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"content": "\u003cp>Lowercase girls tend to fly under the radar by design, but once you start looking you’ll see them \u003ca href=\"https://www.vice.com/en/article/y3z45v/internet-lowercase-spelling-taylor-swift-charli-xcx\" target=\"_blank\" rel=\"noopener noreferrer\">everywhere\u003c/a>. For one thing, they’ve been all over the streaming charts in the past few years: \u003cem>folklore\u003c/em>, \u003cem>evermore\u003c/em>, “thank u, next,” girl in red, mxmtoon, dodie, beabadoobee, \u003cem>how i’m feeling now\u003c/em>, “drivers license,” “deja vu,” “good 4 u”—to name just a few recent, femme-forward musical phenomena that wouldn’t even \u003cem>think\u003c/em> of imposing the tyranny of capital letters on the listener’s imagination.\u003c/p>\n\u003cp>But lowercase girls have been there forever, in the back rows of classrooms and the corners of parties, daydreaming, doodling, stockpiling vivid details and observations in the marble notebooks of their minds—waiting for the precise moment to launch them like a carefully crafted dart that punctures everybody else’s apathy and proves just how sharply she has been paying attention. Some of the best of them never grow out of it. “My only advantage as a reporter,” Joan Didion wrote in 1968, unwittingly describing her own species perfectly, “is that I am so physically small, so temperamentally unobtrusive, and so neurotically inarticulate that people tend to forget that my presence runs counter to their best interests. And it always does.” Beware the lowercase girl. Although she is usually overlooked, underestimated and even ignored, she sometimes turns out to be the one who’s been writing the story all along.\u003c/p>\n\u003cp>Such were the cultural forces that Olivia Rodrigo harnessed, streamlined and gloriously melo-dramatized earlier this year in her breakout single, “drivers license”—stylized all lowercase, because of course. A lifelong Swiftie (almost literally: When Taylor Swift’s self-titled debut album came out, Rodrigo was 3) and the daughter of a therapist, Rodrigo was raised to be the kind of person who didn’t exactly hide her feelings. On the chorus of the song that accelerated her to overnight fame, she saves her most impassioned vocal delivery for what she clearly considers to be her ex’s most grievous crime: \u003cem>Guess you didn’t mean what you wrote in that song about me\u003c/em>. The implication being that in her songs, defiantly, she means every word.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZmDBbnmKpqQ\u003c/p>\n\u003cp>In the last few years, given the success of Billie Eilish’s ASMR jams and Swift’s soft acoustic reveries, it has sometimes felt like pop musicians are playing one big round of the Quiet Game, daring each other into an ever more provocative hush. “drivers license” certainly benefits from that tonal shift, but the most moving thing about the song is actually its careening sense of dynamism, the way it swings repeatedly from a private muttering to a collective, belt-it-out exorcism of the heart. Such is the power of That Bridge. (Perhaps the surest indication of the song’s massive, cross-generational appeal is the fact that its bridge inspired both a TikTok challenge \u003cem>and\u003c/em> an \u003cem>SNL\u003c/em> skit—some kids may have been editing their small-screen video responses to it as their parents watched the episode on some old technological innovation called live TV.) Rodrigo’s songs play out like bottled-up soliloquies rather than two-sided conversations, which gives them the emotional force of someone who has previously felt unheard (by an apathetic boyfriend, or maybe by adult society writ large) finally speaking her mind. And so that bridge exposes the great irony of not only “drivers license,” but the lowercase girl herself. Because on the inside, where all the feelings are, her caps-lock key is JAMMED.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“drivers license” would have been a hard act for any new artist to follow, but in the past month, Rodrigo has seized every opportunity to prove that there’s more to her than even that song could fully showcase. The two singles she’s released in the lead-up to her debut album, \u003cem>Sour\u003c/em>, have effortlessly slipped into unexpected genres—who among us could have predicted that the “drivers license” girl would go scorched-earth pop-punk on her third single, or that she’d pull it off?—and both have been sprinkled with striking, cleverly documented observational details. “Trading jackets, laughing ’bout how small it looks on you,” she sings on the hypnotic “deja vu,” as a chorus of backup Olivias exhale a scathing line of canned, can-barely-be-bothered laughter at such a romantic cliché: \u003cem>ha-ha-ha-ha-ha-ha-ha\u003c/em>. “Guess the therapist I found for you, she really helped,” she shrugs on “good 4 u”—one of those kung fu lyrics that cuts its intended target in seven different places before he even realizes he’s bleeding. Rodrigo’s songs have lived-in details to spare, as though she had all this time been assembling a detailed dossier on the emotional minutiae of the teenage experience.\u003c/p>\n\u003cp>The remarkably potent \u003cem>Sour\u003c/em>, out today, plays a similar game of bait-and-switch with expectations. Far from the muted chords of “drivers license”—and \u003cem>worlds\u003c/em> away from the \u003ca href=\"https://www.youtube.com/watch?v=Wc8008B4ENI\" target=\"_blank\" rel=\"noopener noreferrer\">musical-theater sheen\u003c/a> of her songs for Disney+’s \u003cem>High School Musical: The Musical: The Series\u003c/em>—the album’s opening track, “brutal,” crashes in with a torrent of loud, crunchy guitars, overtop of which Rodrigo’s dryly compressed voice lists a seemingly unending string of adolescent neuroses: “And I don’t stick up for myself / I’m anxious and nothing can help / And I wish I’d done this before / And I wish people liked me more.” The \u003cem>and and and and\u003c/em>‘s pile up like a teetering Jenga tower of stress. Rodrigo proved on “good 4 u” that she can do a very effective vocal sneer, and on “brutal” she saves her most caustic one for the adults who insist, in their rose-colored recollections, that their teenage years were the best of their lives. “I’m so sick of 17,” she sighs, “where’s my f****** teenage dream?!” It’s an exhilarating lyric, an expertly calibrated eye roll at anyone over the age of 18—or maybe even at the previous generation’s entire philosophy about how pop music should be made.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gNi_6U5Pm_o\u003c/p>\n\u003cp>“I’m very emo,” Rodrigo said in a recent \u003cem>Rolling Stone\u003c/em> video interview, sitting beside her co-writer and producer Dan Nigro. “Dan was in an emo band, and he still tells me I’m emo—that’s how you know you’re \u003cem>really\u003c/em> emo.”\u003c/p>\n\u003cp>Now 39, Nigro used to be the frontman of the Long Island-based band As Tall as Lions, who found moderate success in the booming East Coast emo-punk scene of the early aughts. He might seem an unlikely musical partner for Rodrigo, until you remember that perhaps the most prominent current producer of pop music made by young women, Jack Antonoff, is a veteran of the very same scene. (His first band, New Jersey-based Steel Train, was signed to the beloved, influential pop-punk label Drive-Thru Records.)\u003c/p>\n\u003cp>But as a one-time lowercase girl / emo kid / Drive-Thru Records enthusiast from suburban New Jersey, I \u003cem>do\u003c/em> find it pretty surprising that two of the most successful producers in crafting pop music from a feminine point of view came out of that scene. Because, as I remember all too well, it was a realm almost entirely devoid of women’s voices.\u003c/p>\n\u003cp>[aside postid='arts_13883873']“From my early-to-mid adolescence,” I wrote years ago in a reassessment of this period in my music-obsessed life, “I listened almost exclusively to music made by sad boys.” And it wasn’t just that girls’ perspectives were \u003cem>absent\u003c/em> from this music that I loved so passionately during this confusing and hormonally tumultuous time: The Girl was always the reason the boys were sad. In these songs, she was often actively vilified, blamed for the Lead Singer Boy’s every earthly woe—and not infrequently the star of his violent revenge fantasies. “Even if her plane crashes tonight she’ll find some way to disappoint me,” went a song I can still sing by heart as an adult, “by not burning in the wreckage, or drowning at the bottom of the sea.” This was, to me, romantic, melodramatic, \u003cem>deep\u003c/em>. I doodled lyrics like those on the backs of worksheets, in the margins of my diary. I played guitar—much better than I ever gave myself credit for then—but was too shy to be in a band, so I resorted to playing covers of those sorts of songs alone in my bedroom. Maybe I would have uploaded them to YouTube if it had existed.\u003c/p>\n\u003cp>I gravitated toward emo and punk music because I was seeking out some sort of alternative to life as I knew it, so I think if Olivia Rodrigo had existed when I was a teen I would have at first been a little skeptical of her mainstream popularity, her preternatural poise, her Disney past. But in the end I have to think I would have been pulled in by the oceanic undertow of her music’s subjectivity, an exquisitely detailed, deeply felt, young girl’s perspective that was woefully lacking in the music I listened to when I myself was learning how to parallel park.\u003c/p>\n\u003cp>Nigro’s production style for Rodrigo is both playful and atmospheric, conjuring a kind of dreamy internal space in which it seems like the listener is eavesdropping on the singer’s thoughts and impressions. Seemingly small, intimate moments—an ex sharing a Billy Joel song with his new flame, say, in “deja vu”—are underscored with operatic flair. Though updated for this world of social media surveillance and stream-of-consciousness text messages, this approach isn’t exactly new. It’s basically the foundation of modern pop music as we know it, dating back to the youth-oriented concerns of Brill Building songwriters in the 1950s and the early 1960s girl groups whose adolescent experiences were dramatized into three-minute symphonies thanks to Phil Spector’s “Wall of Sound.”\u003c/p>\n\u003cp>But also: No thanks to Phil Spector. Because his unavoidable centrality in the story of modern pop music also reminds us that it is an industry with a long, troubling history of exploiting—or worse—the affective labor of teenage girls. Accusations of abuse now also loom over the previous generation’s most influential pop hitmaker, Dr. Luke—ironically the architect of so-called “empowering” female-driven millennial pop anthems like “Roar,” “Since U Been Gone” and, yep, f-ing “Teenage Dream.”\u003c/p>\n\u003cp>Rodrigo’s creative partnership with Nigro, though, seems to fit within a newer paradigm of pop star/producer power dynamics. Much like Antonoff’s pairings with some of the artists who have most directly inspired Rodrigo (Swift, Lorde, Lana Del Rey), and even a little like the intimate workings of Eilish’s bedroom pop laboratory with her brother Finneas, Rodrigo and Nigro present their work to the world as the result of a genuine, non-hierarchical collaboration. “I realize I’m okay at navigating my job because I played in a band for 10 years with three other very emotional, crazy people—myself probably being the most emotional crazy of the four of us,” Nigro \u003ca href=\"https://www.vice.com/en/article/dy8qbv/daniel-nigro-drivers-license-olivia-rodrigo-interview\">told\u003c/a> \u003cem>Vice\u003c/em> earlier this year. “Having those experiences with my bandmates has really helped me work with so many different artists, because I’m able to understand what they’re going through and get them to feel open enough to be who they actually are.”\u003c/p>\n\u003cp>But maybe that supposedly “new” paradigm also has crucial antecedents scattered throughout musical history, too. Nigro’s language there bears a striking resemblance to the way Alanis Morissette has described her creative partnership with producer Glen Ballard, with whom she first worked on another album with which \u003cem>Sour\u003c/em> finds cross-generational echoes: \u003cem>Jagged Little Pill\u003c/em>. “glen’s presence with me had no agenda,” Morissette reflected in a 2015 \u003ca href=\"https://alanis.com/news/jagged-little-pill-an-essay\">essay\u003c/a> commemorating the 20th anniversary of that landmark album and written—it must be said—all in lowercase letters. “this presence and this lack of projecting onto me ‘what i should be’ was the ultimate freedom and support i needed to crack open.”\u003c/p>\n\u003cp>In that essay, Morissette acknowledges that part of her success was lucky timing: In the mid-’90s there was suddenly, she writes, “a readiness, perhaps, for people to hear about the underbelly, the true experience of being a young, sensitive, and brave person in a patriarchal world.” That moment proved to be fleeting, though, and by the early aughts and my early teens the mainstream culture had shifted back to its norm of only caring about macho, masculine angst. Any girl trying to use the idioms of punk or emo to express herself—like, say, Avril Lavigne—was immediately regarded as an intruder, a poser or a sell-out until proven otherwise.\u003c/p>\n\u003cp>What I realize when I reflect back on the silent voices of my youth, though, is that we girls had \u003cem>so much\u003c/em> to rage and yell and be sad about—maybe even more than the boys ever did. Because for all the sense of community it gave me in connecting with like-minded friends, the punk and emo scene often still replicated the most misogynistic impulses of the broader culture. Something I have been sitting with for the past few years, and which I have not even known how to begin to process, is that the songwriter and frontman of my favorite emo band—the one who wrote those plane-crash lyrics I sang along to endlessly—was accused of sexual misconduct by girls who, at the time, were about the same age that I was when I idolized him. When I think too hard about that, I want to scream until my lungs explode.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cii6ruuycQA\u003c/p>\n\u003cp>Rodrigo and her peers have come of age at a time when a lot of the gender norms that reinforce those exploitative power dynamics are breaking down, in part because most of them grow up with an awareness and acceptance of gender fluidity. Terms like “lowercase girl,” or just “girl,” are more pliable, inviting and optional than they used to be. Some very popular, very emotional musicians have also paved certain paths, whether that’s Swift, Lorde, or Paramore’s Hayley Williams. Even if I didn’t always hear it affirmed in my own adolescence, it’s heartening to now hear Rodrigo asserting, from the top of the charts, that girls have \u003cem>plenty\u003c/em> to be emo about.\u003c/p>\n\u003cp>As \u003cem>Sour\u003c/em> progresses, the ability to feel deeply and express herself becomes Rodrigo’s superpower. “Maybe I’m too emotional, or maybe you never cared at all,” she sings on the searing bridge of “good 4 u.” It’s not her, it’s \u003cem>him\u003c/em>, she concludes, diagnosing an unfeeling ex as acting “like a damn sociopath.” Rodrigo refracts the shattering experience of first heartbreak through a multitude of different moods and genres, and it’s a testament to her transfixing strengths as a songwriter and a vocal performer that it only starts to feel repetitive one song from the end.\u003c/p>\n\u003cp>[aside postid='arts_13896717']Some of the most promising moments on \u003cem>Sour\u003c/em> come when Rodrigo widens her view beyond The Boy or even herself, toward the larger forces keeping kids of her generation feeling so emo. “jealousy, jealousy” fixes its frustration on the picture-perfect distortions of influencer culture: “I kinda wanna throw my phone against the wall,” Rodrigo groans. In response to a culture saturated with quick-fix life hacks, self-help truisms and therapy-speak, Rodrigo is refreshingly good at illuminating the space between what she knows she \u003cem>should\u003c/em> feel and what she actually \u003cem>does\u003c/em> feel. “I know their \u003cem>beauty’s not my lack\u003c/em>,” she sings, harmonizing with herself so that the line sounds like one of those annoyingly tidy Instagram graphics with an inspirational note written in cursive. “Never doubted myself so much, like am I pretty, am I fun, boy?” she sings, airing her insecurities on the stirring “1 step forward, 3 steps back” (a song that interpolates, with permission, the piano riff from Taylor Swift’s “New Year’s Day”—the ultimate baton-pass). “I hate that I give you power over that kind of stuff,” Rodrigo sighs. And yet, how could she not? It’s brutal out there.\u003c/p>\n\u003cp>The final song on \u003cem>Sour\u003c/em> finds one last opportunity to flip expectations. “hope ur ok” is not—as its title might suggest—a feel-good message to the ex of “drivers license,” thus cleanly and cathartically closing the narrative loop. It is instead a series of character sketches of kids Rodrigo once knew well and lost touch with over the years. Each of them carries their own trauma, which Rodrigo sketches in empathetic, economical writing (“he wore long sleeves ’cause of his dad”). The song is sad but hopeful, radically unsettling at times, and almost disarmingly earnest in its benevolently universal well-wishing. Again, Rodrigo plays the girl who’s always been observing everyone around her with a gimlet eye, whether they realized it or not. Maybe, she seems to be concluding on behalf of her much-misunderstood generation, this is a more realistic teenage dream. Not to be ecstatic, euphoric, eternally empowered. Just to be—as Rodrigo puts it in unpresuming lowercase—”ok.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lindsay Zoladz is a critic, reporter and essayist living in Brooklyn.\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=On+%27Sour%2C%27+Olivia+Rodrigo+Is+A+Lowercase+Girl+With+Caps-Lock+Feelings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lowercase girls tend to fly under the radar by design, but once you start looking you’ll see them \u003ca href=\"https://www.vice.com/en/article/y3z45v/internet-lowercase-spelling-taylor-swift-charli-xcx\" target=\"_blank\" rel=\"noopener noreferrer\">everywhere\u003c/a>. For one thing, they’ve been all over the streaming charts in the past few years: \u003cem>folklore\u003c/em>, \u003cem>evermore\u003c/em>, “thank u, next,” girl in red, mxmtoon, dodie, beabadoobee, \u003cem>how i’m feeling now\u003c/em>, “drivers license,” “deja vu,” “good 4 u”—to name just a few recent, femme-forward musical phenomena that wouldn’t even \u003cem>think\u003c/em> of imposing the tyranny of capital letters on the listener’s imagination.\u003c/p>\n\u003cp>But lowercase girls have been there forever, in the back rows of classrooms and the corners of parties, daydreaming, doodling, stockpiling vivid details and observations in the marble notebooks of their minds—waiting for the precise moment to launch them like a carefully crafted dart that punctures everybody else’s apathy and proves just how sharply she has been paying attention. Some of the best of them never grow out of it. “My only advantage as a reporter,” Joan Didion wrote in 1968, unwittingly describing her own species perfectly, “is that I am so physically small, so temperamentally unobtrusive, and so neurotically inarticulate that people tend to forget that my presence runs counter to their best interests. And it always does.” Beware the lowercase girl. Although she is usually overlooked, underestimated and even ignored, she sometimes turns out to be the one who’s been writing the story all along.\u003c/p>\n\u003cp>Such were the cultural forces that Olivia Rodrigo harnessed, streamlined and gloriously melo-dramatized earlier this year in her breakout single, “drivers license”—stylized all lowercase, because of course. A lifelong Swiftie (almost literally: When Taylor Swift’s self-titled debut album came out, Rodrigo was 3) and the daughter of a therapist, Rodrigo was raised to be the kind of person who didn’t exactly hide her feelings. On the chorus of the song that accelerated her to overnight fame, she saves her most impassioned vocal delivery for what she clearly considers to be her ex’s most grievous crime: \u003cem>Guess you didn’t mean what you wrote in that song about me\u003c/em>. The implication being that in her songs, defiantly, she means every word.\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/ZmDBbnmKpqQ'\n title='//www.youtube.com/embed/ZmDBbnmKpqQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last few years, given the success of Billie Eilish’s ASMR jams and Swift’s soft acoustic reveries, it has sometimes felt like pop musicians are playing one big round of the Quiet Game, daring each other into an ever more provocative hush. “drivers license” certainly benefits from that tonal shift, but the most moving thing about the song is actually its careening sense of dynamism, the way it swings repeatedly from a private muttering to a collective, belt-it-out exorcism of the heart. Such is the power of That Bridge. (Perhaps the surest indication of the song’s massive, cross-generational appeal is the fact that its bridge inspired both a TikTok challenge \u003cem>and\u003c/em> an \u003cem>SNL\u003c/em> skit—some kids may have been editing their small-screen video responses to it as their parents watched the episode on some old technological innovation called live TV.) Rodrigo’s songs play out like bottled-up soliloquies rather than two-sided conversations, which gives them the emotional force of someone who has previously felt unheard (by an apathetic boyfriend, or maybe by adult society writ large) finally speaking her mind. And so that bridge exposes the great irony of not only “drivers license,” but the lowercase girl herself. Because on the inside, where all the feelings are, her caps-lock key is JAMMED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“drivers license” would have been a hard act for any new artist to follow, but in the past month, Rodrigo has seized every opportunity to prove that there’s more to her than even that song could fully showcase. The two singles she’s released in the lead-up to her debut album, \u003cem>Sour\u003c/em>, have effortlessly slipped into unexpected genres—who among us could have predicted that the “drivers license” girl would go scorched-earth pop-punk on her third single, or that she’d pull it off?—and both have been sprinkled with striking, cleverly documented observational details. “Trading jackets, laughing ’bout how small it looks on you,” she sings on the hypnotic “deja vu,” as a chorus of backup Olivias exhale a scathing line of canned, can-barely-be-bothered laughter at such a romantic cliché: \u003cem>ha-ha-ha-ha-ha-ha-ha\u003c/em>. “Guess the therapist I found for you, she really helped,” she shrugs on “good 4 u”—one of those kung fu lyrics that cuts its intended target in seven different places before he even realizes he’s bleeding. Rodrigo’s songs have lived-in details to spare, as though she had all this time been assembling a detailed dossier on the emotional minutiae of the teenage experience.