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"content": "\u003cp>The recent wave of anti-Asian violence this year reminds us all again of our vulnerability and our long, fraught, and relatively under-explored history in this country. Just like their European counterparts, South Asian immigrant laborers, students, merchants, religious leaders, and professionals came to American shores filled with hopes for a better life, only to be faced with hostile government policies and anti-immigrant sentiment rooted in racism and xenophobia. And since the events of September 11, 2001, there has been more visible violence against South Asian immigrants in the U.S—yet many cases go unreported because of fears of deportation.\u003c/p>\n\u003cp>Divya Victor’s new book, \u003cem>Curb\u003c/em>, considers post 9/11 domestic terrorism against South Asians across America. Like her previous book, \u003cem>Kith\u003c/em>, this is also a hybrid collection of verse and prose, memoir and history, reflections and imaginings, cultural criticism and what writer Cathy Park Hong has called “minor feelings.”\u003c/p>\n\u003cp>The opening piece is a brief, heartbreaking statement made by Victor’s mother during a casual walk:\u003c/p>\n\u003cblockquote>\u003cp>yes; I am // afraid all // the time; all // the places are all // the same to me; all // of us are the same to all // of them; this is all // that matters; all // of us don’t matter at all.\u003c/p>\u003c/blockquote>\n\u003cp>In her endnotes Victor says that confession, from a mother fearful of everything and everyone in a foreign country helped her cross an emotional threshold to begin the book. Like blood blooming from that open wound, Victor’s words spill onto page after page with an unstanchable urgency. In addition to exploring her own modes of survival, belonging, and displacement, she meditates on the deaths of five South Asian men—\u003ca href=\"https://storycorps.org/stories/remembering-balbir-singh-sodhi-sikh-man-killed-in-post-911-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">Balbir Singh Sodhi\u003c/a>; \u003ca href=\"https://www.tandfonline.com/doi/abs/10.17953/amer.22.2.5383143vq7222t92?journalCode=ramj20\" target=\"_blank\" rel=\"noopener noreferrer\">Navroze Mody\u003c/a>; \u003ca href=\"http://divyendusinha.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Divyendu Sinha\u003c/a>; \u003ca href=\"https://www.nydailynews.com/new-york/subway-shove-victim-mourned-article-1.1230475\" target=\"_blank\" rel=\"noopener noreferrer\">Sunando Sen\u003c/a>; \u003ca href=\"https://www.nytimes.com/2017/07/08/us/he-became-a-hate-crime-victim-she-became-a-widow.html\" target=\"_blank\" rel=\"noopener noreferrer\">Srinivas Kuchibhotla\u003c/a>—killed by white supremacists and nationalists.\u003c/p>\n\u003cp>[aside postid='arts_13877013']Victor’s painfully vivid and sharp fragments of prose and poetry are loaded with kinesthetic and synesthetic images as well as multilingual alliterations and repetitions. Many of these pages have geographic coordinates at their top-right corners to locate the specific sites of the events being described, and to remind us that reading is a physical act that leaves traces. The carefully-constructed white spaces on Victor’s pages are not merely aesthetic flourishes but much-needed pauses to allow the language, emotions, and thoughts to flow into us and pool in those places that 24/7 news and social media have left numb.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are experimental pieces where Victor takes formal legal documents like immigration petitions and turns them into deeply personal accounts of sensations and perceptions: “I am filing a petition for her eyes & her tendency to leave jars open, & the way a nape turning away from me is a bride walking towards me …” And a series of conversations with South Asian immigrant Uber drivers that reveal casteism, internalized racism and colonialism, but also kinship:\u003c/p>\n\u003cblockquote>\u003cp>… what he wants to say // & cannot // is that my eyes // are the color // of shade, a dark // oval left on the earth // by a fig tree // from his hometown …\u003c/p>\u003c/blockquote>\n\u003cp>Even the more traditional pieces, with scenes familiar to most immigrants, are unsettling. For example, the block party where Victor’s Indian first name becomes prolonged, agonizing small talk, like the weather or a local business:\u003c/p>\n\u003cblockquote>\u003cp>They face her, head cocked. Olivia? Vivian? Vivia? Diva? Tibia? “It’s Teeveeya”, one offers […] She is laughing the same laugh that she has heard her father laugh at so many all white office parties, cheering their attempts, playing surrogate to their embarrassment, comforting them into peace in their mouths …\u003c/p>\u003c/blockquote>\n\u003cp>And the gardening scene, when:\u003c/p>\n\u003cblockquote>\u003cp>Do you have stones, someone is asking me. Where you are from, do you have stones, like these. We have purple sunbirds, I am saying, & their hearts have four rooms, one for every answer to questions like these.