian’s style is intimate and psychologically raw: Sometimes he and his gifted cinematographer, Oscar Ignacio Jiménez, bring the camera so close that you can see David’s every wrinkle and pore. Sometimes they pull back and position him against the flat Utah landscape, whose stark, wintry beauty seems to reflect his own desolation. The movie sounds even more arresting than it looks; instead of a traditional score, it features a soundscape consisting of everyday noises—like the repeated slamming of a car door—that capture the tedium of David’s routine.\u003c/p>\n\u003cp>All this gives \u003cem>The Killing of Two Lovers\u003c/em> an extraordinary level of moment-to-moment tension even when it seems as though not much is going on. That’s part of the movie’s point: So much of the drama in our lives arises not from major events, but rather from the anguished anticipation of those major events. But while David spends a lot of his time brooding, the story never feels dull or repetitive. It’s mesmerizing to watch him respond in real time to the fraught situation that he and his family have never been through before.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I won’t reveal what happens at the end of \u003cem>The Killing of Two Lovers\u003c/em>, except to say that it is credible yet surprising, and likely to fill you with a strange mix of hope and alarm. Machoian knows that when it comes to love and family, life is full of unexpected contradictions—and he’s done a brilliant job of turning those contradictions into art.\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=Gripping+Marital+Drama+%27Killing+Of+Two+Lovers%27+Is+Brooding+But+Never+Dull+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just about every era gets the great end-of-a-marriage movie it deserves, sometimes even more than one. The ’70s gave us \u003cem>Scenes From a Marriage\u003c/em> and \u003cem>Kramer vs. Kramer\u003c/em>; the past decade brought us the Iranian masterpiece \u003ca href=\"https://www.npr.org/2011/12/29/144405416/a-separation-in-tehran-houses-and-hearts-divided\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Separation\u003c/em> \u003c/a>and, more recently, the justly acclaimed \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Marriage Story\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>While it doesn’t much resemble any of them, \u003cem>The Killing of Two Lovers\u003c/em> belongs in their company. It’s a tense, stripped-down, superbly acted drama about a family at a perilous moment of transition. While the movie is never as brutal as its title might suggest, the threat of brutality seems to loom over every frame.\u003c/p>\n\u003cp>Clayne Crawford and Sepideh Moafi play David and Niki, a small-town Utah couple who have recently agreed to a trial separation. David has moved in with his dad just down the road, close enough to drop in frequently on Niki and their four kids. He’s hoping for a reconciliation so that their family can get back together.\u003c/p>\n\u003cp>But Niki sees the marriage as pretty much over: She and David wed young, right out of high school, and after years of career setbacks, financial difficulties and the many challenges of raising a large family, she’s ready to move on. She’s already moved on, in fact, with a boyfriend named Derek, played by Chris Coy.\u003c/p>\n\u003cp>The terms of David and Niki’s separation allow them to see other people. But that’s small consolation for David, the story’s protagonist, who spends much of his time seething with fury. The movie begins with a scene in which you wonder if he really is going to kill the two lovers, whom he finds sleeping one morning in the bed that he used to share with his wife. Later he quietly stalks Derek around town, armed with a pistol that he looks all too willing to use. In both situations, though, his better judgment prevails and he backs down. David is capable of violence, as Crawford’s tightly wound performance makes clear. But he also turns out to be more complicated than he appears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In fact, the entire situation is more complicated than it appears. At one point David and Niki have an agreed-upon “date night,” and it’s clear from their tender, bittersweet conversation that they still love each other deeply. That doesn’t mean the movie is necessarily rooting for their reunion; while the story isn’t told from Niki’s point of view, Moafi’s smart, empathetic performance ensures that we see her side of it. The break-up is of course hard on the kids, whom David adores and tries to spend as much time with as possible, especially his moody teenage daughter.\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/hqmVhNb6Z18'\n title='//www.youtube.com/embed/hqmVhNb6Z18'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Killing of Two Lovers\u003c/em> was written and directed by Robert Machoian, a Utah photography professor who’s been making films for more than a decade, sometimes with members of his own family. (Here, his three boys play David’s sons, and his own father plays David’s father.)\u003c/p>\n\u003cp>Machoian’s style is intimate and psychologically raw: Sometimes he and his gifted cinematographer, Oscar Ignacio Jiménez, bring the camera so close that you can see David’s every wrinkle and pore. Sometimes they pull back and position him against the flat Utah landscape, whose stark, wintry beauty seems to reflect his own desolation. The movie sounds even more arresting than it looks; instead of a traditional score, it features a soundscape consisting of everyday noises—like the repeated slamming of a car door—that capture the tedium of David’s routine.\u003c/p>\n\u003cp>All this gives \u003cem>The Killing of Two Lovers\u003c/em> an extraordinary level of moment-to-moment tension even when it seems as though not much is going on. That’s part of the movie’s point: So much of the drama in our lives arises not from major events, but rather from the anguished anticipation of those major events. But while David spends a lot of his time brooding, the story never feels dull or repetitive. It’s mesmerizing to watch him respond in real time to the fraught situation that he and his family have never been through before.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I won’t reveal what happens at the end of \u003cem>The Killing of Two Lovers\u003c/em>, except to say that it is credible yet surprising, and likely to fill you with a strange mix of hope and alarm. Machoian knows that when it comes to love and family, life is full of unexpected contradictions—and he’s done a brilliant job of turning those contradictions into art.\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=Gripping+Marital+Drama+%27Killing+Of+Two+Lovers%27+Is+Brooding+But+Never+Dull+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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