\u003c/p>\n\u003cp>The remarkably potent \u003cem>Sour\u003c/em>, out today, plays a similar game of bait-and-switch with expectations. Far from the muted chords of “drivers license”—and \u003cem>worlds\u003c/em> away from the \u003ca href=\"https://www.youtube.com/watch?v=Wc8008B4ENI\" target=\"_blank\" rel=\"noopener noreferrer\">musical-theater sheen\u003c/a> of her songs for Disney+’s \u003cem>High School Musical: The Musical: The Series\u003c/em>—the album’s opening track, “brutal,” crashes in with a torrent of loud, crunchy guitars, overtop of which Rodrigo’s dryly compressed voice lists a seemingly unending string of adolescent neuroses: “And I don’t stick up for myself / I’m anxious and nothing can help / And I wish I’d done this before / And I wish people liked me more.” The \u003cem>and and and and\u003c/em>‘s pile up like a teetering Jenga tower of stress. Rodrigo proved on “good 4 u” that she can do a very effective vocal sneer, and on “brutal” she saves her most caustic one for the adults who insist, in their rose-colored recollections, that their teenage years were the best of their lives. “I’m so sick of 17,” she sighs, “where’s my f****** teenage dream?!” It’s an exhilarating lyric, an expertly calibrated eye roll at anyone over the age of 18—or maybe even at the previous generation’s entire philosophy about how pop music should be made.\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/gNi_6U5Pm_o'\n title='//www.youtube.com/embed/gNi_6U5Pm_o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’m very emo,” Rodrigo said in a recent \u003cem>Rolling Stone\u003c/em> video interview, sitting beside her co-writer and producer Dan Nigro. “Dan was in an emo band, and he still tells me I’m emo—that’s how you know you’re \u003cem>really\u003c/em> emo.”\u003c/p>\n\u003cp>Now 39, Nigro used to be the frontman of the Long Island-based band As Tall as Lions, who found moderate success in the booming East Coast emo-punk scene of the early aughts. He might seem an unlikely musical partner for Rodrigo, until you remember that perhaps the most prominent current producer of pop music made by young women, Jack Antonoff, is a veteran of the very same scene. (His first band, New Jersey-based Steel Train, was signed to the beloved, influential pop-punk label Drive-Thru Records.)\u003c/p>\n\u003cp>But as a one-time lowercase girl / emo kid / Drive-Thru Records enthusiast from suburban New Jersey, I \u003cem>do\u003c/em> find it pretty surprising that two of the most successful producers in crafting pop music from a feminine point of view came out of that scene. Because, as I remember all too well, it was a realm almost entirely devoid of women’s voices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“From my early-to-mid adolescence,” I wrote years ago in a reassessment of this period in my music-obsessed life, “I listened almost exclusively to music made by sad boys.” And it wasn’t just that girls’ perspectives were \u003cem>absent\u003c/em> from this music that I loved so passionately during this confusing and hormonally tumultuous time: The Girl was always the reason the boys were sad. In these songs, she was often actively vilified, blamed for the Lead Singer Boy’s every earthly woe—and not infrequently the star of his violent revenge fantasies. “Even if her plane crashes tonight she’ll find some way to disappoint me,” went a song I can still sing by heart as an adult, “by not burning in the wreckage, or drowning at the bottom of the sea.” This was, to me, romantic, melodramatic, \u003cem>deep\u003c/em>. I doodled lyrics like those on the backs of worksheets, in the margins of my diary. I played guitar—much better than I ever gave myself credit for then—but was too shy to be in a band, so I resorted to playing covers of those sorts of songs alone in my bedroom. Maybe I would have uploaded them to YouTube if it had existed.\u003c/p>\n\u003cp>I gravitated toward emo and punk music because I was seeking out some sort of alternative to life as I knew it, so I think if Olivia Rodrigo had existed when I was a teen I would have at first been a little skeptical of her mainstream popularity, her preternatural poise, her Disney past. But in the end I have to think I would have been pulled in by the oceanic undertow of her music’s subjectivity, an exquisitely detailed, deeply felt, young girl’s perspective that was woefully lacking in the music I listened to when I myself was learning how to parallel park.\u003c/p>\n\u003cp>Nigro’s production style for Rodrigo is both playful and atmospheric, conjuring a kind of dreamy internal space in which it seems like the listener is eavesdropping on the singer’s thoughts and impressions. Seemingly small, intimate moments—an ex sharing a Billy Joel song with his new flame, say, in “deja vu”—are underscored with operatic flair. Though updated for this world of social media surveillance and stream-of-consciousness text messages, this approach isn’t exactly new. It’s basically the foundation of modern pop music as we know it, dating back to the youth-oriented concerns of Brill Building songwriters in the 1950s and the early 1960s girl groups whose adolescent experiences were dramatized into three-minute symphonies thanks to Phil Spector’s “Wall of Sound.”\u003c/p>\n\u003cp>But also: No thanks to Phil Spector. Because his unavoidable centrality in the story of modern pop music also reminds us that it is an industry with a long, troubling history of exploiting—or worse—the affective labor of teenage girls. Accusations of abuse now also loom over the previous generation’s most influential pop hitmaker, Dr. Luke—ironically the architect of so-called “empowering” female-driven millennial pop anthems like “Roar,” “Since U Been Gone” and, yep, f-ing “Teenage Dream.”\u003c/p>\n\u003cp>Rodrigo’s creative partnership with Nigro, though, seems to fit within a newer paradigm of pop star/producer power dynamics. Much like Antonoff’s pairings with some of the artists who have most directly inspired Rodrigo (Swift, Lorde, Lana Del Rey), and even a little like the intimate workings of Eilish’s bedroom pop laboratory with her brother Finneas, Rodrigo and Nigro present their work to the world as the result of a genuine, non-hierarchical collaboration. “I realize I’m okay at navigating my job because I played in a band for 10 years with three other very emotional, crazy people—myself probably being the most emotional crazy of the four of us,” Nigro \u003ca href=\"https://www.vice.com/en/article/dy8qbv/daniel-nigro-drivers-license-olivia-rodrigo-interview\">told\u003c/a> \u003cem>Vice\u003c/em> earlier this year. “Having those experiences with my bandmates has really helped me work with so many different artists, because I’m able to understand what they’re going through and get them to feel open enough to be who they actually are.”\u003c/p>\n\u003cp>But maybe that supposedly “new” paradigm also has crucial antecedents scattered throughout musical history, too. Nigro’s language there bears a striking resemblance to the way Alanis Morissette has described her creative partnership with producer Glen Ballard, with whom she first worked on another album with which \u003cem>Sour\u003c/em> finds cross-generational echoes: \u003cem>Jagged Little Pill\u003c/em>. “glen’s presence with me had no agenda,” Morissette reflected in a 2015 \u003ca href=\"https://alanis.com/news/jagged-little-pill-an-essay\">essay\u003c/a> commemorating the 20th anniversary of that landmark album and written—it must be said—all in lowercase letters. “this presence and this lack of projecting onto me ‘what i should be’ was the ultimate freedom and support i needed to crack open.”\u003c/p>\n\u003cp>In that essay, Morissette acknowledges that part of her success was lucky timing: In the mid-’90s there was suddenly, she writes, “a readiness, perhaps, for people to hear about the underbelly, the true experience of being a young, sensitive, and brave person in a patriarchal world.” That moment proved to be fleeting, though, and by the early aughts and my early teens the mainstream culture had shifted back to its norm of only caring about macho, masculine angst. Any girl trying to use the idioms of punk or emo to express herself—like, say, Avril Lavigne—was immediately regarded as an intruder, a poser or a sell-out until proven otherwise.\u003c/p>\n\u003cp>What I realize when I reflect back on the silent voices of my youth, though, is that we girls had \u003cem>so much\u003c/em> to rage and yell and be sad about—maybe even more than the boys ever did. Because for all the sense of community it gave me in connecting with like-minded friends, the punk and emo scene often still replicated the most misogynistic impulses of the broader culture. Something I have been sitting with for the past few years, and which I have not even known how to begin to process, is that the songwriter and frontman of my favorite emo band—the one who wrote those plane-crash lyrics I sang along to endlessly—was accused of sexual misconduct by girls who, at the time, were about the same age that I was when I idolized him. When I think too hard about that, I want to scream until my lungs explode.\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/cii6ruuycQA'\n title='//www.youtube.com/embed/cii6ruuycQA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rodrigo and her peers have come of age at a time when a lot of the gender norms that reinforce those exploitative power dynamics are breaking down, in part because most of them grow up with an awareness and acceptance of gender fluidity. Terms like “lowercase girl,” or just “girl,” are more pliable, inviting and optional than they used to be. Some very popular, very emotional musicians have also paved certain paths, whether that’s Swift, Lorde, or Paramore’s Hayley Williams. Even if I didn’t always hear it affirmed in my own adolescence, it’s heartening to now hear Rodrigo asserting, from the top of the charts, that girls have \u003cem>plenty\u003c/em> to be emo about.\u003c/p>\n\u003cp>As \u003cem>Sour\u003c/em> progresses, the ability to feel deeply and express herself becomes Rodrigo’s superpower. “Maybe I’m too emotional, or maybe you never cared at all,” she sings on the searing bridge of “good 4 u.” It’s not her, it’s \u003cem>him\u003c/em>, she concludes, diagnosing an unfeeling ex as acting “like a damn sociopath.” Rodrigo refracts the shattering experience of first heartbreak through a multitude of different moods and genres, and it’s a testament to her transfixing strengths as a songwriter and a vocal performer that it only starts to feel repetitive one song from the end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the most promising moments on \u003cem>Sour\u003c/em> come when Rodrigo widens her view beyond The Boy or even herself, toward the larger forces keeping kids of her generation feeling so emo. “jealousy, jealousy” fixes its frustration on the picture-perfect distortions of influencer culture: “I kinda wanna throw my phone against the wall,” Rodrigo groans. In response to a culture saturated with quick-fix life hacks, self-help truisms and therapy-speak, Rodrigo is refreshingly good at illuminating the space between what she knows she \u003cem>should\u003c/em> feel and what she actually \u003cem>does\u003c/em> feel. “I know their \u003cem>beauty’s not my lack\u003c/em>,” she sings, harmonizing with herself so that the line sounds like one of those annoyingly tidy Instagram graphics with an inspirational note written in cursive. “Never doubted myself so much, like am I pretty, am I fun, boy?” she sings, airing her insecurities on the stirring “1 step forward, 3 steps back” (a song that interpolates, with permission, the piano riff from Taylor Swift’s “New Year’s Day”—the ultimate baton-pass). “I hate that I give you power over that kind of stuff,” Rodrigo sighs. And yet, how could she not? It’s brutal out there.\u003c/p>\n\u003cp>The final song on \u003cem>Sour\u003c/em> finds one last opportunity to flip expectations. “hope ur ok” is not—as its title might suggest—a feel-good message to the ex of “drivers license,” thus cleanly and cathartically closing the narrative loop. It is instead a series of character sketches of kids Rodrigo once knew well and lost touch with over the years. Each of them carries their own trauma, which Rodrigo sketches in empathetic, economical writing (“he wore long sleeves ’cause of his dad”). The song is sad but hopeful, radically unsettling at times, and almost disarmingly earnest in its benevolently universal well-wishing. Again, Rodrigo plays the girl who’s always been observing everyone around her with a gimlet eye, whether they realized it or not. Maybe, she seems to be concluding on behalf of her much-misunderstood generation, this is a more realistic teenage dream. Not to be ecstatic, euphoric, eternally empowered. Just to be—as Rodrigo puts it in unpresuming lowercase—”ok.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lindsay Zoladz is a critic, reporter and essayist living in Brooklyn.\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=On+%27Sour%2C%27+Olivia+Rodrigo+Is+A+Lowercase+Girl+With+Caps-Lock+Feelings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Movies Bypass Asian and Pacific Islander Actors and Directors, Study Finds",
"headTitle": "Movies Bypass Asian and Pacific Islander Actors and Directors, Study Finds | KQED",
"content": "\u003cp>The actor Dwayne Johnson is not only saving the world driving fastly and furiously, he is apparently also saving Hollywood from largely excluding Asian and Pacific Islander actors from leading roles in movies over the last dozen years, according to a new study. \u003c/p>\n\u003cp>“\u003ca href=\"http://assets.uscannenberg.org/docs/aii_aapi-representation-across-films-2021-05-18.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The Prevalence and Portrayal of Asian and Pacific Islanders across 1,300 Popular Films\u003c/a>” is another report about the pervasive whiteness of the film industry that arrives in the middle of Asian American and Pacific Islander Heritage Month and amid \u003ca href=\"https://www.npr.org/2021/03/30/982736783/biden-announces-new-steps-to-tackle-anti-asian-violence-and-discrimination\" target=\"_blank\" rel=\"noopener noreferrer\">growing anti-Asian violence\u003c/a> in the U.S. \u003c/p>\n\u003cp>As the title states, the study by Nancy Wang Yuen, Stacy L. Smith and the USC Annenberg Inclusion Initiative analyzed 1,300 top-grossing movies to track representation of API people on both sides of the camera and among company executives from 2007 to 2019. \u003c/p>\n\u003cp>The authors say what they found shows just 44 films—3.4%—featured an API lead or co-lead performer, and only six films were led or co-led by an API woman. Breaking it down further, the group’s work reveals that of those 44 movies, 14 of them starred Johnson. That is a third of the films starring API people. Additionally, nearly 40% of the films reviewed had no API representation at all.\u003c/p>\n\u003cp>“People often ask me whether representations of Asian Americans and Pacific Islanders are improving,” Yuen said. “Unfortunately, when representation looks like tokenism, Hollywood is doing the bare minimum for inclusion.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yuen noted that in 2019, 30% of API primary and secondary characters were either the only one in a film or never interacted with other API characters. “We need to see more than one API character on screen interacting with one another in meaningful ways,” she said. \u003c/p>\n\u003cp>A little more than 7% of the U.S. population identifies as API and yet, the study, which was partly funded by Amazon Studios and UTA Foundation, shows they are nearly absent from mainstream movies. And a closer look at the characters they do portray presents more disheartening information. Over 41% of API characters in top 2019 films experienced some disparagement, including racist or sexist slurs. And 25% died by the end of the movie. \u003c/p>\n\u003cp>“With the rise of anti-AAPI violence in the United States, on-screen deaths of Asians and Pacific Islander characters are particularly jarring,” Yuen said, adding that the portrayals “can fuel anti-AAPI hate.”\u003c/p>\n\u003cp>Only six of the 1,300 films analyzed featured an API girl or woman as the lead or co-lead. \u003c/p>\n\u003cp>The study follows a \u003ca href=\"https://www.npr.org/2021/05/16/997346466/80-of-asian-americans-say-they-are-discriminated-against\">recent survey\u003c/a> showing that nearly 80% of Asian Americans say they don’t feel respected and are discriminated against by their fellow Americans. In the larger pool of respondents, 42% of those surveyed say they can’t name a single prominent Asian American. \u003c/p>\n\u003cp>Research on film industry executives behind the scenes is also abysmal, according to the report. Less than 4% of the 1,447 directors across the 1,300 top films were API. \u003c/p>\n\u003cp>“Forty-seven of these API directing credits were held by men, and three by women,” the study states. \u003c/p>\n\u003cp>That doesn’t include the recent win by director \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/988816124/chloe-zhao-is-the-first-woman-of-color-to-win-oscar-for-best-director\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Zhao\u003c/a>, who this year became the \u003ca href=\"https://womenandhollywood.com/chloe-zhao-makes-history-as-most-awarded-filmmaker-in-a-single-awards-season/\" target=\"_blank\" rel=\"noopener noreferrer\">most decorated filmmaker\u003c/a> in a single awards season and the first Asian woman to win the Academy Award’s best director prize for \u003cem>Nomadland\u003c/em>. Nor does it include the recent accolades for actor Steven Yeun who became the first Asian American man to land a Best Actor nomination, and \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/989638064/youn-yuh-jung-is-first-korean-to-win-oscar-for-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">Yuh-Jung Youn\u003c/a> who took home the Best Supporting Actress trophy, making her only the second Asian actress to win an Oscar. \u003c/p>\n\u003cp>The report notes that “not one API woman received sole directing credit of a live action film across 1,300 of the top-grossing movies from 2007–2019.”\u003c/p>\n\u003cp>Smith, who led the study alongside Yuen, says, “Inclusion of the API community thus far has been little more than lip service. Opening up opportunity behind the camera for the API community and in particular, API women, is essential to seeing more authentic, humanized portrayals on screen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The actor Dwayne Johnson is not only saving the world driving fastly and furiously, he is apparently also saving Hollywood from largely excluding Asian and Pacific Islander actors from leading roles in movies over the last dozen years, according to a new study. \u003c/p>\n\u003cp>“\u003ca href=\"http://assets.uscannenberg.org/docs/aii_aapi-representation-across-films-2021-05-18.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The Prevalence and Portrayal of Asian and Pacific Islanders across 1,300 Popular Films\u003c/a>” is another report about the pervasive whiteness of the film industry that arrives in the middle of Asian American and Pacific Islander Heritage Month and amid \u003ca href=\"https://www.npr.org/2021/03/30/982736783/biden-announces-new-steps-to-tackle-anti-asian-violence-and-discrimination\" target=\"_blank\" rel=\"noopener noreferrer\">growing anti-Asian violence\u003c/a> in the U.S. \u003c/p>\n\u003cp>As the title states, the study by Nancy Wang Yuen, Stacy L. Smith and the USC Annenberg Inclusion Initiative analyzed 1,300 top-grossing movies to track representation of API people on both sides of the camera and among company executives from 2007 to 2019. \u003c/p>\n\u003cp>The authors say what they found shows just 44 films—3.4%—featured an API lead or co-lead performer, and only six films were led or co-led by an API woman. Breaking it down further, the group’s work reveals that of those 44 movies, 14 of them starred Johnson. That is a third of the films starring API people. Additionally, nearly 40% of the films reviewed had no API representation at all.\u003c/p>\n\u003cp>“People often ask me whether representations of Asian Americans and Pacific Islanders are improving,” Yuen said. “Unfortunately, when representation looks like tokenism, Hollywood is doing the bare minimum for inclusion.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yuen noted that in 2019, 30% of API primary and secondary characters were either the only one in a film or never interacted with other API characters. “We need to see more than one API character on screen interacting with one another in meaningful ways,” she said. \u003c/p>\n\u003cp>A little more than 7% of the U.S. population identifies as API and yet, the study, which was partly funded by Amazon Studios and UTA Foundation, shows they are nearly absent from mainstream movies. And a closer look at the characters they do portray presents more disheartening information. Over 41% of API characters in top 2019 films experienced some disparagement, including racist or sexist slurs. And 25% died by the end of the movie. \u003c/p>\n\u003cp>“With the rise of anti-AAPI violence in the United States, on-screen deaths of Asians and Pacific Islander characters are particularly jarring,” Yuen said, adding that the portrayals “can fuel anti-AAPI hate.”\u003c/p>\n\u003cp>Only six of the 1,300 films analyzed featured an API girl or woman as the lead or co-lead. \u003c/p>\n\u003cp>The study follows a \u003ca href=\"https://www.npr.org/2021/05/16/997346466/80-of-asian-americans-say-they-are-discriminated-against\">recent survey\u003c/a> showing that nearly 80% of Asian Americans say they don’t feel respected and are discriminated against by their fellow Americans. In the larger pool of respondents, 42% of those surveyed say they can’t name a single prominent Asian American. \u003c/p>\n\u003cp>Research on film industry executives behind the scenes is also abysmal, according to the report. Less than 4% of the 1,447 directors across the 1,300 top films were API. \u003c/p>\n\u003cp>“Forty-seven of these API directing credits were held by men, and three by women,” the study states. \u003c/p>\n\u003cp>That doesn’t include the recent win by director \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/988816124/chloe-zhao-is-the-first-woman-of-color-to-win-oscar-for-best-director\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Zhao\u003c/a>, who this year became the \u003ca href=\"https://womenandhollywood.com/chloe-zhao-makes-history-as-most-awarded-filmmaker-in-a-single-awards-season/\" target=\"_blank\" rel=\"noopener noreferrer\">most decorated filmmaker\u003c/a> in a single awards season and the first Asian woman to win the Academy Award’s best director prize for \u003cem>Nomadland\u003c/em>. Nor does it include the recent accolades for actor Steven Yeun who became the first Asian American man to land a Best Actor nomination, and \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/989638064/youn-yuh-jung-is-first-korean-to-win-oscar-for-best-supporting-actress\" target=\"_blank\" rel=\"noopener noreferrer\">Yuh-Jung Youn\u003c/a> who took home the Best Supporting Actress trophy, making her only the second Asian actress to win an Oscar. \u003c/p>\n\u003cp>The report notes that “not one API woman received sole directing credit of a live action film across 1,300 of the top-grossing movies from 2007–2019.”\u003c/p>\n\u003cp>Smith, who led the study alongside Yuen, says, “Inclusion of the API community thus far has been little more than lip service. Opening up opportunity behind the camera for the API community and in particular, API women, is essential to seeing more authentic, humanized portrayals on screen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Growing up, Seth Rogen wasn’t much of a student, but he did like telling jokes. When he was 12, his mother signed him up for a local comedy class. He was the youngest person in the class by far, but that didn’t stop him from performing stand-up in their show, which took place at a lesbian bar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13897383 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/9781984825414.jpg\" alt=\"\" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">“It always will be a part of my story that the first time I told jokes was in front of about a hundred lesbians,” Rogen says. “Most of my jokes were grandparent-based. … I assumed the lesbians had grandparents just like I did.”