\u003c/p>\u003c/blockquote>\n\u003cp>This book is not only for South Asians or immigrants. The treasure trove of metaphorical, literary, and cultural symbols and allusions goes beyond South Asia and America. Victor, a professor of creative writing and transnational poetry and poetics, brings together rich strands from other geographies, mythologies, and timespaces too. In doing so, she helps us all recontextualize, reconstruct, and recharge our own memories. Her goal is to have us interrogate what we remember, feel, think, and know about South Asia’s place in the world, its immigrant diaspora, and the losses of these five men in particular.\u003c/p>\n\u003cp>[aside postid='arts_13880441']In a \u003ca href=\"https://aaww.org/sugar-on-the-gash/\" target=\"_blank\" rel=\"noopener noreferrer\">2018 essay\u003c/a>, Victor writes about witnessing a childhood incident in India where a mother presses sugar into a young girl’s cut lip to stop the bleeding. Sugar on the gash. Describing how this facilitates debridement—”the removal of dead tissue and foreign objects from the site of a wound”—Victor asserts that poetic acts of debridement can occur at the woundings in our histories, so that “the scene of recitation becomes the scene of wounding, and subsequently, and importantly, the scene of rescue.”\u003c/p>\n\u003cp>\u003cem>Curb \u003c/em>is more than a personal poetics of loss and identity. It is even more than a well-written eulogy of five murdered South Asian Americans. It is a profound act of poetic debridement for the South Asian American diaspora, and an insistent plea to resist erasure by first acknowledging, absorbing, processing, and remembering our own communal histories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jenny Bhatt is a writer, literary translator, book critic, and host of the \u003c/em>Desi Books \u003cem>podcast. \u003c/em>\u003ca href=\"https://jennybhattwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">https://jennybhattwriter.com\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Curb%27+Uses+Poetry+To+Scrub+At+The+Wounds+Of+Anti-Asian+Racism&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>There are experimental pieces where Victor takes formal legal documents like immigration petitions and turns them into deeply personal accounts of sensations and perceptions: “I am filing a petition for her eyes & her tendency to leave jars open, & the way a nape turning away from me is a bride walking towards me …” And a series of conversations with South Asian immigrant Uber drivers that reveal casteism, internalized racism and colonialism, but also kinship:\u003c/p>\n\u003cblockquote>\u003cp>… what he wants to say // & cannot // is that my eyes // are the color // of shade, a dark // oval left on the earth // by a fig tree // from his hometown …\u003c/p>\u003c/blockquote>\n\u003cp>Even the more traditional pieces, with scenes familiar to most immigrants, are unsettling. For example, the block party where Victor’s Indian first name becomes prolonged, agonizing small talk, like the weather or a local business:\u003c/p>\n\u003cblockquote>\u003cp>They face her, head cocked. Olivia? Vivian? Vivia? Diva? Tibia? “It’s Teeveeya”, one offers […] She is laughing the same laugh that she has heard her father laugh at so many all white office parties, cheering their attempts, playing surrogate to their embarrassment, comforting them into peace in their mouths …\u003c/p>\u003c/blockquote>\n\u003cp>And the gardening scene, when:\u003c/p>\n\u003cblockquote>\u003cp>Do you have stones, someone is asking me. Where you are from, do you have stones, like these. We have purple sunbirds, I am saying, & their hearts have four rooms, one for every answer to questions like these.