\u003c/p>\n\u003cp>Rogen’s set was inspired by his comedy teacher, who taught the class that comedy is pain, and that comics should write material based on the conflicts in their lives. Though he’s moved on from grandparent jokes, his teacher’s advice remains with him.\u003c/p>\n\u003cp>“Entertainment and comedy comes from conflict,” Rogen says. “In general, looking towards that feeling rather than [toward] ‘What do you love? What makes you happy? What’s going great?’ is, for sure, something that I still think about a lot.”\u003c/p>\n\u003cp>Rogen’s film credits include \u003cem>Knocked Up\u003c/em>, \u003cem>Superbad\u003c/em>, \u003cem>Pineapple Express, Steve Jobs \u003c/em>and \u003cem>Long Shot.\u003c/em> In his new memoir, \u003cem>Yearbook\u003c/em>, Rogen shares funny stories of his early years, and his more recent life.\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On struggling with school as a kid \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I did very bad in school, always. My teachers did not like me. I always was getting kicked out of class in elementary school. I would just get kicked out of class all the time—which is a funny thing when you think about it. That’s how they would just deal with me: It was just like, go stand in the hall alone. I understand why it was maybe the best thing to do with me at that moment. And then in high school, I really just stopped caring about school. And very quickly I was like, this is not going to be my path to success in life. I would say I had a casual relationship with attending high school in general. [Dropping out] felt more like the very expected conclusion of what had been a long downward spiral. It was not surprising that anyone. … No one really tried to convince me to stay or even get a GED. No one in my life was like, “This is going to ruin your life if you drop out of high school!” It was very clear by then that I was highly motivated to do other things—just not academic things.\u003c/p>\n\u003cp>\u003cstrong>On having mild \u003c/strong>\u003ca href=\"https://www.cdc.gov/ncbddd/tourette/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tourette syndrome\u003c/strong>\u003c/a>\u003cstrong> and finding relief on stage \u003c/strong>\u003c/p>\n\u003cp>[aside postid='pop_5105']What was always interesting is that it would totally go away when I was on stage. I would have a cough. Sometimes I got twitchy, like I would always clear my throat or I’d shake my head or I would flare my nostrils. Those were things I would do a lot. And whenever I went on stage, it completely went away. It never happened when I was on stage, which was always fascinating to me and always kind of showed me that it was not a physical, in the traditional sense, thing that I had. … In some way, my brain was doing it because my brain could stop doing it. And also when I smoked weed, it made it much better. Like, it really kind of relaxed me and put everything at ease a little bit and for sure ease a lot of those symptoms.\u003c/p>\n\u003cp>\u003cstrong>On working with his writing, directing and producing partner Evan Goldberg, and being criticized for having characters in their films be bad influences \u003c/strong>\u003c/p>\n\u003cp>We make R-rated movies, so by nature they’re not something that a lot of young kids can go see on their own without their parents taking them. But, I think that being said, I mean, it’s something that we are more aware of than we used to be, especially now that my friends have kids. There are things that I think when we were younger, honestly looking at movies and things like that, our movies, I think we would justify certain things by saying like, “Well, we’re not condoning this behavior.” Like, sure, the protagonist is doing it, but they are learning a lesson that they shouldn’t do it in the end. But I think over the years I’ve seen more that if your protagonists are doing it, the nuance that maybe they’ve learned a lesson at some point of the movie that they shouldn’t be doing that thing is lost on a lot of people. And most people just take like, “Oh, that’s a cool thing to do!” And so that’s something we’ve grown more aware of over the years, I would say.\u003c/p>\n\u003cp>\u003cstrong>On getting into a car accident (and nearly dying) while on his first date with his now wife \u003c/strong>\u003c/p>\n\u003cp>I think it probably tells you a lot about the other person very fast. I think you could really get a sense for what someone is like after you’ve both almost died, and we really still liked each other. We both dealt with it well, neither of us freaked out. We genuinely cared about the other person’s well-being. … I think it was really something that made us get to know each other much faster than normal dating. It’s like … when you see in an action movie these two people [who] have never met, and then they go through explosions and car chases, and by the end of it, they’re in love. It was like a very kind of lame version of that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Petra Mayer 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=Seth+Rogen+On+The+Comedy+Advice+He+Got+At+12+That+He+Still+Thinks+About+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, Seth Rogen wasn’t much of a student, but he did like telling jokes. When he was 12, his mother signed him up for a local comedy class. He was the youngest person in the class by far, but that didn’t stop him from performing stand-up in their show, which took place at a lesbian bar.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13897383 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/9781984825414.jpg\" alt=\"\" width=\"298\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/9781984825414-160x242.jpg 160w\" sizes=\"(max-width: 298px) 100vw, 298px\">“It always will be a part of my story that the first time I told jokes was in front of about a hundred lesbians,” Rogen says. “Most of my jokes were grandparent-based. … I assumed the lesbians had grandparents just like I did.”\u003c/p>\n\u003cp>Rogen’s set was inspired by his comedy teacher, who taught the class that comedy is pain, and that comics should write material based on the conflicts in their lives. Though he’s moved on from grandparent jokes, his teacher’s advice remains with him.\u003c/p>\n\u003cp>“Entertainment and comedy comes from conflict,” Rogen says. “In general, looking towards that feeling rather than [toward] ‘What do you love? What makes you happy? What’s going great?’ is, for sure, something that I still think about a lot.”\u003c/p>\n\u003cp>Rogen’s film credits include \u003cem>Knocked Up\u003c/em>, \u003cem>Superbad\u003c/em>, \u003cem>Pineapple Express, Steve Jobs \u003c/em>and \u003cem>Long Shot.\u003c/em> In his new memoir, \u003cem>Yearbook\u003c/em>, Rogen shares funny stories of his early years, and his more recent life.\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On struggling with school as a kid \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What was always interesting is that it would totally go away when I was on stage. I would have a cough. Sometimes I got twitchy, like I would always clear my throat or I’d shake my head or I would flare my nostrils. Those were things I would do a lot. And whenever I went on stage, it completely went away. It never happened when I was on stage, which was always fascinating to me and always kind of showed me that it was not a physical, in the traditional sense, thing that I had. … In some way, my brain was doing it because my brain could stop doing it. And also when I smoked weed, it made it much better. Like, it really kind of relaxed me and put everything at ease a little bit and for sure ease a lot of those symptoms.\u003c/p>\n\u003cp>\u003cstrong>On working with his writing, directing and producing partner Evan Goldberg, and being criticized for having characters in their films be bad influences \u003c/strong>\u003c/p>\n\u003cp>We make R-rated movies, so by nature they’re not something that a lot of young kids can go see on their own without their parents taking them. But, I think that being said, I mean, it’s something that we are more aware of than we used to be, especially now that my friends have kids. There are things that I think when we were younger, honestly looking at movies and things like that, our movies, I think we would justify certain things by saying like, “Well, we’re not condoning this behavior.” Like, sure, the protagonist is doing it, but they are learning a lesson that they shouldn’t do it in the end. But I think over the years I’ve seen more that if your protagonists are doing it, the nuance that maybe they’ve learned a lesson at some point of the movie that they shouldn’t be doing that thing is lost on a lot of people. And most people just take like, “Oh, that’s a cool thing to do!” And so that’s something we’ve grown more aware of over the years, I would say.\u003c/p>\n\u003cp>\u003cstrong>On getting into a car accident (and nearly dying) while on his first date with his now wife \u003c/strong>\u003c/p>\n\u003cp>I think it probably tells you a lot about the other person very fast. I think you could really get a sense for what someone is like after you’ve both almost died, and we really still liked each other. We both dealt with it well, neither of us freaked out. We genuinely cared about the other person’s well-being. … I think it was really something that made us get to know each other much faster than normal dating. It’s like … when you see in an action movie these two people [who] have never met, and then they go through explosions and car chases, and by the end of it, they’re in love. It was like a very kind of lame version of that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Petra Mayer 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=Seth+Rogen+On+The+Comedy+Advice+He+Got+At+12+That+He+Still+Thinks+About+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Charles Grodin, whose comic characters were almost always hapless, and whose serious characters generally gave that trademark haplessness a sinister twist, died Tuesday of cancer at his home in Wilton, Conn. He was 86.\u003c/p>\n\u003cp>His death, from \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=99970093\" target=\"_blank\" rel=\"noopener noreferrer\">bone marrow cancer\u003c/a>, was confirmed to NPR by his son, actor Nicholas Grodin.\u003c/p>\n\u003cp>He was the obstetrician who gave \u003cem>Rosemary’s Bab\u003c/em>y to a coven of witches, the dog owner who couldn’t control his enormous Saint Bernard in the \u003cem>Beethoven\u003c/em> movies, and the man who met the girl of his dreams just a little bit late in \u003cem>The Heartbreak Kid. \u003c/em>He was, sad to say, on his honeymoon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ytlIXSl9GI\u003c/p>\n\u003cp>Grodin credited Elaine May’s direction of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=15017471\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Heartbreak Kid\u003c/em>\u003c/a> with jump-starting his film career in 1972, though he’d made his debut as an uncredited child actor almost two decades earlier in \u003cem>20,000 Leagues Under the Sea.\u003c/em> He became a familiar face in such comedies as \u003cem>Heaven Can Wait \u003c/em>and \u003cem>Midnight Run\u003c/em>, in which he played an accountant pursued by Robert De Niro after having embezzled from the mob.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When not working in films, Grodin directed plays on Broadway, including \u003cem>Lovers and Other Strangers \u003c/em>in 1968 and \u003cem>Thieves\u003c/em> in 1974 with Marlo Thomas. And in 1975, he scored a big success opposite Ellen Burstyn as an annual philanderer in the Broadway romantic comedy \u003cem>Same Time, Next Year\u003c/em> (the part went to Alan Alda in the film version).\u003c/p>\n\u003cp>Grodin once described himself as “low-key, but high-strung,” which also described a lot of his characters. And he was so sought after as a talk-show guest on late-night TV (\u003ca href=\"https://www.npr.org/2012/05/13/152496256/johnny-carson-king-of-late-night-a-man-unknown\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Carson\u003c/a> had him on \u003cem>The Tonight Show\u003c/em> 36 times), he ended up hosting a talk show host himself in the 1990s.\u003c/p>\n\u003cp>His knack for deadpan humor extended to books with titles such as \u003cem>How I Got to Be Whoever it is I Am\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jtA511lb0Sw\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=Charles+Grodin%2C+Star+Of+%27Beethoven%27+And+%27Midnight+Run%2C%27+Has+Died+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Charles Grodin, whose comic characters were almost always hapless, and whose serious characters generally gave that trademark haplessness a sinister twist, died Tuesday of cancer at his home in Wilton, Conn. He was 86.\u003c/p>\n\u003cp>His death, from \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=99970093\" target=\"_blank\" rel=\"noopener noreferrer\">bone marrow cancer\u003c/a>, was confirmed to NPR by his son, actor Nicholas Grodin.\u003c/p>\n\u003cp>He was the obstetrician who gave \u003cem>Rosemary’s Bab\u003c/em>y to a coven of witches, the dog owner who couldn’t control his enormous Saint Bernard in the \u003cem>Beethoven\u003c/em> movies, and the man who met the girl of his dreams just a little bit late in \u003cem>The Heartbreak Kid. \u003c/em>He was, sad to say, on his honeymoon.\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/5ytlIXSl9GI'\n title='//www.youtube.com/embed/5ytlIXSl9GI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Grodin credited Elaine May’s direction of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=15017471\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Heartbreak Kid\u003c/em>\u003c/a> with jump-starting his film career in 1972, though he’d made his debut as an uncredited child actor almost two decades earlier in \u003cem>20,000 Leagues Under the Sea.\u003c/em> He became a familiar face in such comedies as \u003cem>Heaven Can Wait \u003c/em>and \u003cem>Midnight Run\u003c/em>, in which he played an accountant pursued by Robert De Niro after having embezzled from the mob.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When not working in films, Grodin directed plays on Broadway, including \u003cem>Lovers and Other Strangers \u003c/em>in 1968 and \u003cem>Thieves\u003c/em> in 1974 with Marlo Thomas. And in 1975, he scored a big success opposite Ellen Burstyn as an annual philanderer in the Broadway romantic comedy \u003cem>Same Time, Next Year\u003c/em> (the part went to Alan Alda in the film version).\u003c/p>\n\u003cp>Grodin once described himself as “low-key, but high-strung,” which also described a lot of his characters. And he was so sought after as a talk-show guest on late-night TV (\u003ca href=\"https://www.npr.org/2012/05/13/152496256/johnny-carson-king-of-late-night-a-man-unknown\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Carson\u003c/a> had him on \u003cem>The Tonight Show\u003c/em> 36 times), he ended up hosting a talk show host himself in the 1990s.\u003c/p>\n\u003cp>His knack for deadpan humor extended to books with titles such as \u003cem>How I Got to Be Whoever it is I Am\u003c/em>.\u003c/p>\n\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/jtA511lb0Sw'\n title='//www.youtube.com/embed/jtA511lb0Sw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Charles+Grodin%2C+Star+Of+%27Beethoven%27+And+%27Midnight+Run%2C%27+Has+Died+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Facebook Calls Links to Depression Inconclusive. These Researchers Disagree",
"headTitle": "Facebook Calls Links to Depression Inconclusive. These Researchers Disagree | KQED",
"content": "\u003cp>Rep. Cathy McMorris Rodgers’ biggest fear as a parent isn’t gun violence, or drunk driving, or anything related to the pandemic.\u003c/p>\n\u003cp>It’s social media.\u003c/p>\n\u003cp>And specifically, the new sense of “brokenness” she hears about in children in her district, and nationwide. Teen depression and suicide rates have been \u003ca href=\"https://www.pewresearch.org/fact-tank/2019/07/12/a-growing-number-of-american-teenagers-particularly-girls-are-facing-depression/\" target=\"_blank\" rel=\"noopener noreferrer\">rising for over a decade\u003c/a>, and she sees social apps as a major reason.\u003c/p>\n\u003cp>At a hearing this March on Capitol Hill, the Republican congresswoman from Washington confronted Facebook CEO Mark Zuckerberg, Twitter CEO Jack Dorsey and Google CEO Sundar Pichai with a list of statistics: From 2011 to 2018, \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/31415993/\" target=\"_blank\" rel=\"noopener noreferrer\">rates\u003c/a> of teen depression increased by more than 60%, and from 2009 to 2015, emergency room admissions for self-harm among 10- to 14-year-old girls \u003ca href=\"https://jamanetwork.com/journals/jama/fullarticle/2664031\" target=\"_blank\" rel=\"noopener noreferrer\">tripled\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13897332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-800x529.png\" alt=\"Source: CDC National Youth Risk Behavior Surveys.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM.png 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Source: CDC National Youth Risk Behavior Surveys. \u003ccite>(Credit: Zach Levitt/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a battle for their development. It’s a battle for their mental health—and ultimately a battle for their safety,” McMorris Rodgers told the tech leaders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when she pointed a question specifically to Zuckerberg, about whether he acknowledged a connection between children’s declining mental health and social media platforms, he demurred.\u003c/p>\n\u003cp>“I don’t think that the research is conclusive on that,” replied Zuckerberg.\u003c/p>\n\u003cp>It’s a position that he and his company, which is working on expanding its offerings to even younger children, have held for years. But mental health researchers whom NPR spoke with disagree.\u003c/p>\n\u003cp>They describe an increasingly clear correlation between poor mental health outcomes and social media use, and they worry that Facebook (which also owns Instagram and WhatsApp) in particular may be muddying the waters on that connection to protect its public image.\u003c/p>\n\u003cp>[aside postid='arts_13886630']“The correlational evidence showing that there is a link between social media use and depression is pretty definitive at this point,” said Jean Twenge, a psychology professor at San Diego State University. “The largest and most well-conducted studies that we have all show that teens who spend more time on social media are more likely to be depressed or unhappy.”\u003c/p>\n\u003cp>Correlation is not causation, and one area of further study is whether greater social media usage leads to poor mental health outcomes or whether those who are depressed and unhappy are drawn to spend more time on social media. But researchers also worry that not enough government funding is going toward getting objective data to answer these sorts of questions.\u003c/p>\n\u003cp>Facebook also almost certainly knows more than it has publicly revealed about how its products affect people.\u003c/p>\n\u003cp>NPR spoke with Twenge and two other academics whose work has focused on the links between depression and social media use and who say Facebook’s public affairs team reached out to them for the first time ever in recent months for input on internal information related to the issue.\u003c/p>\n\u003cp>The company declined to comment about the meeting requests and about its stance on research about its platforms. But the outreach comes at a pivotal time for Facebook and its plans for growth.\u003c/p>\n\u003cp>Government regulation is \u003ca href=\"https://www.npr.org/2021/03/25/981203566/5-takeaways-from-big-techs-misinformation-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">closer than ever\u003c/a> before, and the issue of children’s mental health is one of the few concerns about Big Tech that Republicans and Democrats seem to agree on.\u003c/p>\n\u003cp>After it was revealed that Facebook was working on a version of Instagram for children under 13, a bipartisan group of 44 attorneys general \u003ca href=\"https://ag.ny.gov/sites/default/files/naag_letter_to_facebook_-_final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a letter\u003c/a> to Zuckerberg this month with a simple message: Stop.\u003c/p>\n\u003cp>“Use of social media can be detrimental to the health and well-being of children, who are not equipped to navigate the challenges of having a social media account,” the letter reads. “Further, Facebook has historically failed to protect the welfare of children on its platforms.”\u003c/p>\n\u003cp>Shortly after McMorris Rodgers spoke at the March congressional hearing, Rep. Kathy Castor, a Florida Democrat, asked Zuckerberg whether he was familiar with a \u003ca href=\"https://jamanetwork.com/journals/jamapediatrics/fullarticle/2737909\" target=\"_blank\" rel=\"noopener noreferrer\">2019 study\u003c/a> that found the risk of depression in children rises with each hour spent daily on social media. He said he was not.\u003c/p>\n\u003cp>“You enjoy an outdated liability shield that incentivizes you to look the other way or take half-measures,” Castor said, “while you make billions at the expense of our kids, our health and the truth.”\u003c/p>\n\u003cp>\u003cstrong>Internal “insights”\u003c/strong>\u003c/p>\n\u003cp>Twenge has been studying and writing about technology’s effects on people born between 1995 and 2012 for much of the last decade.\u003c/p>\n\u003cp>[aside postid='arts_13885533']She dubbed the generation “iGen” in a 2017 book that features an abundance of charts showing huge drop-offs in happiness among teens in the last decade compared with previous generations and huge increases in loneliness and suicide risk, especially in teens who are on their phones more than an hour or two a day.\u003c/p>\n\u003cp>And since 2017, those trends have mostly gotten worse.\u003c/p>\n\u003cp>“For depression and anxiety and self-harm, those increases have continued,” Twenge said. “As smartphones became even more pervasive, social media became even more pervasive.”\u003c/p>\n\u003cp>In the four years since her book came out, no one from any of the major social media companies reached out to her.\u003c/p>\n\u003cp>Until about three months ago.\u003c/p>\n\u003cp>“I got an email from someone at Facebook who said they were putting together an advisory panel,” Twenge said.\u003c/p>\n\u003cp>The email came from a lower-level employee at the company on behalf of Heather Moore, a public affairs executive at Facebook who helped create the company’s Oversight Board. (That panel, which is funded by Facebook through a $130 million independent trust, is made up of \u003ca href=\"https://oversightboard.com/meet-the-board/\" target=\"_blank\" rel=\"noopener noreferrer\">20 prominent experts\u003c/a> from around the world.) The board recently announced its biggest decision yet, \u003ca href=\"https://www.npr.org/2021/05/07/994436847/what-we-learned-about-facebook-from-trump-decision\" target=\"_blank\" rel=\"noopener noreferrer\">siding with the company\u003c/a> on its decision to suspend former President Donald Trump from the platform.