\u003c/p>\u003c/blockquote>\n\u003cp>This book is not only for South Asians or immigrants. The treasure trove of metaphorical, literary, and cultural symbols and allusions goes beyond South Asia and America. Victor, a professor of creative writing and transnational poetry and poetics, brings together rich strands from other geographies, mythologies, and timespaces too. In doing so, she helps us all recontextualize, reconstruct, and recharge our own memories. Her goal is to have us interrogate what we remember, feel, think, and know about South Asia’s place in the world, its immigrant diaspora, and the losses of these five men in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a \u003ca href=\"https://aaww.org/sugar-on-the-gash/\" target=\"_blank\" rel=\"noopener noreferrer\">2018 essay\u003c/a>, Victor writes about witnessing a childhood incident in India where a mother presses sugar into a young girl’s cut lip to stop the bleeding. Sugar on the gash. Describing how this facilitates debridement—”the removal of dead tissue and foreign objects from the site of a wound”—Victor asserts that poetic acts of debridement can occur at the woundings in our histories, so that “the scene of recitation becomes the scene of wounding, and subsequently, and importantly, the scene of rescue.”\u003c/p>\n\u003cp>\u003cem>Curb \u003c/em>is more than a personal poetics of loss and identity. It is even more than a well-written eulogy of five murdered South Asian Americans. It is a profound act of poetic debridement for the South Asian American diaspora, and an insistent plea to resist erasure by first acknowledging, absorbing, processing, and remembering our own communal histories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jenny Bhatt is a writer, literary translator, book critic, and host of the \u003c/em>Desi Books \u003cem>podcast. \u003c/em>\u003ca href=\"https://jennybhattwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">https://jennybhattwriter.com\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Curb%27+Uses+Poetry+To+Scrub+At+The+Wounds+Of+Anti-Asian+Racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "7 Takeaways From the Train-Station Oscars",
"headTitle": "7 Takeaways From the Train-Station Oscars | KQED",
"content": "\u003cp>\u003cstrong>1. Sometimes, there’s a reason things are done the way they are. \u003c/strong>Traditionally, Oscar night has ended with the announcement of the winner for best picture. This year, as the producers—including experienced risk-taker Steven Soderbergh—tried to mix it up a little in their train-station ceremony, they decided to change the order. They presented best picture to \u003cem>Nomadland\u003c/em>, then best actress to Frances McDormand, then best actor to Anthony Hopkins for \u003cem>The Father\u003c/em>. Hopkins wasn’t there, so presenter Joaquin Phoenix said the Academy accepted the award on his behalf, and because there was no host, that was pretty much it. Goodnight, everybody!\u003c/p>\n\u003cp>There were those who believed that this happened because there was a cynical calculation that the late Chadwick Boseman would win for \u003cem>Ma Rainey’s Black Bottom\u003c/em>, and that a speech—perhaps from his wife, Taylor Simone Ledward—would be a particularly emotional closing note for such a difficult and unusual year. If true, it was a highly cynical calculation, and if not, it showed a lack of foresight not to realize it might appear to be one. And whatever the intent, the result was that, instead of ending with a celebration on stage, as has happened with films like \u003cem>Moonlight \u003c/em>and \u003cem>Parasite \u003c/em>and other worthy winners, the entire three-plus-hour show ended with an award given to someone who wasn’t even there.\u003c/p>\n\u003cp>Experimentation? Sure. Innovation? Of course. Breaking the structure without thinking through how it might come off? That’s a dangerous approach.\u003c/p>\n\u003cp>\u003cstrong>2. Relaxed speeches are… well, they’re more relaxed. \u003c/strong>Without a live orchestra to play people off, some speeches stretched out in a way that, early on, seemed like it might mean the show would go on all night. Some were a bit meandering; some a bit undisciplined. But they were charming, too. And in some cases, that extra space allowed deeply emotional thoughts to be shared without fear of suddenly being interrupted, as when Thomas Vinterberg accepted the best international feature award for \u003cem>Another Round \u003c/em>and spoke movingly of the loss of his daughter in a car accident during production. It’s not just that Vinterberg got to speak, but that he got to speak without pressure and without the sense of a ticking clock. Whatever future Oscars ceremonies look like, it would be lovely to rethink the “speed through the list of names before you get cut off and don’t forget anyone important or powerful” format they often have.