\u003c/p>\n\u003cp>Two other researchers NPR spoke with say they received a similar meeting request. One did not wish to be named in this story.\u003c/p>\n\u003cp>The request says Facebook is “currently working on speaking with a range of experts who study algorithms and virality,” but it doesn’t specify whether the company is planning to assemble a more organized public- or private-facing group of experts focused on the mental health effects of the platform.\u003c/p>\n\u003cp>Facebook declined to provide more detail about the requests, but a spokesperson did note that a company as large as Facebook reaches out to a variety of subject-matter experts frequently.\u003c/p>\n\u003cp>The email does, however, allude to the company having relevant internal information regarding the mental health effects of its platforms.\u003c/p>\n\u003cp>“The team would like to share some insights about what we’re working on internally and ask for your input,” the email says.\u003c/p>\n\u003cp>In the March hearing on Capitol Hill, Zuckerberg told McMorris Rodgers that the company has specifically researched the mental health effects that his company’s platforms have on children. But when McMorris Rodgers’ staff \u003ca href=\"https://www.reuters.com/article/ctech-us-usa-congress-tech-idCAKBN2BM2UI-OCATC\" target=\"_blank\" rel=\"noopener noreferrer\">followed up\u003c/a> after the hearing, she says the company declined to share any of its research.\u003c/p>\n\u003cp>“I believe that they have done the research. They’re not being transparent,” McMorris Rodgers told NPR in an interview. “They seem to be more concerned about their current business model, and they have become very wealthy under their current business model. But the fact of the matter is we’re seeing more and more evidence … that their current business model is harming our kids.”\u003c/p>\n\u003cp>Generally in response to these kinds of questions, Facebook \u003ca href=\"https://about.fb.com/news/2017/12/hard-questions-is-spending-time-on-social-media-bad-for-us/\" target=\"_blank\" rel=\"noopener noreferrer\">has pointed to research\u003c/a> indicating that poor mental health outcomes like depression stem from how people use the platforms and specifically whether they are “active” users who post and message people or “passive” users who mostly consume content.\u003c/p>\n\u003cp>The implication is that people have control over whether they feel bad from using the platforms, since users have a choice in whether they message their friends on Instagram, for instance, or whether they choose to scroll endlessly.\u003c/p>\n\u003cp>But Melissa Hunt, a psychology professor at the University of Pennsylvania, says it’s not so simple.\u003c/p>\n\u003cp>[aside postid='arts_13867167']The company’s success is dependent on keeping people engaged and selling advertisements based on that engagement, so Facebook, she says, is motivated to create systems that keep people on its platforms no matter the effect to their long-term well-being.\u003c/p>\n\u003cp>Hunt was another one of the researchers who received an inquiry from Facebook about \u003ca href=\"https://penntoday.upenn.edu/news/social-media-use-increases-depression-and-loneliness\" target=\"_blank\" rel=\"noopener noreferrer\">her work\u003c/a> linking social media use and depression.\u003c/p>\n\u003cp>“Basically all of the things that would contribute to these platforms being healthier for people to use, which is basically spend less time, don’t follow strangers, don’t spend time passively scrolling through this random feed that’s being suggested to you,” Hunt says. “That completely undermines their whole business model.”\u003c/p>\n\u003cp>When she got a request for her time from the company, she says she thought about it. Then she also thought about what Facebook is currently valued at: close to a trillion dollars.\u003c/p>\n\u003cp>“I decided that if they were serious about that, they could pay me a nominal consulting fee,” Hunt says. “So I let them know what my consulting fee was. I said I’d be delighted to weigh in and share my expertise with you.”\u003c/p>\n\u003cp>She never heard back.\u003c/p>\n\u003cp>Similarly, Twenge responded to the request from the company and said she was interested in setting up a time to talk, but after a few back-and-forth messages, she has yet to hear back again.\u003c/p>\n\u003cp>Twenge feels strongly that while the research on the psychological impact of social media is relatively new, there are takeaways that can already be drawn, even as some insist on labeling it all “inconclusive.”\u003c/p>\n\u003cp>“It’s similar to the way that climate deniers can point to a few people in that field and say, ‘There’s a few people who still doubt this.’ It’s that false equivalence that happens too often,” Twenge said. “In this case, that small but vocal group has been very skilled at getting that message out, perhaps because these companies are very receptive to it.”\u003c/p>\n\u003cp>\u003cstrong>Questions without answers\u003c/strong>\u003c/p>\n\u003cp>In recent years, \u003ca href=\"https://www.huffpost.com/entry/why-social-media-is-more-_b_11297988\" target=\"_blank\" rel=\"noopener noreferrer\">some\u003c/a> have \u003ca href=\"https://www.businessinsider.com/salesforce-ceo-marc-benioff-said-at-davos-that-facebook-should-be-regulated-like-cigarettes-2018-1\" target=\"_blank\" rel=\"noopener noreferrer\">taken\u003c/a> to comparing social media to something else that previous generations used to fill idle moments to the detriment of their health: smoking cigarettes.\u003c/p>\n\u003cp>After smoking became \u003ca href=\"https://ourworldindata.org/grapher/sales-of-cigarettes-per-adult-per-day?time=1900..2014\" target=\"_blank\" rel=\"noopener noreferrer\">nearly universal\u003c/a>, cigarette companies \u003ca href=\"https://www.npr.org/transcripts/89114979\" target=\"_blank\" rel=\"noopener noreferrer\">famously\u003c/a> muddied the waters on research about how their products were harming people.\u003c/p>\n\u003cp>“Policy making is facilitated by consensus. However, scientific research is characterized by uncertainty,” wrote researcher Lisa Bero in \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1497700/pdf/15842123.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a paper\u003c/a> about how cigarette companies manipulated research. “It is often to the benefit of interest groups to generate controversy about data because the controversy is likely to slow or prevent regulation of a given product.”\u003c/p>\n\u003cp>But Brian Primack, who leads the College of Education and Health Professions at the University of Arkansas, says comparing the current research situation around social media and cigarettes is too simplistic.\u003c/p>\n\u003cp>Primack used to study tobacco. (“If it kills a lot of people, I want to study it,” he says about how he has chosen what to focus on throughout his career.)\u003c/p>\n\u003cp>Now, he spends his time investigating the effects of social media. And he sees a clear connection between depression and the online platforms.\u003c/p>\n\u003cp>A study \u003ca href=\"https://news.uark.edu/articles/55480/increased-social-media-use-linked-to-developing-depression-research-finds\" target=\"_blank\" rel=\"noopener noreferrer\">he published last year\u003c/a> found that young adults who increased their social media usage over a period of time were also found to be significantly more likely to become depressed over that same time period.\u003c/p>\n\u003cp>[aside postid='arts_13883979']“There is an association between the two,” Primack says. “Just meaning that if you put people into equal buckets in terms of how much social media they use, the people who use the most social media are also the people who are the most depressed.”\u003c/p>\n\u003cp>But unlike cigarettes, which he says have no useful purpose, some people have shown positive health outcomes from using social media.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/06/19/621136346/a-look-at-social-media-finds-some-possible-benefits-for-kids\" target=\"_blank\" rel=\"noopener noreferrer\">Brain development research\u003c/a> in recent years, for instance, found benefits in 9- and 10-year-olds from using social media.\u003c/p>\n\u003cp>“Social media is very heterogeneous. In some kids it can be very beneficial, and in other kids it can be very detrimental,” said the author of that study, Dr. Martin Paulus of the Laureate Institute for Brain Research. “But we still don’t understand which group of kids benefit from it and which group of kids may be harmed by it.”\u003c/p>\n\u003cp>Paulus is not confident the social media companies truly want to get to the bottom of that question either.\u003c/p>\n\u003cp>Several years ago, Paulus gave a presentation at Facebook with a few other researchers who were looking at the effects of social media. He came away from the meeting feeling like the company wasn’t serious about actually having objective research.\u003c/p>\n\u003cp>“It was more like a face-saving activity,” Paulus said. “Those companies, whether it’s Facebook or other companies as well, they say they want research… But they’re not necessarily interested in research that potentially would show that some of the things that they do are bad for kids.”\u003c/p>\n\u003cp>It’s a thorny issue to wade into. The company says that it employs hundreds of researchers and that it also supports efforts like Boston Children’s Hospital’s newly formed \u003ca href=\"https://www.childrenshospital.org/newsroom/news-and-events/2021/digital-wellness-lab-launch\" target=\"_blank\" rel=\"noopener noreferrer\">Digital Wellness Lab\u003c/a> and the Aspen Institute’s \u003ca href=\"https://csreports.aspeninstitute.org/Lessons-in-Loneliness/2020/report\" target=\"_blank\" rel=\"noopener noreferrer\">roundtables on loneliness and technology\u003c/a>.\u003c/p>\n\u003cp>But it has also been criticized for using its platforms for research purposes. In 2012, the company allowed researchers to change what people saw on the platform in order to see how that would affect the nature of what they then chose to post.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.pnas.org/content/111/24/8788.full\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> did show evidence that people’s moods are affected by what they see other people posting, but some saw the exercise as emotional manipulation, and one of the authors seemed to express \u003ca href=\"https://www.theatlantic.com/technology/archive/2014/06/everything-we-know-about-facebooks-secret-mood-manipulation-experiment/373648/\" target=\"_blank\" rel=\"noopener noreferrer\">regret\u003c/a> about conducting it after the backlash.\u003c/p>\n\u003cp>For a company with one of the largest data troves on the human population, this question of how best to conduct research expands to other sectors too. Disinformation researchers, for instance, have long been frustrated by what the company chooses and chooses not to share.\u003c/p>\n\u003cp>“They could answer questions that we desperately need answered any time they want, and they just won’t do it,” said Ben Scott, executive director at Reset, an initiative aimed at tackling digital threats to democracy. “They’ve chosen, for public relations reasons, not to participate in helping the public interest… And that’s outrageous.”\u003c/p>\n\u003cp>\u003cstrong>“God only knows what it’s doing to our children’s brains”\u003c/strong>\u003c/p>\n\u003cp>The potential dangers of kids spending hours hypnotized by their screens has been apparent essentially since the social media platforms were created.\u003c/p>\n\u003cp>Founding Facebook President Sean Parker once described, in \u003ca href=\"https://www.axios.com/sean-parker-unloads-on-facebook-god-only-knows-what-its-doing-to-our-childrens-brains-1513306792-f855e7b4-4e99-4d60-8d51-2775559c2671.html\" target=\"_blank\" rel=\"noopener noreferrer\">an interview with Axios\u003c/a>, the company’s algorithms as “exploiting a vulnerability in human psychology.”\u003c/p>\n\u003cp>“God only knows what it’s doing to our children’s brains,” Parker said. “The inventors, creators—it’s me, it’s Mark [Zuckerberg], it’s Kevin Systrom on Instagram, it’s all of these people—understood this consciously. And we did it anyway.”\u003c/p>\n\u003cp>The problem is compounded by how little government funding is going toward studying the effects of these platforms, relative to \u003ca href=\"https://www.npr.org/2021/03/05/971767967/trump-is-no-longer-tweeting-but-online-disinformation-isnt-going-away\" target=\"_blank\" rel=\"noopener noreferrer\">how much of each day\u003c/a> many Americans spend engaged with the technology.\u003c/p>\n\u003cp>Funding from the National Institutes of Health (NIH) is mostly focused on curing diseases, but because there is no specific disease officially associated with screen time, experts say it’s difficult to get studies funded by the federal government.\u003c/p>\n\u003cp>In 2019, Sen. Ed Markey, D-Mass., introduced \u003ca href=\"https://www.markey.senate.gov/imo/media/doc/CAMRA%20Act.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a bill\u003c/a> that would have provided a mechanism for more NIH research on the subject. The legislation had bipartisan co-sponsors and the support of Facebook, but it never made it to a vote.\u003c/p>\n\u003cp>Without more of that sort of research, parents are essentially left in the dark guessing exactly how much is too much for their kids when it comes to their devices.\u003c/p>\n\u003cp>“The truth of it, quite frankly, is we are probably living through one of the biggest natural experiments that we’ve gone through with our kids,” said Paulus.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em>\u003cem> Facebook is among NPR’s financial supporters.\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=Facebook+Calls+Links+To+Depression+Inconclusive.+These+Researchers+Disagree&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rep. Cathy McMorris Rodgers’ biggest fear as a parent isn’t gun violence, or drunk driving, or anything related to the pandemic.\u003c/p>\n\u003cp>It’s social media.\u003c/p>\n\u003cp>And specifically, the new sense of “brokenness” she hears about in children in her district, and nationwide. Teen depression and suicide rates have been \u003ca href=\"https://www.pewresearch.org/fact-tank/2019/07/12/a-growing-number-of-american-teenagers-particularly-girls-are-facing-depression/\" target=\"_blank\" rel=\"noopener noreferrer\">rising for over a decade\u003c/a>, and she sees social apps as a major reason.\u003c/p>\n\u003cp>At a hearing this March on Capitol Hill, the Republican congresswoman from Washington confronted Facebook CEO Mark Zuckerberg, Twitter CEO Jack Dorsey and Google CEO Sundar Pichai with a list of statistics: From 2011 to 2018, \u003ca href=\"https://pubmed.ncbi.nlm.nih.gov/31415993/\" target=\"_blank\" rel=\"noopener noreferrer\">rates\u003c/a> of teen depression increased by more than 60%, and from 2009 to 2015, emergency room admissions for self-harm among 10- to 14-year-old girls \u003ca href=\"https://jamanetwork.com/journals/jama/fullarticle/2664031\" target=\"_blank\" rel=\"noopener noreferrer\">tripled\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13897332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-800x529.png\" alt=\"Source: CDC National Youth Risk Behavior Surveys.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-18-at-12.57.10-PM.png 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Source: CDC National Youth Risk Behavior Surveys. \u003ccite>(Credit: Zach Levitt/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a battle for their development. It’s a battle for their mental health—and ultimately a battle for their safety,” McMorris Rodgers told the tech leaders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when she pointed a question specifically to Zuckerberg, about whether he acknowledged a connection between children’s declining mental health and social media platforms, he demurred.\u003c/p>\n\u003cp>“I don’t think that the research is conclusive on that,” replied Zuckerberg.\u003c/p>\n\u003cp>It’s a position that he and his company, which is working on expanding its offerings to even younger children, have held for years. But mental health researchers whom NPR spoke with disagree.\u003c/p>\n\u003cp>They describe an increasingly clear correlation between poor mental health outcomes and social media use, and they worry that Facebook (which also owns Instagram and WhatsApp) in particular may be muddying the waters on that connection to protect its public image.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The correlational evidence showing that there is a link between social media use and depression is pretty definitive at this point,” said Jean Twenge, a psychology professor at San Diego State University. “The largest and most well-conducted studies that we have all show that teens who spend more time on social media are more likely to be depressed or unhappy.”\u003c/p>\n\u003cp>Correlation is not causation, and one area of further study is whether greater social media usage leads to poor mental health outcomes or whether those who are depressed and unhappy are drawn to spend more time on social media. But researchers also worry that not enough government funding is going toward getting objective data to answer these sorts of questions.\u003c/p>\n\u003cp>Facebook also almost certainly knows more than it has publicly revealed about how its products affect people.\u003c/p>\n\u003cp>NPR spoke with Twenge and two other academics whose work has focused on the links between depression and social media use and who say Facebook’s public affairs team reached out to them for the first time ever in recent months for input on internal information related to the issue.\u003c/p>\n\u003cp>The company declined to comment about the meeting requests and about its stance on research about its platforms. But the outreach comes at a pivotal time for Facebook and its plans for growth.\u003c/p>\n\u003cp>Government regulation is \u003ca href=\"https://www.npr.org/2021/03/25/981203566/5-takeaways-from-big-techs-misinformation-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">closer than ever\u003c/a> before, and the issue of children’s mental health is one of the few concerns about Big Tech that Republicans and Democrats seem to agree on.\u003c/p>\n\u003cp>After it was revealed that Facebook was working on a version of Instagram for children under 13, a bipartisan group of 44 attorneys general \u003ca href=\"https://ag.ny.gov/sites/default/files/naag_letter_to_facebook_-_final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a letter\u003c/a> to Zuckerberg this month with a simple message: Stop.\u003c/p>\n\u003cp>“Use of social media can be detrimental to the health and well-being of children, who are not equipped to navigate the challenges of having a social media account,” the letter reads. “Further, Facebook has historically failed to protect the welfare of children on its platforms.”\u003c/p>\n\u003cp>Shortly after McMorris Rodgers spoke at the March congressional hearing, Rep. Kathy Castor, a Florida Democrat, asked Zuckerberg whether he was familiar with a \u003ca href=\"https://jamanetwork.com/journals/jamapediatrics/fullarticle/2737909\" target=\"_blank\" rel=\"noopener noreferrer\">2019 study\u003c/a> that found the risk of depression in children rises with each hour spent daily on social media. He said he was not.\u003c/p>\n\u003cp>“You enjoy an outdated liability shield that incentivizes you to look the other way or take half-measures,” Castor said, “while you make billions at the expense of our kids, our health and the truth.”\u003c/p>\n\u003cp>\u003cstrong>Internal “insights”\u003c/strong>\u003c/p>\n\u003cp>Twenge has been studying and writing about technology’s effects on people born between 1995 and 2012 for much of the last decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She dubbed the generation “iGen” in a 2017 book that features an abundance of charts showing huge drop-offs in happiness among teens in the last decade compared with previous generations and huge increases in loneliness and suicide risk, especially in teens who are on their phones more than an hour or two a day.\u003c/p>\n\u003cp>And since 2017, those trends have mostly gotten worse.\u003c/p>\n\u003cp>“For depression and anxiety and self-harm, those increases have continued,” Twenge said. “As smartphones became even more pervasive, social media became even more pervasive.”\u003c/p>\n\u003cp>In the four years since her book came out, no one from any of the major social media companies reached out to her.\u003c/p>\n\u003cp>Until about three months ago.\u003c/p>\n\u003cp>“I got an email from someone at Facebook who said they were putting together an advisory panel,” Twenge said.\u003c/p>\n\u003cp>The email came from a lower-level employee at the company on behalf of Heather Moore, a public affairs executive at Facebook who helped create the company’s Oversight Board. (That panel, which is funded by Facebook through a $130 million independent trust, is made up of \u003ca href=\"https://oversightboard.com/meet-the-board/\" target=\"_blank\" rel=\"noopener noreferrer\">20 prominent experts\u003c/a> from around the world.) The board recently announced its biggest decision yet, \u003ca href=\"https://www.npr.org/2021/05/07/994436847/what-we-learned-about-facebook-from-trump-decision\" target=\"_blank\" rel=\"noopener noreferrer\">siding with the company\u003c/a> on its decision to suspend former President Donald Trump from the platform.\u003c/p>\n\u003cp>Two other researchers NPR spoke with say they received a similar meeting request. One did not wish to be named in this story.\u003c/p>\n\u003cp>The request says Facebook is “currently working on speaking with a range of experts who study algorithms and virality,” but it doesn’t specify whether the company is planning to assemble a more organized public- or private-facing group of experts focused on the mental health effects of the platform.\u003c/p>\n\u003cp>Facebook declined to provide more detail about the requests, but a spokesperson did note that a company as large as Facebook reaches out to a variety of subject-matter experts frequently.\u003c/p>\n\u003cp>The email does, however, allude to the company having relevant internal information regarding the mental health effects of its platforms.\u003c/p>\n\u003cp>“The team would like to share some insights about what we’re working on internally and ask for your input,” the email says.\u003c/p>\n\u003cp>In the March hearing on Capitol Hill, Zuckerberg told McMorris Rodgers that the company has specifically researched the mental health effects that his company’s platforms have on children. But when McMorris Rodgers’ staff \u003ca href=\"https://www.reuters.com/article/ctech-us-usa-congress-tech-idCAKBN2BM2UI-OCATC\" target=\"_blank\" rel=\"noopener noreferrer\">followed up\u003c/a> after the hearing, she says the company declined to share any of its research.\u003c/p>\n\u003cp>“I believe that they have done the research. They’re not being transparent,” McMorris Rodgers told NPR in an interview. “They seem to be more concerned about their current business model, and they have become very wealthy under their current business model. But the fact of the matter is we’re seeing more and more evidence … that their current business model is harming our kids.”\u003c/p>\n\u003cp>Generally in response to these kinds of questions, Facebook \u003ca href=\"https://about.fb.com/news/2017/12/hard-questions-is-spending-time-on-social-media-bad-for-us/\" target=\"_blank\" rel=\"noopener noreferrer\">has pointed to research\u003c/a> indicating that poor mental health outcomes like depression stem from how people use the platforms and specifically whether they are “active” users who post and message people or “passive” users who mostly consume content.