\u003c/p>\n\u003cp>\u003cstrong>3. Don’t be careless with In Memoriam. \u003c/strong>The In Memoriam segment is a production challenge: The audience tries to clap for certain people, the music has to feel appropriate, the visuals have to give at least a respectful amount of context for who each person was. Not so in 2021. Certainly, it was a year with a larger-than-average number of deaths, particularly among older people. But the answer to that would have been a longer segment. What they did instead was to cram the list into a segment that didn’t allow a lot of names to appear as much more than a flash on the screen—not even enough time for their names to be read. The math of dividing up a song, or parts of a song, to sync with a set of slides is not the art of it. That’s the beginning of it. The art of it is being careful not to accidentally disrespect the people you’re trying to honor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>4. Play the clips. \u003c/strong>The producers discarded the feeling that the Oscars telecast often has that it’s a big, goofy, splashy, intermittently musical party. Instead, they staged a sort of a staid banquet like you might see at the end of a long fundraising campaign for a fancy museum, where everyone thanked everyone else for their hard work. So, instead of seeing clips of the particularly strong best actress field, we saw presenter (and last year’s winner) Renee Zellweger personally say how much she liked each of the performances. That kind of direct address can have its place, but clips—particularly in categories like short films and makeup—can really give people a sense of the work that’s being honored. It’s cute to have the presenter tell us that a short film director likes a particular snack, but walking away with no idea what any of a lot of the honored work even looks like seems like a failure.\u003c/p>\n\u003cp>\u003cstrong>5. Lots of firsts and nearly-firsts, but progress is so very slow. \u003c/strong>Chloé Zhao became the \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\">first woman of color\u003c/a>, and only the second woman, to win best director, for \u003cem>Nomadland\u003c/em>. The delightful Yuh-jung Youn, who flirted with Brad Pitt while accepting her award for \u003cem>Minari\u003c/em>, was the \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\">first Korean and the second Asian\u003c/a> to win as best supporting actress. And Mia Neal and Jamika Wilson, who worked on \u003cem>Ma Rainey’s Black Bottom\u003c/em>, became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/990364577/ma-rainey-hairstylists-are-1st-black-women-to-win-makeup-hairstyling-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">first Black women\u003c/a> to win in the category of makeup and hairstyling. But to celebrate because an entire second woman won best director? It’s a difficult ask. These things take time. A lot of time.\u003c/p>\n\u003cp>\u003cstrong>6. The big trailers are dropping.\u003c/strong> As this Oscars season ends, the next one is already ramping up. Trailers for \u003cem>In The Heights\u003c/em> and Steven Spielberg’s production of \u003cem>West Side Story \u003c/em>had prominent placement during the telecast. Both are expected to get awards attention in the next cycle. Hollywood may have spent this year figuring out how to do without theaters, but it’s eager to get audiences back into them as soon as possible.\u003c/p>\n\u003cp>\u003cstrong>7. Nobody ever really solved the COVID problem with awards shows. \u003c/strong>All the awards shows were a little different this season. In some ways, the Grammys had it easiest because, as a show centered on musical performances, they were able to capitalize on the quick progress people have made in learning to record musical performances that work perfectly well on television, even without a typical awards-auditorium setting. But for a show like the Oscars, which is so reliant on a sort of oscillation between earnestness and silliness—both of which benefit from the presence of a crowd—it’s very hard to solve the fundamental problem, which is that when a lot of people can’t easily party together, there’s nothing else that really substitutes for a lot of people partying together. The Emmys solved this with little sub-parties for different shows, and the Globes had various remotes from different people’s homes and laptops. But as in life, nothing else is like raucous company. This telecast figured out how to find some of the earnestness, some of the meaning. It didn’t find the exhilaration. The closest it came was a fairly labored bit in which Glenn Close improbably wound up saluting the legendary go-go number “Da Butt.” And doing the dance. (Yes, really.