\u003c/p>\n\u003cp>The implication is that people have control over whether they feel bad from using the platforms, since users have a choice in whether they message their friends on Instagram, for instance, or whether they choose to scroll endlessly.\u003c/p>\n\u003cp>But Melissa Hunt, a psychology professor at the University of Pennsylvania, says it’s not so simple.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The company’s success is dependent on keeping people engaged and selling advertisements based on that engagement, so Facebook, she says, is motivated to create systems that keep people on its platforms no matter the effect to their long-term well-being.\u003c/p>\n\u003cp>Hunt was another one of the researchers who received an inquiry from Facebook about \u003ca href=\"https://penntoday.upenn.edu/news/social-media-use-increases-depression-and-loneliness\" target=\"_blank\" rel=\"noopener noreferrer\">her work\u003c/a> linking social media use and depression.\u003c/p>\n\u003cp>“Basically all of the things that would contribute to these platforms being healthier for people to use, which is basically spend less time, don’t follow strangers, don’t spend time passively scrolling through this random feed that’s being suggested to you,” Hunt says. “That completely undermines their whole business model.”\u003c/p>\n\u003cp>When she got a request for her time from the company, she says she thought about it. Then she also thought about what Facebook is currently valued at: close to a trillion dollars.\u003c/p>\n\u003cp>“I decided that if they were serious about that, they could pay me a nominal consulting fee,” Hunt says. “So I let them know what my consulting fee was. I said I’d be delighted to weigh in and share my expertise with you.”\u003c/p>\n\u003cp>She never heard back.\u003c/p>\n\u003cp>Similarly, Twenge responded to the request from the company and said she was interested in setting up a time to talk, but after a few back-and-forth messages, she has yet to hear back again.\u003c/p>\n\u003cp>Twenge feels strongly that while the research on the psychological impact of social media is relatively new, there are takeaways that can already be drawn, even as some insist on labeling it all “inconclusive.”\u003c/p>\n\u003cp>“It’s similar to the way that climate deniers can point to a few people in that field and say, ‘There’s a few people who still doubt this.’ It’s that false equivalence that happens too often,” Twenge said. “In this case, that small but vocal group has been very skilled at getting that message out, perhaps because these companies are very receptive to it.”\u003c/p>\n\u003cp>\u003cstrong>Questions without answers\u003c/strong>\u003c/p>\n\u003cp>In recent years, \u003ca href=\"https://www.huffpost.com/entry/why-social-media-is-more-_b_11297988\" target=\"_blank\" rel=\"noopener noreferrer\">some\u003c/a> have \u003ca href=\"https://www.businessinsider.com/salesforce-ceo-marc-benioff-said-at-davos-that-facebook-should-be-regulated-like-cigarettes-2018-1\" target=\"_blank\" rel=\"noopener noreferrer\">taken\u003c/a> to comparing social media to something else that previous generations used to fill idle moments to the detriment of their health: smoking cigarettes.\u003c/p>\n\u003cp>After smoking became \u003ca href=\"https://ourworldindata.org/grapher/sales-of-cigarettes-per-adult-per-day?time=1900..2014\" target=\"_blank\" rel=\"noopener noreferrer\">nearly universal\u003c/a>, cigarette companies \u003ca href=\"https://www.npr.org/transcripts/89114979\" target=\"_blank\" rel=\"noopener noreferrer\">famously\u003c/a> muddied the waters on research about how their products were harming people.\u003c/p>\n\u003cp>“Policy making is facilitated by consensus. However, scientific research is characterized by uncertainty,” wrote researcher Lisa Bero in \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1497700/pdf/15842123.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a paper\u003c/a> about how cigarette companies manipulated research. “It is often to the benefit of interest groups to generate controversy about data because the controversy is likely to slow or prevent regulation of a given product.”\u003c/p>\n\u003cp>But Brian Primack, who leads the College of Education and Health Professions at the University of Arkansas, says comparing the current research situation around social media and cigarettes is too simplistic.\u003c/p>\n\u003cp>Primack used to study tobacco. (“If it kills a lot of people, I want to study it,” he says about how he has chosen what to focus on throughout his career.)\u003c/p>\n\u003cp>Now, he spends his time investigating the effects of social media. And he sees a clear connection between depression and the online platforms.\u003c/p>\n\u003cp>A study \u003ca href=\"https://news.uark.edu/articles/55480/increased-social-media-use-linked-to-developing-depression-research-finds\" target=\"_blank\" rel=\"noopener noreferrer\">he published last year\u003c/a> found that young adults who increased their social media usage over a period of time were also found to be significantly more likely to become depressed over that same time period.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There is an association between the two,” Primack says. “Just meaning that if you put people into equal buckets in terms of how much social media they use, the people who use the most social media are also the people who are the most depressed.”\u003c/p>\n\u003cp>But unlike cigarettes, which he says have no useful purpose, some people have shown positive health outcomes from using social media.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/06/19/621136346/a-look-at-social-media-finds-some-possible-benefits-for-kids\" target=\"_blank\" rel=\"noopener noreferrer\">Brain development research\u003c/a> in recent years, for instance, found benefits in 9- and 10-year-olds from using social media.\u003c/p>\n\u003cp>“Social media is very heterogeneous. In some kids it can be very beneficial, and in other kids it can be very detrimental,” said the author of that study, Dr. Martin Paulus of the Laureate Institute for Brain Research. “But we still don’t understand which group of kids benefit from it and which group of kids may be harmed by it.”\u003c/p>\n\u003cp>Paulus is not confident the social media companies truly want to get to the bottom of that question either.\u003c/p>\n\u003cp>Several years ago, Paulus gave a presentation at Facebook with a few other researchers who were looking at the effects of social media. He came away from the meeting feeling like the company wasn’t serious about actually having objective research.\u003c/p>\n\u003cp>“It was more like a face-saving activity,” Paulus said. “Those companies, whether it’s Facebook or other companies as well, they say they want research… But they’re not necessarily interested in research that potentially would show that some of the things that they do are bad for kids.”\u003c/p>\n\u003cp>It’s a thorny issue to wade into. The company says that it employs hundreds of researchers and that it also supports efforts like Boston Children’s Hospital’s newly formed \u003ca href=\"https://www.childrenshospital.org/newsroom/news-and-events/2021/digital-wellness-lab-launch\" target=\"_blank\" rel=\"noopener noreferrer\">Digital Wellness Lab\u003c/a> and the Aspen Institute’s \u003ca href=\"https://csreports.aspeninstitute.org/Lessons-in-Loneliness/2020/report\" target=\"_blank\" rel=\"noopener noreferrer\">roundtables on loneliness and technology\u003c/a>.\u003c/p>\n\u003cp>But it has also been criticized for using its platforms for research purposes. In 2012, the company allowed researchers to change what people saw on the platform in order to see how that would affect the nature of what they then chose to post.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.pnas.org/content/111/24/8788.full\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> did show evidence that people’s moods are affected by what they see other people posting, but some saw the exercise as emotional manipulation, and one of the authors seemed to express \u003ca href=\"https://www.theatlantic.com/technology/archive/2014/06/everything-we-know-about-facebooks-secret-mood-manipulation-experiment/373648/\" target=\"_blank\" rel=\"noopener noreferrer\">regret\u003c/a> about conducting it after the backlash.\u003c/p>\n\u003cp>For a company with one of the largest data troves on the human population, this question of how best to conduct research expands to other sectors too. Disinformation researchers, for instance, have long been frustrated by what the company chooses and chooses not to share.\u003c/p>\n\u003cp>“They could answer questions that we desperately need answered any time they want, and they just won’t do it,” said Ben Scott, executive director at Reset, an initiative aimed at tackling digital threats to democracy. “They’ve chosen, for public relations reasons, not to participate in helping the public interest… And that’s outrageous.”\u003c/p>\n\u003cp>\u003cstrong>“God only knows what it’s doing to our children’s brains”\u003c/strong>\u003c/p>\n\u003cp>The potential dangers of kids spending hours hypnotized by their screens has been apparent essentially since the social media platforms were created.\u003c/p>\n\u003cp>Founding Facebook President Sean Parker once described, in \u003ca href=\"https://www.axios.com/sean-parker-unloads-on-facebook-god-only-knows-what-its-doing-to-our-childrens-brains-1513306792-f855e7b4-4e99-4d60-8d51-2775559c2671.html\" target=\"_blank\" rel=\"noopener noreferrer\">an interview with Axios\u003c/a>, the company’s algorithms as “exploiting a vulnerability in human psychology.”\u003c/p>\n\u003cp>“God only knows what it’s doing to our children’s brains,” Parker said. “The inventors, creators—it’s me, it’s Mark [Zuckerberg], it’s Kevin Systrom on Instagram, it’s all of these people—understood this consciously. And we did it anyway.”\u003c/p>\n\u003cp>The problem is compounded by how little government funding is going toward studying the effects of these platforms, relative to \u003ca href=\"https://www.npr.org/2021/03/05/971767967/trump-is-no-longer-tweeting-but-online-disinformation-isnt-going-away\" target=\"_blank\" rel=\"noopener noreferrer\">how much of each day\u003c/a> many Americans spend engaged with the technology.\u003c/p>\n\u003cp>Funding from the National Institutes of Health (NIH) is mostly focused on curing diseases, but because there is no specific disease officially associated with screen time, experts say it’s difficult to get studies funded by the federal government.\u003c/p>\n\u003cp>In 2019, Sen. Ed Markey, D-Mass., introduced \u003ca href=\"https://www.markey.senate.gov/imo/media/doc/CAMRA%20Act.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a bill\u003c/a> that would have provided a mechanism for more NIH research on the subject. The legislation had bipartisan co-sponsors and the support of Facebook, but it never made it to a vote.\u003c/p>\n\u003cp>Without more of that sort of research, parents are essentially left in the dark guessing exactly how much is too much for their kids when it comes to their devices.\u003c/p>\n\u003cp>“The truth of it, quite frankly, is we are probably living through one of the biggest natural experiments that we’ve gone through with our kids,” said Paulus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em>\u003cem> Facebook is among NPR’s financial supporters.\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=Facebook+Calls+Links+To+Depression+Inconclusive.+These+Researchers+Disagree&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Andrew McCarthy Recalls His Brat Pack Years in a New Memoir",
"headTitle": "Andrew McCarthy Recalls His Brat Pack Years in a New Memoir | KQED",
"content": "\u003cp>We’re going to go back now to the ’80s—you remember that era: big hair, big shoulder pads, Walkmans and a new kind of film star.\u003c/p>\n\u003cp>Andrew McCarthy starred in iconic movies like \u003cem>St. Elmo’s Fire\u003c/em>, \u003cem>Pretty in Pink\u003c/em> and \u003cem>Weekend at Bernie’s\u003c/em>. He’s considered one of the so-called Brat Pack—think Emilio Estevez, Demi Moore, Judd Nelson, young stars with swagger who were in all the hot movies that catered to the desires and dreams of young people for the first time.\u003c/p>\n\u003cp>McCarthy has spent a lot of his adult life running away from that label. But in his new memoir, \u003cem>Brat: An ’80s Story\u003c/em>, he takes a look back at his tumultuous 20s, when he first became famous.\u003c/p>\n\u003cfigure id=\"attachment_13897262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg\" alt=\"'Brat' by Andrew McCarthy.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Brat’ by Andrew McCarthy. \u003ccite>(Grand Central Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the name “Brat Pack,” which came from a 1985 \u003cem>New York Magazine\u003c/em> article\u003c/strong>\u003c/p>\n\u003cp>Well, it was a shock I think, to all of us, because it was on the cover of the magazine. I think it was supposed to be originally a small feature on Emilio. And then he invited the writer out with some of his buddies to go drinking at the Hard Rock Cafe one night. The writer turned off to his subject and it evolved into this cover story called “The Brat Pack.” And it’s interesting because the photo on the cover was a still shot from \u003cem>St. Elmo’s Fire\u003c/em>, which I was in. And then I was removed, cut out of it, for the cover shot. And when I saw the cover I went, ‘Oh my God, they cut me out.’ And then I read the article and I went, ‘Oh my God, thank God they cut me out.’ And then soon enough, I was swept up into it anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On how Molly Ringwald picked him for \u003cem>Pretty in Pink\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They were looking for a square-jawed, broad-shouldered quarterback type to play her boyfriend; to play the guy from the other side of the tracks. The right side of the tracks, as it were. And I had just been in \u003cem>St. Elmo’s Fire\u003c/em>, which hadn’t come out yet, but there was some buzz about the movie. And you’re never hotter than when nobody’s seen anything you’ve done. And so I was granted this sort of courtesy audition, because I was not the square-jawed, broad-shouldered quarterback type.\u003c/p>\n\u003cp>[aside postid='pop_107900']And anyway, I walked in and Molly was in there reading with people, and Molly and I read the scene together and John Hughes kind of went, ‘Okay, thank you.’ And he couldn’t have really cared less. And when I left the room, apparently Molly turned to John, said, ‘Well, that’s the guy.’ And John was like, ‘That wimpy guy?’ She’s like, ‘Yeah, he’s poetic and sensitive. That’s the kind of guy I’d fall for, not some jocky idiot.’ And John, to his credit, not only gave lip service to sort of respecting young people in his movies, he [actually] did. And he said, ‘Okay, I don’t really see it. But if you say he’s the guy, you got him.’\u003c/p>\n\u003cp>\u003cstrong>On the John Hughes movies\u003c/strong>\u003c/p>\n\u003cp>They were … about, you know, respecting young people and honoring that their emotions that they feel are bigger and deeper and fuller and more all-encompassing than yours or mine. You know, as adults, we kind of go, ‘He’s just a kid.’ And no. Like, my son is 19 years old and he’s in love for the first time. And he is the first person to ever be in love. And it is powerful and it is beautiful and it is all-encompassing in his life. And we were all that way at one point. And John honored that in a way that other grown-ups had not. And so kids saw that and went, ‘Yeah, that’s me, that’s my world, and latched onto us in a very deep way.’ And that’s all to John’s credit.\u003c/p>\n\u003cp>\u003cstrong>On his relationship with alcohol\u003c/strong>\u003c/p>\n\u003cp>The first thing I always say in discussing this is that I did not drink in any way as a reaction to my success. I didn’t feel, ‘Oh, he’s too young to handle it, so I turned to drink.’ Not at all. I started drinking sort of parallel—simultaneously. And my drinking was very much about drinking. I drank because I had an affinity to alcohol, and a tendency toward it, and an alcoholic temperament and neurobiology, you know. And it happened to coincide with the movies. And it certainly was detrimental to my career—in the later stages of it, for sure. But it wasn’t a reaction to my career. You know, I drank better vodka because I was in the movies—it didn’t cause me to start drinking.\u003c/p>\n\u003cp>\u003cstrong>On how fame affected him\u003c/strong>\u003c/p>\n\u003cp>Oh, I think fame changes you on a cellular level … As you’re growing up, you’re the center of the world and the center of the universe. And then as you grow up, you kind of get out into the world and you realize your mom was probably wrong. You’re not really the center of the world. And then you become famous and suddenly, no, no, no, no, you \u003cem>are\u003c/em> the center of the world. And so you stop growing in a certain way. And developmentally, it’s probably not the best thing for one’s being a well-rounded adult to be treated in such a way. You know, I always want to be treated special. Who doesn’t? But is that the best thing for me? And, you know, when you’re young—when you’re 20, 22, 23—like I was when I was starting to get successful in that way, you don’t even know who you are in a certain way yet. So stepping out on the hollow ground of fame is precarious when you’re not even sure who you are yet. So I found that a lot to navigate, for sure.\u003c/p>\n\u003cp>\u003cstrong>On the longevity of the Brat Pack-era movies\u003c/strong>\u003c/p>\n\u003cp>I think that’s lovely, you know. I think those kids who find them that way are really responding to their parents who were so invested. And you know what I represent now—I’m like an avatar to that generation’s youth. They’re not only looking back at the movies, they’re looking back at themselves when they were young. And at that moment when they were 20, whenever, they were just bursting out into the world when their life is an empty canvas to be painted on.\u003c/p>\n\u003cp>[aside postid='pop_97337']And there’s no more thrilling, exciting moment in our lives than when we are young and just—get out of my way! I’m coming out, world! And those movies represented that to a lot of people. And so I, in a certain way, kind of represent that to people. And I’ve grown to find that very satisfying, whereas I ran from that for so long. But I’ve come to really think of that as a gift. And that said, the emotions are true in those movies—I think they’re pretty truthful. However dated they may be as movies, the emotions underneath are timeless in that way. And so kids can relate to that. Maybe not the hair, but, you know, the emotions.\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Isabella Gomez and Melissa Gray, and adapted for the web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2021 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re going to go back now to the ’80s—you remember that era: big hair, big shoulder pads, Walkmans and a new kind of film star.\u003c/p>\n\u003cp>Andrew McCarthy starred in iconic movies like \u003cem>St. Elmo’s Fire\u003c/em>, \u003cem>Pretty in Pink\u003c/em> and \u003cem>Weekend at Bernie’s\u003c/em>. He’s considered one of the so-called Brat Pack—think Emilio Estevez, Demi Moore, Judd Nelson, young stars with swagger who were in all the hot movies that catered to the desires and dreams of young people for the first time.\u003c/p>\n\u003cp>McCarthy has spent a lot of his adult life running away from that label. But in his new memoir, \u003cem>Brat: An ’80s Story\u003c/em>, he takes a look back at his tumultuous 20s, when he first became famous.\u003c/p>\n\u003cfigure id=\"attachment_13897262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg\" alt=\"'Brat' by Andrew McCarthy.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/brat_custom-d5a97c7652fe7e4ec38ca0f3c858a6035ae67613-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Brat’ by Andrew McCarthy. \u003ccite>(Grand Central Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the name “Brat Pack,” which came from a 1985 \u003cem>New York Magazine\u003c/em> article\u003c/strong>\u003c/p>\n\u003cp>Well, it was a shock I think, to all of us, because it was on the cover of the magazine. I think it was supposed to be originally a small feature on Emilio. And then he invited the writer out with some of his buddies to go drinking at the Hard Rock Cafe one night. The writer turned off to his subject and it evolved into this cover story called “The Brat Pack.” And it’s interesting because the photo on the cover was a still shot from \u003cem>St. Elmo’s Fire\u003c/em>, which I was in. And then I was removed, cut out of it, for the cover shot. And when I saw the cover I went, ‘Oh my God, they cut me out.’ And then I read the article and I went, ‘Oh my God, thank God they cut me out.’ And then soon enough, I was swept up into it anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And anyway, I walked in and Molly was in there reading with people, and Molly and I read the scene together and John Hughes kind of went, ‘Okay, thank you.’ And he couldn’t have really cared less. And when I left the room, apparently Molly turned to John, said, ‘Well, that’s the guy.’ And John was like, ‘That wimpy guy?’ She’s like, ‘Yeah, he’s poetic and sensitive. That’s the kind of guy I’d fall for, not some jocky idiot.’ And John, to his credit, not only gave lip service to sort of respecting young people in his movies, he [actually] did. And he said, ‘Okay, I don’t really see it. But if you say he’s the guy, you got him.’\u003c/p>\n\u003cp>\u003cstrong>On the John Hughes movies\u003c/strong>\u003c/p>\n\u003cp>They were … about, you know, respecting young people and honoring that their emotions that they feel are bigger and deeper and fuller and more all-encompassing than yours or mine. You know, as adults, we kind of go, ‘He’s just a kid.’ And no. Like, my son is 19 years old and he’s in love for the first time. And he is the first person to ever be in love. And it is powerful and it is beautiful and it is all-encompassing in his life. And we were all that way at one point. And John honored that in a way that other grown-ups had not. And so kids saw that and went, ‘Yeah, that’s me, that’s my world, and latched onto us in a very deep way.’ And that’s all to John’s credit.\u003c/p>\n\u003cp>\u003cstrong>On his relationship with alcohol\u003c/strong>\u003c/p>\n\u003cp>The first thing I always say in discussing this is that I did not drink in any way as a reaction to my success. I didn’t feel, ‘Oh, he’s too young to handle it, so I turned to drink.’ Not at all. I started drinking sort of parallel—simultaneously. And my drinking was very much about drinking. I drank because I had an affinity to alcohol, and a tendency toward it, and an alcoholic temperament and neurobiology, you know. And it happened to coincide with the movies. And it certainly was detrimental to my career—in the later stages of it, for sure. But it wasn’t a reaction to my career. You know, I drank better vodka because I was in the movies—it didn’t cause me to start drinking.\u003c/p>\n\u003cp>\u003cstrong>On how fame affected him\u003c/strong>\u003c/p>\n\u003cp>Oh, I think fame changes you on a cellular level … As you’re growing up, you’re the center of the world and the center of the universe. And then as you grow up, you kind of get out into the world and you realize your mom was probably wrong. You’re not really the center of the world. And then you become famous and suddenly, no, no, no, no, you \u003cem>are\u003c/em> the center of the world. And so you stop growing in a certain way. And developmentally, it’s probably not the best thing for one’s being a well-rounded adult to be treated in such a way. You know, I always want to be treated special. Who doesn’t? But is that the best thing for me? And, you know, when you’re young—when you’re 20, 22, 23—like I was when I was starting to get successful in that way, you don’t even know who you are in a certain way yet. So stepping out on the hollow ground of fame is precarious when you’re not even sure who you are yet. So I found that a lot to navigate, for sure.\u003c/p>\n\u003cp>\u003cstrong>On the longevity of the Brat Pack-era movies\u003c/strong>\u003c/p>\n\u003cp>I think that’s lovely, you know. I think those kids who find them that way are really responding to their parents who were so invested. And you know what I represent now—I’m like an avatar to that generation’s youth. They’re not only looking back at the movies, they’re looking back at themselves when they were young. And at that moment when they were 20, whenever, they were just bursting out into the world when their life is an empty canvas to be painted on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And there’s no more thrilling, exciting moment in our lives than when we are young and just—get out of my way! I’m coming out, world! And those movies represented that to a lot of people. And so I, in a certain way, kind of represent that to people. And I’ve grown to find that very satisfying, whereas I ran from that for so long. But I’ve come to really think of that as a gift. And that said, the emotions are true in those movies—I think they’re pretty truthful. However dated they may be as movies, the emotions underneath are timeless in that way. And so kids can relate to that. Maybe not the hair, but, you know, the emotions.\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Isabella Gomez and Melissa Gray, and adapted for the web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "‘Underground Railroad’ is a Hard But Beautiful Reflection on Black Pain | KQED",