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But, as Frances McDormand would say, look: Nothing else is like raucous company. See you next year.\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=7+Takeaways+From+The+Train-Station+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>1. Sometimes, there’s a reason things are done the way they are. \u003c/strong>Traditionally, Oscar night has ended with the announcement of the winner for best picture. This year, as the producers—including experienced risk-taker Steven Soderbergh—tried to mix it up a little in their train-station ceremony, they decided to change the order. They presented best picture to \u003cem>Nomadland\u003c/em>, then best actress to Frances McDormand, then best actor to Anthony Hopkins for \u003cem>The Father\u003c/em>. Hopkins wasn’t there, so presenter Joaquin Phoenix said the Academy accepted the award on his behalf, and because there was no host, that was pretty much it. Goodnight, everybody!\u003c/p>\n\u003cp>There were those who believed that this happened because there was a cynical calculation that the late Chadwick Boseman would win for \u003cem>Ma Rainey’s Black Bottom\u003c/em>, and that a speech—perhaps from his wife, Taylor Simone Ledward—would be a particularly emotional closing note for such a difficult and unusual year. If true, it was a highly cynical calculation, and if not, it showed a lack of foresight not to realize it might appear to be one. And whatever the intent, the result was that, instead of ending with a celebration on stage, as has happened with films like \u003cem>Moonlight \u003c/em>and \u003cem>Parasite \u003c/em>and other worthy winners, the entire three-plus-hour show ended with an award given to someone who wasn’t even there.\u003c/p>\n\u003cp>Experimentation? Sure. Innovation? Of course. Breaking the structure without thinking through how it might come off? That’s a dangerous approach.\u003c/p>\n\u003cp>\u003cstrong>2. Relaxed speeches are… well, they’re more relaxed. \u003c/strong>Without a live orchestra to play people off, some speeches stretched out in a way that, early on, seemed like it might mean the show would go on all night. Some were a bit meandering; some a bit undisciplined. But they were charming, too. And in some cases, that extra space allowed deeply emotional thoughts to be shared without fear of suddenly being interrupted, as when Thomas Vinterberg accepted the best international feature award for \u003cem>Another Round \u003c/em>and spoke movingly of the loss of his daughter in a car accident during production. It’s not just that Vinterberg got to speak, but that he got to speak without pressure and without the sense of a ticking clock. Whatever future Oscars ceremonies look like, it would be lovely to rethink the “speed through the list of names before you get cut off and don’t forget anyone important or powerful” format they often have.\u003c/p>\n\u003cp>\u003cstrong>3. Don’t be careless with In Memoriam. \u003c/strong>The In Memoriam segment is a production challenge: The audience tries to clap for certain people, the music has to feel appropriate, the visuals have to give at least a respectful amount of context for who each person was. Not so in 2021. Certainly, it was a year with a larger-than-average number of deaths, particularly among older people. But the answer to that would have been a longer segment. What they did instead was to cram the list into a segment that didn’t allow a lot of names to appear as much more than a flash on the screen—not even enough time for their names to be read. The math of dividing up a song, or parts of a song, to sync with a set of slides is not the art of it. That’s the beginning of it. The art of it is being careful not to accidentally disrespect the people you’re trying to honor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>4. Play the clips. \u003c/strong>The producers discarded the feeling that the Oscars telecast often has that it’s a big, goofy, splashy, intermittently musical party. Instead, they staged a sort of a staid banquet like you might see at the end of a long fundraising campaign for a fancy museum, where everyone thanked everyone else for their hard work. So, instead of seeing clips of the particularly strong best actress field, we saw presenter (and last year’s winner) Renee Zellweger personally say how much she liked each of the performances. That kind of direct address can have its place, but clips—particularly in categories like short films and makeup—can really give people a sense of the work that’s being honored. It’s cute to have the presenter tell us that a short film director likes a particular snack, but walking away with no idea what any of a lot of the honored work even looks like seems like a failure.\u003c/p>\n\u003cp>\u003cstrong>5. Lots of firsts and nearly-firsts, but progress is so very slow. \u003c/strong>Chloé Zhao became the \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\">first woman of color\u003c/a>, and only the second woman, to win best director, for \u003cem>Nomadland\u003c/em>. The delightful Yuh-jung Youn, who flirted with Brad Pitt while accepting her award for \u003cem>Minari\u003c/em>, was the \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\">first Korean and the second Asian\u003c/a> to win as best supporting actress. And Mia Neal and Jamika Wilson, who worked on \u003cem>Ma Rainey’s Black Bottom\u003c/em>, became the \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/25/990364577/ma-rainey-hairstylists-are-1st-black-women-to-win-makeup-hairstyling-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">first Black women\u003c/a> to win in the category of makeup and hairstyling. But to celebrate because an entire second woman won best director? It’s a difficult ask. These things take time. A lot of time.\u003c/p>\n\u003cp>\u003cstrong>6. The big trailers are dropping.\u003c/strong> As this Oscars season ends, the next one is already ramping up. Trailers for \u003cem>In The Heights\u003c/em> and Steven Spielberg’s production of \u003cem>West Side Story \u003c/em>had prominent placement during the telecast. Both are expected to get awards attention in the next cycle. Hollywood may have spent this year figuring out how to do without theaters, but it’s eager to get audiences back into them as soon as possible.\u003c/p>\n\u003cp>\u003cstrong>7. Nobody ever really solved the COVID problem with awards shows. \u003c/strong>All the awards shows were a little different this season. In some ways, the Grammys had it easiest because, as a show centered on musical performances, they were able to capitalize on the quick progress people have made in learning to record musical performances that work perfectly well on television, even without a typical awards-auditorium setting. But for a show like the Oscars, which is so reliant on a sort of oscillation between earnestness and silliness—both of which benefit from the presence of a crowd—it’s very hard to solve the fundamental problem, which is that when a lot of people can’t easily party together, there’s nothing else that really substitutes for a lot of people partying together. The Emmys solved this with little sub-parties for different shows, and the Globes had various remotes from different people’s homes and laptops. But as in life, nothing else is like raucous company. This telecast figured out how to find some of the earnestness, some of the meaning. It didn’t find the exhilaration. The closest it came was a fairly labored bit in which Glenn Close improbably wound up saluting the legendary go-go number “Da Butt.” And doing the dance. (Yes, really.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, as Frances McDormand would say, look: Nothing else is like raucous company. See you next year.\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=7+Takeaways+From+The+Train-Station+Oscars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Warning: There are spoilers aplenty here regarding the final episode in the first season of Marvel’s\u003c/em> The Falcon and the Winter Soldier.\u003c/p>\n\u003cp>It’s tough to imagine a better week for TV fans to meet a Black Captain America.