"content": "\u003cp>\u003cem>(Warning: This column contains descriptions of racialized violence and discusses some plot points in ‘The Underground Railroad’ series.)\u003c/em>\u003c/p>\n\u003cp>For this Black TV critic, completing \u003ca href=\"https://www.npr.org/2021/05/10/994616279/underground-railroad-director-barry-jenkins-sees-film-as-an-empathy-machine\" target=\"_blank\" rel=\"noopener noreferrer\">Barry Jenkins’ \u003c/a>ambitious, beautifully brutal, 10-episode adaptation of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em> \u003c/a>was an emotional journey that touched every nerve of what it feels like to be a person of color striving to matter in America.\u003c/p>\n\u003cp>There has been a lot of discussion in pop culture circles about the depictions of Black pain in recent films and TV shows; I’ll engage that debate more fully later. But, for me\u003cem>, The Underground Railroad\u003c/em> mostly earns the right to deploy such terrible, emotionally devastating moments. These depictions enable this talented Black director/producer/writer to tell an epic story about Black people—building a TV masterpiece in the process.\u003c/p>\n\u003cp>[aside postid='arts_13873526']On the surface, it’s a story about an orphan slave, Cora Randall (Thuso Mbedu), who uses the underground railroad to escape a brutal, 19th century-era Georgia plantation. But Jenkins’ limited series for Amazon Prime Video adopts Whitehead’s use of magical realism to conjure a tale rooted in painful authenticity, guided by poetic fantasy.\u003c/p>\n\u003cp>The reality: Cora flees a plantation where a recaptured slave is burned alive during a party held by the plantation owner—a punishment all the slaves watch as a horrifying lesson/deterrent. This master also insists on watching his slaves copulate to supervise their breeding, like prized racehorses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when Cora and another slave—the blue-eyed, stalwart Caesar (Aaron Pierre)—make it to the underground railroad, they find it actually \u003cem>is\u003c/em> a railroad: a winding set of tracks deep beneath the earth used to ferry Black people away from the horrors of the slave-owning South. Accepting that the train track, locomotives, conductors and station stops are real for the characters focuses your mind on the \u003cem>meaning\u003c/em> of their travels more than the circumstances of their escape, allowing the gauntlet of travails Cora faces to serve as pungent examples of larger ideas.\u003c/p>\n\u003cp>And make no mistake: The litany of nightmares Cora endures while traveling north is an onslaught of Black pain. In one South Carolina city, Black people are allowed to attend schools, taught to read by white teachers. But Cora also works in a museum that seems like a living zoo, where white people gather to watch her recreate her past life as a slave picking cotton inside a glass-windowed display case. It will be no surprise to learn she uncovers darker revelations there, as well.\u003c/p>\n\u003cp>[aside postid='arts_13844783']Later, Cora is smuggled to a North Carolina community where lynched Black people hang from trees lining both sides of the road into town, as a sign that they are not tolerated. She is hidden by a white couple who seem to have little but contempt and anger for her. That is a constant theme in \u003cem>The Underground Railroad\u003c/em>; most white characters have damaging, callous intentions for Black people, even if they seem initially benign.\u003c/p>\n\u003cp>The cast is exceptional, led by Thuso Mbedu’s intense, emotional work as Cora. She often whipsaws between open, uninhibited anguish and a guarded, emotionally shut-down wariness. Affable \u003cem>The Good Place\u003c/em> alum, William Jackson Harper, gives the performance of his career as Royal, a free man with whom she builds a complicated, loving relationship.\u003c/p>\n\u003cp>Joel Edgerton is compelling as Arnold Ridgeway, the white slave-hunter who dogs her trail. He travels with a whip-smart Black boy named Homer (Chase W. Dillon), who does most of the work and exposes Cora’s hiding places most often. Homer seems an embodiment of both the hypocrisy of white exceptionalism and the ways Black folk shackle themselves to serve white masters (this is literal; Ridgeway’s young companion can’t sleep unless he puts his wrist in a chain at night).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_Pq5Usc_JDA\u003c/p>\n\u003cp>Jenkins, best-known for the \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar-winning film \u003cem>Moonlight\u003c/em>\u003c/a>\u003cem>,\u003c/em> is a director who makes Black folks look beautiful, even in the midst of crushing hardship and pain. His eye for color and majestic images transforms everything from burned-out swaths of Kentucky forest to the endless fields of cotton plantations into arresting tableaus.\u003c/p>\n\u003cp>But he is also a filmmaker who takes his time in telling stories. Which means viewers must sit in the pain of traumatic moments, waiting for Jenkins to fully reveal the awfulness you know is coming. It’s difficult to endure, especially if you already know the hard truths these moments are engineered to convey.\u003c/p>\n\u003cp>[aside postid='arts_13875290']Many of the more harrowing scenes in \u003cem>The Underground Railroad\u003c/em> communicate familiar ideas. The role white jealousy plays in the drive to oppress Black people. The insidious way white culture convinces Black people to work toward their own oppression and the oppression of others. The many ways Black folks struggle to process and transcend trauma. The ways in which Black joy and peace can feel like the briefest of respites from a seemingly eternal struggle.\u003c/p>\n\u003cp>That’s why, in addition to feeling sorrow and disgust in watching those horrors realized onscreen, I also felt anger. Not just over the unfairness of it all, but for the way Black people have been forced, generation after generation, to expose our wounds from systemic racism, just to prove to the wider—often white—world that it exists at all.\u003c/p>\n\u003cp>One reason why projects like \u003cem>The Underground Railroad\u003c/em> feel so necessary, is because white America has tried so hard to deny, diminish or erase the shame of its racist past—refusing to acknowledge the connection between centuries of oppression and ongoing, current problems.\u003c/p>\n\u003cp>This version of \u003cem>The Underground Railroad\u003c/em> reaches us at a time when we are most prepared for its message, but severely challenged by its delivery system. We are nearly one year past the date of George Floyd’s death; 12 months in which video capturing the brutality of this Black man’s slow murder beneath the knee of white policeman Derek Chauvin has been played and replayed on screens large and small.\u003c/p>\n\u003cp>Another wound, repeatedly ripped open. And even as footage of Floyd’s death builds sympathy for the victims of systemic racism, it leaves many of us unable to stomach more images of Black lives snuffed out by prejudice and fear.\u003c/p>\n\u003cp>But Jenkins’ \u003cem>The Underground Railroad \u003c/em>demands we endure another look. Because when Cora finally reaches a community led by free Black people, the Indiana winery called the Valentine Farm, we viewers understand why the director brought us through hell to find this oasis. Our relief is as palpable as hers.\u003c/p>\n\u003cp>[aside postid='arts_13895452']There are problems here: great gobs of time spent telling the white slave hunter Ridgeway’s story—and because he’s the most loquacious character, he often tells us his story again, even after the series shows it. The unfortunate drawback is that we learn more about his interior thoughts and motivations than those of many of the Black characters here, even Cora.\u003c/p>\n\u003cp>And some of the messaging is delivered with the subtlety of a steamroller, as when a Black character at Valentine Farm declares: “America, too is a delusion. Its very foundations are murder, theft and cruelty. Yet here WE are.”\u003c/p>\n\u003cp>Still, that line sums up the enduring, transformative message of Jenkins’ epic masterpiece. Black folks are here, ready to survive and thrive, our lives filled with poetry, magic and joy, no matter what an unjust world throws at us.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And that’s always something worth watching.\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=%27Underground+Railroad%27+Is+A+Hard+But+Beautiful+Reflection+On+Black+Pain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>(Warning: This column contains descriptions of racialized violence and discusses some plot points in ‘The Underground Railroad’ series.)\u003c/em>\u003c/p>\n\u003cp>For this Black TV critic, completing \u003ca href=\"https://www.npr.org/2021/05/10/994616279/underground-railroad-director-barry-jenkins-sees-film-as-an-empathy-machine\" target=\"_blank\" rel=\"noopener noreferrer\">Barry Jenkins’ \u003c/a>ambitious, beautifully brutal, 10-episode adaptation of \u003ca href=\"https://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">Colson Whitehead’s \u003cem>The Underground Railroad\u003c/em> \u003c/a>was an emotional journey that touched every nerve of what it feels like to be a person of color striving to matter in America.\u003c/p>\n\u003cp>There has been a lot of discussion in pop culture circles about the depictions of Black pain in recent films and TV shows; I’ll engage that debate more fully later. But, for me\u003cem>, The Underground Railroad\u003c/em> mostly earns the right to deploy such terrible, emotionally devastating moments. These depictions enable this talented Black director/producer/writer to tell an epic story about Black people—building a TV masterpiece in the process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the surface, it’s a story about an orphan slave, Cora Randall (Thuso Mbedu), who uses the underground railroad to escape a brutal, 19th century-era Georgia plantation. But Jenkins’ limited series for Amazon Prime Video adopts Whitehead’s use of magical realism to conjure a tale rooted in painful authenticity, guided by poetic fantasy.\u003c/p>\n\u003cp>The reality: Cora flees a plantation where a recaptured slave is burned alive during a party held by the plantation owner—a punishment all the slaves watch as a horrifying lesson/deterrent. This master also insists on watching his slaves copulate to supervise their breeding, like prized racehorses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when Cora and another slave—the blue-eyed, stalwart Caesar (Aaron Pierre)—make it to the underground railroad, they find it actually \u003cem>is\u003c/em> a railroad: a winding set of tracks deep beneath the earth used to ferry Black people away from the horrors of the slave-owning South. Accepting that the train track, locomotives, conductors and station stops are real for the characters focuses your mind on the \u003cem>meaning\u003c/em> of their travels more than the circumstances of their escape, allowing the gauntlet of travails Cora faces to serve as pungent examples of larger ideas.\u003c/p>\n\u003cp>And make no mistake: The litany of nightmares Cora endures while traveling north is an onslaught of Black pain. In one South Carolina city, Black people are allowed to attend schools, taught to read by white teachers. But Cora also works in a museum that seems like a living zoo, where white people gather to watch her recreate her past life as a slave picking cotton inside a glass-windowed display case. It will be no surprise to learn she uncovers darker revelations there, as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Later, Cora is smuggled to a North Carolina community where lynched Black people hang from trees lining both sides of the road into town, as a sign that they are not tolerated. She is hidden by a white couple who seem to have little but contempt and anger for her. That is a constant theme in \u003cem>The Underground Railroad\u003c/em>; most white characters have damaging, callous intentions for Black people, even if they seem initially benign.\u003c/p>\n\u003cp>The cast is exceptional, led by Thuso Mbedu’s intense, emotional work as Cora. She often whipsaws between open, uninhibited anguish and a guarded, emotionally shut-down wariness. Affable \u003cem>The Good Place\u003c/em> alum, William Jackson Harper, gives the performance of his career as Royal, a free man with whom she builds a complicated, loving relationship.\u003c/p>\n\u003cp>Joel Edgerton is compelling as Arnold Ridgeway, the white slave-hunter who dogs her trail. He travels with a whip-smart Black boy named Homer (Chase W. Dillon), who does most of the work and exposes Cora’s hiding places most often. Homer seems an embodiment of both the hypocrisy of white exceptionalism and the ways Black folk shackle themselves to serve white masters (this is literal; Ridgeway’s young companion can’t sleep unless he puts his wrist in a chain at night).\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/_Pq5Usc_JDA'\n title='//www.youtube.com/embed/_Pq5Usc_JDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenkins, best-known for the \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar-winning film \u003cem>Moonlight\u003c/em>\u003c/a>\u003cem>,\u003c/em> is a director who makes Black folks look beautiful, even in the midst of crushing hardship and pain. His eye for color and majestic images transforms everything from burned-out swaths of Kentucky forest to the endless fields of cotton plantations into arresting tableaus.\u003c/p>\n\u003cp>But he is also a filmmaker who takes his time in telling stories. Which means viewers must sit in the pain of traumatic moments, waiting for Jenkins to fully reveal the awfulness you know is coming. It’s difficult to endure, especially if you already know the hard truths these moments are engineered to convey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many of the more harrowing scenes in \u003cem>The Underground Railroad\u003c/em> communicate familiar ideas. The role white jealousy plays in the drive to oppress Black people. The insidious way white culture convinces Black people to work toward their own oppression and the oppression of others. The many ways Black folks struggle to process and transcend trauma. The ways in which Black joy and peace can feel like the briefest of respites from a seemingly eternal struggle.\u003c/p>\n\u003cp>That’s why, in addition to feeling sorrow and disgust in watching those horrors realized onscreen, I also felt anger. Not just over the unfairness of it all, but for the way Black people have been forced, generation after generation, to expose our wounds from systemic racism, just to prove to the wider—often white—world that it exists at all.\u003c/p>\n\u003cp>One reason why projects like \u003cem>The Underground Railroad\u003c/em> feel so necessary, is because white America has tried so hard to deny, diminish or erase the shame of its racist past—refusing to acknowledge the connection between centuries of oppression and ongoing, current problems.\u003c/p>\n\u003cp>This version of \u003cem>The Underground Railroad\u003c/em> reaches us at a time when we are most prepared for its message, but severely challenged by its delivery system. We are nearly one year past the date of George Floyd’s death; 12 months in which video capturing the brutality of this Black man’s slow murder beneath the knee of white policeman Derek Chauvin has been played and replayed on screens large and small.\u003c/p>\n\u003cp>Another wound, repeatedly ripped open. And even as footage of Floyd’s death builds sympathy for the victims of systemic racism, it leaves many of us unable to stomach more images of Black lives snuffed out by prejudice and fear.\u003c/p>\n\u003cp>But Jenkins’ \u003cem>The Underground Railroad \u003c/em>demands we endure another look. Because when Cora finally reaches a community led by free Black people, the Indiana winery called the Valentine Farm, we viewers understand why the director brought us through hell to find this oasis. Our relief is as palpable as hers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are problems here: great gobs of time spent telling the white slave hunter Ridgeway’s story—and because he’s the most loquacious character, he often tells us his story again, even after the series shows it. The unfortunate drawback is that we learn more about his interior thoughts and motivations than those of many of the Black characters here, even Cora.\u003c/p>\n\u003cp>And some of the messaging is delivered with the subtlety of a steamroller, as when a Black character at Valentine Farm declares: “America, too is a delusion. Its very foundations are murder, theft and cruelty. Yet here WE are.”\u003c/p>\n\u003cp>Still, that line sums up the enduring, transformative message of Jenkins’ epic masterpiece. Black folks are here, ready to survive and thrive, our lives filled with poetry, magic and joy, no matter what an unjust world throws at us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s always something worth watching.\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=%27Underground+Railroad%27+Is+A+Hard+But+Beautiful+Reflection+On+Black+Pain&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "As Many Entertainment Venues Start to Reopen, Nobody Does a Comeback Like the Movies | KQED",
"content": "\u003cp>With just two weeks to go before \u003cem>A Quiet Place Part II\u003c/em> makes your local multiplex a less quiet place, Hollywood has started the back-to-cinemas drumroll.\u003c/p>\n\u003cp>“There’s nothing like that moment when the lights go down,” growls Vin Diesel, channeling his inner Richard Attenborough in \u003ca href=\"https://www.youtube.com/watch?v=5eblKqTZ-0Q\" target=\"_blank\" rel=\"noopener noreferrer\">a trailer for \u003cem>F9\u003c/em>\u003c/a>, the latest \u003cem>Fast & Furious\u003c/em> installment. “The projector ignites, and we believe.”\u003c/p>\n\u003cp>As he says this, a jeep explodes in flames, somersaulting over his car, and the implication is inescapable—you pretty much have to see this on the biggest possible screen.\u003c/p>\n\u003cp>“Nobody does a comeback like the movies,” Diesel continues. And he should know. This online appeal arrived just hours before the Oscars telecast, as Universal was preparing to release all eight of the previous F&F films in theaters, one per week to build excitement for \u003cem>F9\u003c/em>‘s opening at the end of June.\u003c/p>\n\u003cp>Then came a spot from Matthew McConaughey during the Oscars, singing the praises of the more than 150,000 cinema employees who’ve suffered through “the longest intermission they could’ve ever imagined”—a reference to the closure of theaters due to the COVID-19 pandemic—and are now eager to welcome patrons back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=faoUct00qec\u003c/p>\n\u003cp>That these are plugs not just for a movie, but for the movies, is the point. It’s not easy to jump-start a whole industry from a full stop. \u003cem>Tenet\u003c/em> tried back in September and fizzled when audiences weren’t ready (though it did decently overseas). Double-oh-seven’s been announcing and then cancelling premieres. Wonder Woman stuck to her Christmas opening date, but streamed the same day. Surveys indicate plenty of interest, but patrons haven’t been showing up.\u003c/p>\n\u003cp>So nothing’s being left to chance this time. Memorial Day weekend will have a couple of medium-size genre prequels to prime the pump—Disney’s live-action \u003cem>Cruella,\u003c/em> and the thriller \u003cem>A Quiet Place Part II\u003c/em>—with the big guns \u003cem>F9\u003c/em> and Marvel’s \u003cem>Black Widow\u003c/em> holding off until closer to July 4. That gives Hollywood studios time to sell the summer’s sizzle, and pandemic-weary patrons time to get comfortable with the idea of gathering in enclosed spaces.\u003c/p>\n\u003cp>Theater operators, meanwhile, are \u003ca href=\"https://touch.facebook.com/LandmarkCinemas10Kingston/videos/welcome-back-preview-your-movie-going-experience/3091348557622093/\" target=\"_blank\" rel=\"noopener noreferrer\">leaning hard\u003c/a> on safety with social distancing protocols and new ventilation systems, \u003ca href=\"https://www.youtube.com/watch?v=B-4feoqrLlM\" target=\"_blank\" rel=\"noopener noreferrer\">reassurance\u003c/a> from epidemiologists, and “safe-and-clean” \u003ca href=\"https://www.facebook.com/amctheatres/videos/were-excited-to-welcome-you-back-to-amc-theatres-heres-what-you-need-to-know-abo/667956943819398/\" target=\"_blank\" rel=\"noopener noreferrer\">initiatives\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13894499']And perhaps even more attentive than the big chains are art-houses, which cater to older audiences, so they’re especially conscious of risk and the need to make auditoriums safe. Their patrons will be coming back for more specialized fare. “Come on back,” says Nashville’s non-profit film center, The Belcourt, with plugs for \u003cem>Cinema Paradiso\u003c/em>, and \u003cem>Hollywood Shuffle\u003c/em>.\u003c/p>\n\u003cp>But nobody does a “You Reeeally Want This” sales pitch quite like Marvel. Theirs starts with the voice of the late Stan Lee extolling togetherness over images of a crowded city street, then cuts to Iron Man pulling Spider-Man in for a hug, followed by more scenes of cinematic togetherness from a 23-film “Infinity Saga.” It all builds to a moment of shared movie excitement that was experienced by literally hundreds of millions of people worldwide: the climax of \u003cem>Avengers Endgame\u003c/em>, when all appears hopeless, defeat inevitable—until the movie music swells, and at the last possible second, reinforcements arrive.