\u003c/p>\n\u003cp>Days after the world exhaled in relief as \u003ca href=\"https://www.npr.org/sections/trial-over-killing-of-george-floyd/2021/04/20/989335036/finally-america-reacts-to-chauvin-guilty-verdict\" target=\"_blank\" rel=\"noopener noreferrer\">Derek Chauvin was found guilty of murdering George Floyd,\u003c/a> Marvel unveiled Anthony Mackie’s Sam Wilson as the new Captain America—in the process, making a poignant argument for why a Black hero would stand up to defend a country that often mistreats people who look just like him.\u003c/p>\n\u003cp>The reveal came during the final episode of \u003cem>The Falcon and the Winter Soldier\u003c/em>, a Disney+ series that mixed splashy fight scenes and awesome cameos from underused Marvel movie characters with weighty talk about the nature of heroism.\u003c/p>\n\u003cp>[aside postid='arts_13891309']The consequence of the reveal was underscored by a new series title flashed at the end of the season finale: \u003cem>Captain America and the Winter Soldier\u003c/em>. As any real superhero fan knows, the original Captain America—Chris Evans’ blue-eyed dreamboat Steve Rogers—decided to return to the 1940s and live out his life as a normal man at the end of \u003cem>Avengers: Endgame\u003c/em>. Rogers’ last act in that movie was to hand his legendary shield over to Sam Wilson as an old man, encouraging his former sidekick to continue its heroic legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But having a Black man step up to be a symbol of America at a time when police brutality and systemic racism are front-page issues couldn’t be a simple matter.\u003c/p>\n\u003cp>Even though the first season of \u003cem>The Falcon and the Winter Soldier\u003c/em> focused on a complicated plot about super-powered freedom fighters becoming terrorists, the real purpose was to spend six episodes transforming the Falcon. We watched him become a Black hero who could shoulder Captain America’s red-white-and-blue Vibranium shield, fully aware of all the issues he was taking on.\u003c/p>\n\u003cp>“Every time I pick this thing up, I know there are millions of people out there who are going to hate me for it,” Wilson says in one poignant speech in the season finale. “Yet I’m still here. No super serum. No blond hair or blue eyes. The only power I have, is to believe we can do better.” At a time when average people are risking their safety to protest police brutality, putting so much on the line for the belief that America can be made better by the hard work of earnest people, that kind of speech feels like a rallying cry.\u003c/p>\n\u003cp>In the comic books, Marvel’s storytellers realized a long time ago that Captain America had the most impact when he challenged and resisted the nation’s exceptionalist propaganda, rather than reflecting it. So it was particularly satisfying to see this series create a Captain America for a new age—when so much of the nation’s systemic racism is directly challenged.\u003c/p>\n\u003cp>[aside postid='arts_13894194']This also explains why so much in this series outside of Sam Wilson’s storylines felt so underdeveloped, especially the supposed bad guys, terrorist/freedom fighters, the Flag Smashers. These were average people who had taken a substance similar to the “super soldier serum” which gave the original Captain America his increased speed, stamina and strength. If you need to dig into the complicated backstory of the Flag Smashers, you can \u003ca href=\"https://marvelcinematicuniverse.fandom.com/wiki/Flag_Smashers\" target=\"_blank\" rel=\"noopener noreferrer\">read it here.\u003c/a>\u003c/p>\n\u003cp>Suffice it to say, these villains were so average, they added little beyond motivation for Wilson’s Falcon and Sebastian Stan’s Winter Soldier to bond. The Flag Smashers also gave a reason for the heroes to tap the expertise of a villain dedicated to killing anyone who takes a super soldier serum, Daniel Bruhl’s Baron Zemo.\u003c/p>\n\u003cp>I wish the show had also spent a little more time with John Walker, the PTSD-suffering ex-soldier initially selected by clueless American officials to be the new Captain America—only to lose the title when he murdered one of the Flag Smashers. Walker, played by blue-eyed celebrity son Wyatt Russell, is seen in the last episode with another compelling character, Contessa Valentina Allegra de Fontaine (played by Julia Louis-Dreyfus), a hint we’ll see more of both.