\u003c/p>\n\u003cp>And the theater audience erupts. The image on screen is of multiplex patrons leaping to their feet at an \u003cem>Endgame\u003c/em> showing—arguably the ideal argument for returning to cinemas—but not, it turns out, the real grabber in Marvel’s “Welcome Back.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdpxoFcdORI\u003c/p>\n\u003cp>The trailer reserves that prime spot for the thing besides audiences that Hollywood hasn’t had for more than a year—the thing that is finally making it possible for cinemas to re-open—hard opening dates. As music thunders, they glisten and flare defiantly beneath titles: July 9 for the much delayed \u003cem>Black Widow; \u003c/em>Sept. 3 for \u003cem>Shang Chi\u003c/em> and the \u003cem>Legend of the Ten Rings;\u003c/em> Nov. 5 for \u003cem>The Eternals;\u003c/em> Dec. 17 for \u003cem>Spider-Man No Way Home\u003c/em>, and on and on through May of 2023.\u003c/p>\n\u003cp>You don’t even have to like superhero movies to find the sheer “we’ve got you” bravado comforting when Gemma Chan’s Sersi gazes into a middle distance and declares, “We’re the ones who changed everything.”\u003c/p>\n\u003cp>Different universe, of course. The pandemic changed everything in ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But superheroes are still decent role models for audiences heading back to cinemas. Long before the rest of us, remember, quite a few of them were perfectly comfortable wearing masks.\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=As+Many+Entertainment+Venues+Start+To+Reopen%2C+Nobody+Does+A+Comeback+Like+The+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/faoUct00qec'\n title='//www.youtube.com/embed/faoUct00qec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That these are plugs not just for a movie, but for the movies, is the point. It’s not easy to jump-start a whole industry from a full stop. \u003cem>Tenet\u003c/em> tried back in September and fizzled when audiences weren’t ready (though it did decently overseas). Double-oh-seven’s been announcing and then cancelling premieres. Wonder Woman stuck to her Christmas opening date, but streamed the same day. Surveys indicate plenty of interest, but patrons haven’t been showing up.\u003c/p>\n\u003cp>So nothing’s being left to chance this time. Memorial Day weekend will have a couple of medium-size genre prequels to prime the pump—Disney’s live-action \u003cem>Cruella,\u003c/em> and the thriller \u003cem>A Quiet Place Part II\u003c/em>—with the big guns \u003cem>F9\u003c/em> and Marvel’s \u003cem>Black Widow\u003c/em> holding off until closer to July 4. That gives Hollywood studios time to sell the summer’s sizzle, and pandemic-weary patrons time to get comfortable with the idea of gathering in enclosed spaces.\u003c/p>\n\u003cp>Theater operators, meanwhile, are \u003ca href=\"https://touch.facebook.com/LandmarkCinemas10Kingston/videos/welcome-back-preview-your-movie-going-experience/3091348557622093/\" target=\"_blank\" rel=\"noopener noreferrer\">leaning hard\u003c/a> on safety with social distancing protocols and new ventilation systems, \u003ca href=\"https://www.youtube.com/watch?v=B-4feoqrLlM\" target=\"_blank\" rel=\"noopener noreferrer\">reassurance\u003c/a> from epidemiologists, and “safe-and-clean” \u003ca href=\"https://www.facebook.com/amctheatres/videos/were-excited-to-welcome-you-back-to-amc-theatres-heres-what-you-need-to-know-abo/667956943819398/\" target=\"_blank\" rel=\"noopener noreferrer\">initiatives\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And perhaps even more attentive than the big chains are art-houses, which cater to older audiences, so they’re especially conscious of risk and the need to make auditoriums safe. Their patrons will be coming back for more specialized fare. “Come on back,” says Nashville’s non-profit film center, The Belcourt, with plugs for \u003cem>Cinema Paradiso\u003c/em>, and \u003cem>Hollywood Shuffle\u003c/em>.\u003c/p>\n\u003cp>But nobody does a “You Reeeally Want This” sales pitch quite like Marvel. Theirs starts with the voice of the late Stan Lee extolling togetherness over images of a crowded city street, then cuts to Iron Man pulling Spider-Man in for a hug, followed by more scenes of cinematic togetherness from a 23-film “Infinity Saga.” It all builds to a moment of shared movie excitement that was experienced by literally hundreds of millions of people worldwide: the climax of \u003cem>Avengers Endgame\u003c/em>, when all appears hopeless, defeat inevitable—until the movie music swells, and at the last possible second, reinforcements arrive.\u003c/p>\n\u003cp>And the theater audience erupts. The image on screen is of multiplex patrons leaping to their feet at an \u003cem>Endgame\u003c/em> showing—arguably the ideal argument for returning to cinemas—but not, it turns out, the real grabber in Marvel’s “Welcome Back.”\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/QdpxoFcdORI'\n title='//www.youtube.com/embed/QdpxoFcdORI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailer reserves that prime spot for the thing besides audiences that Hollywood hasn’t had for more than a year—the thing that is finally making it possible for cinemas to re-open—hard opening dates. As music thunders, they glisten and flare defiantly beneath titles: July 9 for the much delayed \u003cem>Black Widow; \u003c/em>Sept. 3 for \u003cem>Shang Chi\u003c/em> and the \u003cem>Legend of the Ten Rings;\u003c/em> Nov. 5 for \u003cem>The Eternals;\u003c/em> Dec. 17 for \u003cem>Spider-Man No Way Home\u003c/em>, and on and on through May of 2023.\u003c/p>\n\u003cp>You don’t even have to like superhero movies to find the sheer “we’ve got you” bravado comforting when Gemma Chan’s Sersi gazes into a middle distance and declares, “We’re the ones who changed everything.”\u003c/p>\n\u003cp>Different universe, of course. The pandemic changed everything in ours.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But superheroes are still decent role models for audiences heading back to cinemas. Long before the rest of us, remember, quite a few of them were perfectly comfortable wearing masks.\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=As+Many+Entertainment+Venues+Start+To+Reopen%2C+Nobody+Does+A+Comeback+Like+The+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There exists, in some alternate universe, a version of the new HBO Max series \u003cem>Hacks \u003c/em>that is spikier, faster, meaner—and as a result, considerably thinner, less generous and less rewarding—than the one that premieres today.\u003c/p>\n\u003cp>Happily, this one’s pretty great, because it achieves and maintains a delicate balance born out of: 1. Knowing its subject and 2. A determination to treat its two lead characters fairly.\u003c/p>\n\u003cp>There’s a make-or-break moment in the pilot that establishes that balance, that confidence and that generosity all at once: Ava (Hannah Einbinder), a successful young comedy writer fallen on hard times, has been forced by her manager (co-creator Paul W. Downs) to meet legendary standup comic Deborah Vance (Jean Smart) at her Vegas home. Deborah’s Vegas residency is threatened by a casino owner looking to reach a younger audience than Deborah draws, so she reluctantly agrees to the meet.\u003c/p>\n\u003cp>[aside postid='arts_13895500']The battle lines are drawn: Deborah is a comic of the Joan Rivers generation and mindset—her act is full of bawdy zingers at her ex-husband and winking self-deprecation at the prospect of aging. Every joke builds to a punchline that’s been honed to practiced perfection over the years. She’s a consummate pro, even if her references are getting rusty (she’s still going to the Anna Nicole Smith well, for example). There’s an edge to her comedy, sure, but it’s not one so sharp that it threatens to cut any of the thousands of tourists that show up to see her shows between hitting the nickel slots.\u003c/p>\n\u003cp>Ava’s comedy is weirder, more conceptual. Younger. Birthed and fueled by social media, she sees traditional punchlines as a marker of hackdom; they are things to be fled, in favor of, say, “a 25-tweet thread from the perspective of my Lexapro.” She’s also got a set of hackles that get dependably raised by Deborah’s coarser, less enlightened jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is teetering on knife-edge, in this scene. You can imagine it going one of two ways: Either it adopts Ava’s point of view and proceeds to depict Deborah as a cartoon of an out-of-touch comedy relic with a fossilized understanding of race and gender whose wealth and station have turned her into a pampered diva. Or it takes Deborah’s side, and becomes a thin excuse for an endless string of exasperated jokes about Millennials, vaping, sexting and “cancel culture.”\u003c/p>\n\u003cp>We then learn that Ava’s lost her cushy gig writing for a show in L.A. because of a joke she tweeted about a US Senator. And we think: That’s it then, the die is cast. The show’s an excuse to whine about “cancel culture” and vape pens and avocado toast. Whee.\u003c/p>\n\u003cp>And then, soon after the Ava-Deborah meeting goes south, we learn what exactly the tweet in question was, and we deflate even more.\u003c/p>\n\u003cp>Because we’ve seen comedy written about the comedy business before, countless times, and it rarely works. It’s come to be called the \u003cem>Studio 60 \u003c/em>phenomenon, named for Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>, his attempt to offer a behind-the-scenes peek at the makings of an \u003cem>SNL\u003c/em>-like sketch comedy show. The behind-the-scenes stuff was full of the kind of comedic dialogue Sorkin could write in his sleep. But the \u003cem>scenes\u003c/em>? The actual sketches? Upon which the conceit of the series entirely depended? Were so woefully, painfully unfunny they represented a serial assault on the audience’s suspension of disbelief, from which the show could never recover.\u003c/p>\n\u003cp>We think that’s what’s going on, here, too, at first. Because Ava’s tweet 1. Would never, on the face of it, result in anything approaching “cancellation” and 2. …\u003c/p>\n\u003cp>Well, that’s the thing. That’s when the show firmly establishes that it knows whereof it speaks. Because that’s when Deborah rolls her eyes at Ava, and tells her exactly what we the audience is thinking: “It’s just not funny,” she says. (They proceed to workshop the joke, and they make it better. Better, not good. This seems important.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wE51pzVpwBg\u003c/p>\n\u003cp>From that moment on, \u003cem>Hacks \u003c/em>lets the hard, caricature-like outlines of both Ava and Deborah proceed to abrade away as the two women are allowed to become rounded, real characters. They still clash, often, over the course of the season (the first six episodes out of the season’s ten were released to press), because that’s where the show’s humor is chiefly located. But those clashes tend to be small, smartly observed and specific, not cartoonishly broad. That they will both grudgingly come to acknowledge and validate each other’s comedic sensibilities is a foregone conclusion, given the series’ odd-couple setup; the delight resides in the unforced chemistry between Smart and Einbeinder, and in how that mutual respect evolves.\u003c/p>\n\u003cp>I don’t know if the role of Deborah Vance was written for Smart, but she certainly makes it seem like it was. Moments that could be played for unkind laughs—a Sally-Field-in-\u003cem>Soapdish \u003c/em>moment when Deborah boards a Hollywood tour bus in search of validation, say—are instead played for their humanity and vulnerability. As a result, the payoffs prove infinitely more satisfying. Smart’s also convincing as a standup, performing Deborah’s vaguely hokey routines with a naturalistic flair as if she was born to it.\u003c/p>\n\u003cp>[aside postid='arts_13891872']Einbinder’s role is arguably trickier, as she’s tasked with playing someone the audience is inclined to empathize with, even as she continually evinces behavior that’s self-involved or self-destructive. But again: \u003cem>Hacks \u003c/em>isn’t interested in painting either of its leads with a broad brush, and Ava is given several moments of self-awareness and selflessness that add layers of nuance, and understanding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To say that \u003cem>Hacks \u003c/em>is refreshingly and surprisingly generous to its two leads—and to its supporting characters, like Carl Clemons-Hopkins’ gently sardonic C.O.O. Marcus and Kaitlin Olson as Deborah’s messy daughter—isn’t to slot it into the warm-fuzziness of a show like say, \u003cem>Ted Lasso\u003c/em>. It’s both sharper and (not for nothing) queerer than that. But like that hugely engaging series, \u003cem>Hacks \u003c/em>creates a world of characters and dialogue and situations you want to spend as much time with as possible.\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=%27Hacks%27%3A+A+Comedic+Generational+Divide+Gets+Bridged%2C+%28Jean%29+Smartly&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>The show is teetering on knife-edge, in this scene. You can imagine it going one of two ways: Either it adopts Ava’s point of view and proceeds to depict Deborah as a cartoon of an out-of-touch comedy relic with a fossilized understanding of race and gender whose wealth and station have turned her into a pampered diva. Or it takes Deborah’s side, and becomes a thin excuse for an endless string of exasperated jokes about Millennials, vaping, sexting and “cancel culture.”\u003c/p>\n\u003cp>We then learn that Ava’s lost her cushy gig writing for a show in L.A. because of a joke she tweeted about a US Senator. And we think: That’s it then, the die is cast. The show’s an excuse to whine about “cancel culture” and vape pens and avocado toast. Whee.\u003c/p>\n\u003cp>And then, soon after the Ava-Deborah meeting goes south, we learn what exactly the tweet in question was, and we deflate even more.\u003c/p>\n\u003cp>Because we’ve seen comedy written about the comedy business before, countless times, and it rarely works. It’s come to be called the \u003cem>Studio 60 \u003c/em>phenomenon, named for Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>, his attempt to offer a behind-the-scenes peek at the makings of an \u003cem>SNL\u003c/em>-like sketch comedy show. The behind-the-scenes stuff was full of the kind of comedic dialogue Sorkin could write in his sleep. But the \u003cem>scenes\u003c/em>? The actual sketches? Upon which the conceit of the series entirely depended? Were so woefully, painfully unfunny they represented a serial assault on the audience’s suspension of disbelief, from which the show could never recover.\u003c/p>\n\u003cp>We think that’s what’s going on, here, too, at first. Because Ava’s tweet 1. Would never, on the face of it, result in anything approaching “cancellation” and 2. …\u003c/p>\n\u003cp>Well, that’s the thing. That’s when the show firmly establishes that it knows whereof it speaks. Because that’s when Deborah rolls her eyes at Ava, and tells her exactly what we the audience is thinking: “It’s just not funny,” she says. (They proceed to workshop the joke, and they make it better. Better, not good. This seems important.)\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/wE51pzVpwBg'\n title='//www.youtube.com/embed/wE51pzVpwBg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From that moment on, \u003cem>Hacks \u003c/em>lets the hard, caricature-like outlines of both Ava and Deborah proceed to abrade away as the two women are allowed to become rounded, real characters. They still clash, often, over the course of the season (the first six episodes out of the season’s ten were released to press), because that’s where the show’s humor is chiefly located. But those clashes tend to be small, smartly observed and specific, not cartoonishly broad. That they will both grudgingly come to acknowledge and validate each other’s comedic sensibilities is a foregone conclusion, given the series’ odd-couple setup; the delight resides in the unforced chemistry between Smart and Einbeinder, and in how that mutual respect evolves.\u003c/p>\n\u003cp>I don’t know if the role of Deborah Vance was written for Smart, but she certainly makes it seem like it was. Moments that could be played for unkind laughs—a Sally-Field-in-\u003cem>Soapdish \u003c/em>moment when Deborah boards a Hollywood tour bus in search of validation, say—are instead played for their humanity and vulnerability. As a result, the payoffs prove infinitely more satisfying. Smart’s also convincing as a standup, performing Deborah’s vaguely hokey routines with a naturalistic flair as if she was born to it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To say that \u003cem>Hacks \u003c/em>is refreshingly and surprisingly generous to its two leads—and to its supporting characters, like Carl Clemons-Hopkins’ gently sardonic C.O.O. Marcus and Kaitlin Olson as Deborah’s messy daughter—isn’t to slot it into the warm-fuzziness of a show like say, \u003cem>Ted Lasso\u003c/em>. It’s both sharper and (not for nothing) queerer than that. But like that hugely engaging series, \u003cem>Hacks \u003c/em>creates a world of characters and dialogue and situations you want to spend as much time with as possible.\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=%27Hacks%27%3A+A+Comedic+Generational+Divide+Gets+Bridged%2C+%28Jean%29+Smartly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ellen DeGeneres Will End Her Daytime Talk Show in 2022",
"headTitle": "Ellen DeGeneres Will End Her Daytime Talk Show in 2022 | KQED",
"content": "\u003cp>TV host Ellen DeGeneres is pulling the plug on her successful daytime TV variety/comedy/talk show at the end of this season. For more than 18 years, she has famously danced with her guests and the audience, played games and pranks with them and given away prizes. She has interviewed everyone from Hollywood A-listers to precocious children. But now, she and Warner Brothers Television have said \u003ca href=\"https://www.ellentube.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Ellen DeGeneres Show\u003c/em>\u003c/a> will end in 2022.\u003c/p>\n\u003cp>“When you’re a creative person, you constantly need to be challenged,” DeGeneres told \u003cem>The Hollywood Reporter \u003c/em>in an exclusive interview, “and as great as this show is, and as fun as it is, it’s just not a challenge anymore.”\u003c/p>\n\u003cp>She’ll be talking about her decision on her show today. And tomorrow, she’ll sit down with friend and guest Oprah Winfrey to talk some more.\u003c/p>\n\u003cp>[aside postid='arts_13878678']“Although all good things must come to an end, you still have hope that the truly great things never will,” said Mike Darnell, the president of Warner Brothers Unscripted Television, in a statement. He said DeGeneres’ show “started as the little program that could and became an absolute phenomenon. Over the years, it established itself as the premiere destination for both superstars and incredible heartfelt human interest stories. The show and Ellen brought comedy, joy, happiness, comfort (and dancing!) to countless millions every day for 18 years. It was and is an indelible piece of the television landscape, and it will be sorely missed.”\u003c/p>\n\u003cp>The standup comedian began her talk show in 2003, five years after coming out on her sitcom, \u003cem>Ellen,\u003c/em> and \u003ca href=\"https://time.com/4728994/ellen-degeneres-1997-coming-out-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">announcing on the cover of \u003cem>Time \u003c/em>Magazine\u003c/a>: “Yep, I’m Gay.” For that, President Barack Obama bestowed on her the Presidential Medal of Freedom. She’s won the Kennedy Center’s Mark Twain Prize for American Humor, and her television show has earned daytime Emmy awards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In sharp contrast to her public image as everyone’s good friend, happy to listen, she presents herself—with tongue in cheek—as cartoonishly aloof and indifferent, stuck in a privileged bubble, cracking several jokes, for instance, about her fabulous wealth,” \u003cem>The New York Times\u003c/em> wrote in a profile of DeGeneres. In the article, her wife, actress Portia de Rossi, encouraged her to move away from her talk show. “I just think she’s such a brilliant actress and stand-up that it doesn’t have to be this talk show for her creativity,” de Rossi said. “There are other things she could tackle.” But DeGeneres said her brother, and Warner Brothers executives, urged her to stay on, saying the audience needed her positivity on TV every day. She signed a new contract.\u003c/p>\n\u003cp>But last year, former and current staffers who remained anonymous claimed that the show was a toxic workplace. They told \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Buzzfeed \u003c/em>\u003c/a>they experienced racist comments, fear and intimidation on set, and some alleged they were sexually harassed by the show’s producers. WarnerMedia investigated, and fired three of the show’s executive producers and the head writer. DeGeneres, who based her persona on urging people to “be kind,” \u003ca href=\"https://www.nbcnews.com/news/all/ellen-degeneres-apologizes-staff-after-reports-toxic-workplace-i-take-n1235443\" target=\"_blank\" rel=\"noopener noreferrer\">apologized to her staff\u003c/a>. In a memo, she wrote that “she intended for her show to be a place where ‘no one would ever raise their voice, and everyone would be treated with respect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Egn3CuQRHW8\u003c/p>\n\u003cp>She opened her 18th season in September with an apology to her audience. “I learned that things happened here that never should have happened. I take that very seriously,” she said. “I know that I’m in a position of privilege and power, and I realize that with that comes responsibility, and I take responsibility for what happens at my show.”\u003c/p>\n\u003cp>[aside postid='arts_13884094']DeGeneres said the show was starting a new chapter. “My intention is to always be the best person I can be. And if I’ve ever let someone down, if I’ve ever hurt their feelings, I am so sorry for that. If that’s the case, I have let myself down and I’ve hurt myself as well because I always try to grow as a person. I look at everything that comes into my life is an opportunity to learn. I got into this business to make people laugh and feel good. That’s my favorite thing to do. That, and Jenga.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Brothers says DeGeneres will still continue on Fox’s \u003cem>The Masked Dancer\u003c/em>, NBC’s \u003cem>Ellen’s Game of Games\u003c/em> and HBO Max’s \u003cem>Ellen’s Next Great Designer\u003c/em>. Her Ellen Digital Ventures includes more than 60 original series, including \u003cem>Momsplaining With Kristin Bell\u003c/em>. She is also producing documentaries and specials for Discovery, and according to \u003cem>The Hollywood Reporter,\u003c/em> she is hoping for more acting roles and time for her conservation efforts.\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=Ellen+DeGeneres+Will+End+Her+Daytime+Talk+Show+In+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>TV host Ellen DeGeneres is pulling the plug on her successful daytime TV variety/comedy/talk show at the end of this season. For more than 18 years, she has famously danced with her guests and the audience, played games and pranks with them and given away prizes. She has interviewed everyone from Hollywood A-listers to precocious children. But now, she and Warner Brothers Television have said \u003ca href=\"https://www.ellentube.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Ellen DeGeneres Show\u003c/em>\u003c/a> will end in 2022.\u003c/p>\n\u003cp>“When you’re a creative person, you constantly need to be challenged,” DeGeneres told \u003cem>The Hollywood Reporter \u003c/em>in an exclusive interview, “and as great as this show is, and as fun as it is, it’s just not a challenge anymore.”\u003c/p>\n\u003cp>She’ll be talking about her decision on her show today. And tomorrow, she’ll sit down with friend and guest Oprah Winfrey to talk some more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Although all good things must come to an end, you still have hope that the truly great things never will,” said Mike Darnell, the president of Warner Brothers Unscripted Television, in a statement. He said DeGeneres’ show “started as the little program that could and became an absolute phenomenon. Over the years, it established itself as the premiere destination for both superstars and incredible heartfelt human interest stories. The show and Ellen brought comedy, joy, happiness, comfort (and dancing!) to countless millions every day for 18 years. It was and is an indelible piece of the television landscape, and it will be sorely missed.”\u003c/p>\n\u003cp>The standup comedian began her talk show in 2003, five years after coming out on her sitcom, \u003cem>Ellen,\u003c/em> and \u003ca href=\"https://time.com/4728994/ellen-degeneres-1997-coming-out-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">announcing on the cover of \u003cem>Time \u003c/em>Magazine\u003c/a>: “Yep, I’m Gay.” For that, President Barack Obama bestowed on her the Presidential Medal of Freedom. She’s won the Kennedy Center’s Mark Twain Prize for American Humor, and her television show has earned daytime Emmy awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In sharp contrast to her public image as everyone’s good friend, happy to listen, she presents herself—with tongue in cheek—as cartoonishly aloof and indifferent, stuck in a privileged bubble, cracking several jokes, for instance, about her fabulous wealth,” \u003cem>The New York Times\u003c/em> wrote in a profile of DeGeneres. In the article, her wife, actress Portia de Rossi, encouraged her to move away from her talk show. “I just think she’s such a brilliant actress and stand-up that it doesn’t have to be this talk show for her creativity,” de Rossi said. “There are other things she could tackle.” But DeGeneres said her brother, and Warner Brothers executives, urged her to stay on, saying the audience needed her positivity on TV every day. She signed a new contract.\u003c/p>\n\u003cp>But last year, former and current staffers who remained anonymous claimed that the show was a toxic workplace. They told \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Buzzfeed \u003c/em>\u003c/a>they experienced racist comments, fear and intimidation on set, and some alleged they were sexually harassed by the show’s producers. WarnerMedia investigated, and fired three of the show’s executive producers and the head writer. DeGeneres, who based her persona on urging people to “be kind,” \u003ca href=\"https://www.nbcnews.com/news/all/ellen-degeneres-apologizes-staff-after-reports-toxic-workplace-i-take-n1235443\" target=\"_blank\" rel=\"noopener noreferrer\">apologized to her staff\u003c/a>. In a memo, she wrote that “she intended for her show to be a place where ‘no one would ever raise their voice, and everyone would be treated with respect.”\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/Egn3CuQRHW8'\n title='//www.youtube.com/embed/Egn3CuQRHW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She opened her 18th season in September with an apology to her audience. “I learned that things happened here that never should have happened. I take that very seriously,” she said. “I know that I’m in a position of privilege and power, and I realize that with that comes responsibility, and I take responsibility for what happens at my show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>DeGeneres said the show was starting a new chapter. “My intention is to always be the best person I can be. And if I’ve ever let someone down, if I’ve ever hurt their feelings, I am so sorry for that. If that’s the case, I have let myself down and I’ve hurt myself as well because I always try to grow as a person. I look at everything that comes into my life is an opportunity to learn. I got into this business to make people laugh and feel good. That’s my favorite thing to do. That, and Jenga.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Brothers says DeGeneres will still continue on Fox’s \u003cem>The Masked Dancer\u003c/em>, NBC’s \u003cem>Ellen’s Game of Games\u003c/em> and HBO Max’s \u003cem>Ellen’s Next Great Designer\u003c/em>. Her Ellen Digital Ventures includes more than 60 original series, including \u003cem>Momsplaining With Kristin Bell\u003c/em>. She is also producing documentaries and specials for Discovery, and according to \u003cem>The Hollywood Reporter,\u003c/em> she is hoping for more acting roles and time for her conservation efforts.\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=Ellen+DeGeneres+Will+End+Her+Daytime+Talk+Show+In+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Notes on Grief' Makes Visceral the Experience of Death and Grieving",
"headTitle": "‘Notes on Grief’ Makes Visceral the Experience of Death and Grieving | KQED",
"content": "\u003cp>The lament, a lyrical outpouring of sorrow, is one of the oldest and most universal art forms, with \u003cem>The Lament for Sumer and Ur \u003c/em>dating back 4,000 years to ancient Sumer.\u003c/p>\n\u003cp>Across time and cultures, the lament has been seen in \u003cem>The Illiad \u003c/em>and \u003cem>t\u003c/em>he Hindu \u003cem>Vedas,\u003c/em> \u003cem>Beowulf\u003c/em> and the \u003cem>Christian Bible. \u003c/em>It has been seen in the operas of Monteverdi and Purcell, the music of Mozart and Rossini. The lament permeates the piobaireachd music of Scotland. And for millenia, the lament has characterized African mourning traditions, from the Bantu in the East to the Igbo in the West.\u003c/p>\n\u003cp>In Chimamanda Ngozi Adichie’s \u003cem>Notes on Grief, \u003c/em>the lament composed to honor and process the death of her father during the early days of the global COVID-19 pandemic, one of our century’s most gifted artists of language makes visceral the experience of death and grieving. In poetic bursts of imagistic prose that mirror the fracturing of self after the death of a beloved parent, Adichie constructs a narrative of mourning—of haunting and of love.\u003c/p>\n\u003cfigure id=\"attachment_13897018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-800x1156.jpg\" alt=\"'Notes On Grief,' by Chimamanda Ngozi Adichie.\" width=\"800\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-800x1156.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1020x1474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-768x1110.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1063x1536.jpg 1063w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1417x2048.jpg 1417w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a.jpg 1495w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Notes On Grief,’ by Chimamanda Ngozi Adichie. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adichie begins with her understanding of how grief is a raw physical thing, as uncontrollable as the urge to expel bile when sick, as the need to push during childbirth. Perhaps this is because grief is not a choice—nor is the depth of grief one feels. It is all consuming; it overtakes one like the pounding of the monsoon during the rainy season and all one can do is hold on and hope not to be swept underneath by the intensity of its force. Writes Adichie:\u003c/p>\n\u003cblockquote>\u003cp>“My four year old daughter says I scared her. She got down on her knees to demonstrate, her small clenched fist rising and falling, and her mimicry makes me see myself as I was: utterly unraveling, screaming and pounding the floor. The news is like a vicious uprooting.”\u003c/p>\u003c/blockquote>\n\u003cp>Even here, even in the retrospective lament, to look directly at the grief is too much to bear. Adichie must construct the frame of her daughter’s seeing in order to look at the manifestation of her own pain. Grief, Adichie tells us, is grounded in the body memory. “The pain is not surprising, but its physicality is,” she writes early on, her sides achy from crying, her arms heavy with sorrow; understanding that mourning is an act of the whole body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moving across past and present, Adichie details the familiar—the pandemic-driven Zoom calls with family across three different countries—and then the horrific—her father’s sudden death when he seemed fine—followed by the family’s shock and numbness as they process what has happened, as they wonder what could have been done differently in order for their father not to die. The \u003cem>if onlys \u003c/em>become a familiar refrain, turning over and over in the mind. “Did my spirit know—the way anxiety sat sharp in my stomach once I heard he was unwell; my sleeplessness for two days; and the hovering, darkening pall I could neither name nor shake off?” she writes.\u003c/p>\n\u003cp>And always, the lament that death came too soon, the wishing for more time.\u003c/p>\n\u003cp>[aside postid='arts_13893843']Reflecting upon moments of her father’s life in vivid, richly saturated details allows some comfort. Adichie details her last trip to Nigeria to see her father, the stories of his courtship of her mother and other memories. Carefully, lovingly, she touches upon the objects that are all that are left, now, to mark her father’s life that both comfort and haunt—the piles of stones in the driveway to mark his daily exercise, home videos from trips to Lagos, old sudoku books, old photographs and letters. But even she, the writer, knows these words are not enough to stem the rising waters of grief: “You learn how much grief is about language, the failure of language and the grasping for language,” Adichie writes.\u003c/p>\n\u003cp>A daughter’s love and respect for a father who was pivotal in her formation of self saturates these pages. Equally present is the need to create something out of that grief to honor the father so he will be remembered. But the question is how. As the pandemic rages on, the funeral is delayed; instead, mourners from their community come to sit and tell stories over and over. Adichie reckons with her discomfort with these aspects of Igbo mourning traditions:\u003c/p>\n\u003cblockquote>\u003cp>“There is value in that Igbo way, that African way, of grappling with grief: that performative, expressive mourning, where you take every call and you tell and retell the story of what happened, where isolation is anathema and ‘stop crying’ a refrain. But I am not ready.”\u003c/p>\u003c/blockquote>\n\u003cp>For Adichie, this communal mourning is too much. While her mother must shave her head and sit and bear the grief of the community come to honor her dead husband with their words, both spoken and signed into the death notebook, Adichie thinks: “Who are you coming into our house to write in that alien notebook? How dare you make this thing true?” She is troubled over the platitudes uttered that echo meaningless and empty, and humbly regrets times in the past when she too had uttered those same platitudes to friends who had lost a loved one, unaware of the painful banality of such language in the midst of the sharp haunting of grieving.\u003c/p>\n\u003cp>For Adichie, grief is private, held close. She does not want to speak to others. She wants to wrap herself in grief like a baby in a swaddled blanket and imagine it is her father’s hands, still present, soothing her to sleep. It is only in the stillness of her own lament that she can understand grief. To Adichie, the only word that makes sense is the simple, authentic \u003cem>Ndo,\u003c/em> the Igbo word for sorry.\u003c/p>\n\u003cp>In the closing pages, the body still looms large over the understanding of grief. Adichie, thinking of how to adorn the body for grief, is making T-shirts for her father’s funeral. “I don’t particularly like T-shirts, but I spend hours on a customization website, designing T-shirts to memorialize my father, trying out fonts and colors and images,” she writes.\u003c/p>\n\u003cp>[aside postid='arts_13879768']It is primal and universal, the need to create something to honor the dead; to say “I am my father’s daughter.” First the marking of grief on the body, then the marking of grief on the page.\u003c/p>\n\u003cp>In this way, \u003cem>Notes on Grief \u003c/em>becomes a work larger than its slim size, universal in the experience of the loss of a parent, and the struggle to mourn that loss, during a pandemic when airport closures and social distancing push funerals months and months past their scheduled dates. Of not knowing when the funeral will be, the delaying again, and then again. “‘After the burial we can begin to heal,'” Adichie’s mother says. Perhaps, in the reading of this book, in this personal lament made universal, so too will the rest of us who have lost so much over this past year of loss and grieving.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hope Wabuke is a poet, writer and assistant professor at the University of Nebraska-Lincoln.\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=%27Notes+On+Grief%27+Makes+Visceral+The+Experience+Of+Death+And+Grieving&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lament, a lyrical outpouring of sorrow, is one of the oldest and most universal art forms, with \u003cem>The Lament for Sumer and Ur \u003c/em>dating back 4,000 years to ancient Sumer.\u003c/p>\n\u003cp>Across time and cultures, the lament has been seen in \u003cem>The Illiad \u003c/em>and \u003cem>t\u003c/em>he Hindu \u003cem>Vedas,\u003c/em> \u003cem>Beowulf\u003c/em> and the \u003cem>Christian Bible. \u003c/em>It has been seen in the operas of Monteverdi and Purcell, the music of Mozart and Rossini. The lament permeates the piobaireachd music of Scotland. And for millenia, the lament has characterized African mourning traditions, from the Bantu in the East to the Igbo in the West.\u003c/p>\n\u003cp>In Chimamanda Ngozi Adichie’s \u003cem>Notes on Grief, \u003c/em>the lament composed to honor and process the death of her father during the early days of the global COVID-19 pandemic, one of our century’s most gifted artists of language makes visceral the experience of death and grieving. In poetic bursts of imagistic prose that mirror the fracturing of self after the death of a beloved parent, Adichie constructs a narrative of mourning—of haunting and of love.\u003c/p>\n\u003cfigure id=\"attachment_13897018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-800x1156.jpg\" alt=\"'Notes On Grief,' by Chimamanda Ngozi Adichie.\" width=\"800\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-800x1156.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1020x1474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-768x1110.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1063x1536.jpg 1063w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1417x2048.jpg 1417w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a.jpg 1495w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Notes On Grief,’ by Chimamanda Ngozi Adichie. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adichie begins with her understanding of how grief is a raw physical thing, as uncontrollable as the urge to expel bile when sick, as the need to push during childbirth. Perhaps this is because grief is not a choice—nor is the depth of grief one feels. It is all consuming; it overtakes one like the pounding of the monsoon during the rainy season and all one can do is hold on and hope not to be swept underneath by the intensity of its force. Writes Adichie:\u003c/p>\n\u003cblockquote>\u003cp>“My four year old daughter says I scared her. She got down on her knees to demonstrate, her small clenched fist rising and falling, and her mimicry makes me see myself as I was: utterly unraveling, screaming and pounding the floor. The news is like a vicious uprooting.”\u003c/p>\u003c/blockquote>\n\u003cp>Even here, even in the retrospective lament, to look directly at the grief is too much to bear. Adichie must construct the frame of her daughter’s seeing in order to look at the manifestation of her own pain. Grief, Adichie tells us, is grounded in the body memory. “The pain is not surprising, but its physicality is,” she writes early on, her sides achy from crying, her arms heavy with sorrow; understanding that mourning is an act of the whole body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moving across past and present, Adichie details the familiar—the pandemic-driven Zoom calls with family across three different countries—and then the horrific—her father’s sudden death when he seemed fine—followed by the family’s shock and numbness as they process what has happened, as they wonder what could have been done differently in order for their father not to die. The \u003cem>if onlys \u003c/em>become a familiar refrain, turning over and over in the mind. “Did my spirit know—the way anxiety sat sharp in my stomach once I heard he was unwell; my sleeplessness for two days; and the hovering, darkening pall I could neither name nor shake off?” she writes.\u003c/p>\n\u003cp>And always, the lament that death came too soon, the wishing for more time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Reflecting upon moments of her father’s life in vivid, richly saturated details allows some comfort. Adichie details her last trip to Nigeria to see her father, the stories of his courtship of her mother and other memories. Carefully, lovingly, she touches upon the objects that are all that are left, now, to mark her father’s life that both comfort and haunt—the piles of stones in the driveway to mark his daily exercise, home videos from trips to Lagos, old sudoku books, old photographs and letters. But even she, the writer, knows these words are not enough to stem the rising waters of grief: “You learn how much grief is about language, the failure of language and the grasping for language,” Adichie writes.\u003c/p>\n\u003cp>A daughter’s love and respect for a father who was pivotal in her formation of self saturates these pages. Equally present is the need to create something out of that grief to honor the father so he will be remembered. But the question is how. As the pandemic rages on, the funeral is delayed; instead, mourners from their community come to sit and tell stories over and over. Adichie reckons with her discomfort with these aspects of Igbo mourning traditions:\u003c/p>\n\u003cblockquote>\u003cp>“There is value in that Igbo way, that African way, of grappling with grief: that performative, expressive mourning, where you take every call and you tell and retell the story of what happened, where isolation is anathema and ‘stop crying’ a refrain. But I am not ready.”\u003c/p>\u003c/blockquote>\n\u003cp>For Adichie, this communal mourning is too much. While her mother must shave her head and sit and bear the grief of the community come to honor her dead husband with their words, both spoken and signed into the death notebook, Adichie thinks: “Who are you coming into our house to write in that alien notebook? How dare you make this thing true?” She is troubled over the platitudes uttered that echo meaningless and empty, and humbly regrets times in the past when she too had uttered those same platitudes to friends who had lost a loved one, unaware of the painful banality of such language in the midst of the sharp haunting of grieving.\u003c/p>\n\u003cp>For Adichie, grief is private, held close. She does not want to speak to others. She wants to wrap herself in grief like a baby in a swaddled blanket and imagine it is her father’s hands, still present, soothing her to sleep. It is only in the stillness of her own lament that she can understand grief. To Adichie, the only word that makes sense is the simple, authentic \u003cem>Ndo,\u003c/em> the Igbo word for sorry.\u003c/p>\n\u003cp>In the closing pages, the body still looms large over the understanding of grief. Adichie, thinking of how to adorn the body for grief, is making T-shirts for her father’s funeral. “I don’t particularly like T-shirts, but I spend hours on a customization website, designing T-shirts to memorialize my father, trying out fonts and colors and images,” she writes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is primal and universal, the need to create something to honor the dead; to say “I am my father’s daughter.” First the marking of grief on the body, then the marking of grief on the page.\u003c/p>\n\u003cp>In this way, \u003cem>Notes on Grief \u003c/em>becomes a work larger than its slim size, universal in the experience of the loss of a parent, and the struggle to mourn that loss, during a pandemic when airport closures and social distancing push funerals months and months past their scheduled dates. Of not knowing when the funeral will be, the delaying again, and then again. “‘After the burial we can begin to heal,'” Adichie’s mother says. Perhaps, in the reading of this book, in this personal lament made universal, so too will the rest of us who have lost so much over this past year of loss and grieving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We continue to believe that the HFPA is committed to meaningful reform,” NBC said in a statement on Monday. “However, change of this magnitude takes time and work, and we feel strongly that the HFPA needs time to do it right. As such, NBC will not air the 2022 Golden Globes. Assuming the organization executes on its plan, we are hopeful we will be in a position to air the show in January 2023.”\u003c/p>\n\u003cp>The 86-member organization has been scrambling to clean up its reputation and voted last week for an \u003ca href=\"https://deadline.com/2021/05/hfpa-reform-vote-inclusion-ali-sar-golden-globes-1234751269/\" target=\"_blank\" rel=\"noopener noreferrer\">overhaul proposal\u003c/a> that includes finding a new CEO, a Chief Diversity, Equity & Inclusion Officer, and a hotline to report conduct violations. It also kick-starts a search for new members, which at the moment includes zero Black people.\u003c/p>\n\u003cp>But the pledges of transformation have done little to assuage entertainment companies. On the same day that the HFPA approved the new plan, Netflix co-CEO Ted Sarandos announced the streaming company is cutting ties with the Golden Globes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We don’t believe these proposed new policies—particularly around the size and speed of membership growth—will tackle the HFPA’s systemic diversity and inclusion challenges, or the lack of clear standards for how your members should operate,” Sarandos said in a letter to the HFPA’s Leadership Committee obtained by NPR.\u003c/p>\n\u003cp>“So we’re stopping any activities with your organization until more meaningful changes are made.”\u003c/p>\n\u003cp>Amazon Studios has also given the HFPA the change-or-else ultimatum.\u003c/p>\n\u003cp>“We have not been working with the HFPA since these issues were first raised, and like the rest of the industry, we are awaiting a sincere and significant resolution before moving forward,” Jennifer Salke, who heads the studio, said in a statement \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/nbc-will-not-air-2022-golden-globes-1234950687/\" target=\"_blank\" rel=\"noopener noreferrer\">according \u003c/a>to \u003cem>The Hollywood Reporter. \u003c/em>\u003c/p>\n\u003cp>And in another devastating blow to the beleaguered organization, WarnerMedia on Sunday said it too is no longer engaging with the HFPA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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