\u003c/p>\n\u003cp>Here, Walker was positioned mostly as a nightmarish example of what happens when an insecure, damaged guy chases the mantle of Captain America—and the super soldier serum—for all the wrong reasons. (I still don’t understand why his only punishment for killing a subdued terrorist suspect in broad daylight was losing a job. Though that does sound familiar.)\u003c/p>\n\u003cp>[aside postid='arts_13866218']I’ll also jump down the superhero fandom rabbit hole a bit more to complain about one other thing in \u003cem>The Falcon and the Winter Soldier\u003c/em>: the fight scenes. Marvel’s superhero movies have always been careful about how each hero’s power stacks up against others, even across movies. So it always irritated me a bit that these Flag Smashers, who are essentially average—if desperate—folks given great speed and strength from a serum, could successfully take on the Winter Soldier, a highly trained assassin with matching speed and strength, a Vibranium arm and who fought the original Captain America to a draw several times. OK. I feel better now.\u003c/p>\n\u003cp>I’ll be honest: As a Black comic book and superhero fan, I wasn’t always in love with Marvel’s big screen version of Sam Wilson/The Falcon. The films had a way of always reminding us he was Captain America’s second fiddle—in ways the character himself, a proud Black man, inexplicably encouraged. “I do what he does, just slower,” Wilson said, nodding toward beefcake white hero Steve Rogers in one memorable line from the 2014 film, \u003cem>Captain America: The Winter Soldier\u003c/em>. Ugh.\u003c/p>\n\u003cp>Black characters accepting a subordinate status always rubs me the wrong way. So it was a revelation to see the argument made in this series that all the performance-enhancing serums, propaganda rallies and traditionally white-bread staffing decisions in the world can’t surpass a dedicated Black man determined to defend his nation while also holding it accountable.\u003c/p>\n\u003cp>Pulling off that two-step of defense and accountability might just be the biggest feat this new Captain America achieves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And this Black superhero comics nerd can’t wait to see him try.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Falcon+And+The+Winter+Soldier%27+Finale+Makes+A+Poignant+Reveal+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Warning: There are spoilers aplenty here regarding the final episode in the first season of Marvel’s\u003c/em> The Falcon and the Winter Soldier.\u003c/p>\n\u003cp>It’s tough to imagine a better week for TV fans to meet a Black Captain America.\u003c/p>\n\u003cp>Days after the world exhaled in relief as \u003ca href=\"https://www.npr.org/sections/trial-over-killing-of-george-floyd/2021/04/20/989335036/finally-america-reacts-to-chauvin-guilty-verdict\" target=\"_blank\" rel=\"noopener noreferrer\">Derek Chauvin was found guilty of murdering George Floyd,\u003c/a> Marvel unveiled Anthony Mackie’s Sam Wilson as the new Captain America—in the process, making a poignant argument for why a Black hero would stand up to defend a country that often mistreats people who look just like him.\u003c/p>\n\u003cp>The reveal came during the final episode of \u003cem>The Falcon and the Winter Soldier\u003c/em>, a Disney+ series that mixed splashy fight scenes and awesome cameos from underused Marvel movie characters with weighty talk about the nature of heroism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The consequence of the reveal was underscored by a new series title flashed at the end of the season finale: \u003cem>Captain America and the Winter Soldier\u003c/em>. As any real superhero fan knows, the original Captain America—Chris Evans’ blue-eyed dreamboat Steve Rogers—decided to return to the 1940s and live out his life as a normal man at the end of \u003cem>Avengers: Endgame\u003c/em>. Rogers’ last act in that movie was to hand his legendary shield over to Sam Wilson as an old man, encouraging his former sidekick to continue its heroic legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But having a Black man step up to be a symbol of America at a time when police brutality and systemic racism are front-page issues couldn’t be a simple matter.\u003c/p>\n\u003cp>Even though the first season of \u003cem>The Falcon and the Winter Soldier\u003c/em> focused on a complicated plot about super-powered freedom fighters becoming terrorists, the real purpose was to spend six episodes transforming the Falcon. We watched him become a Black hero who could shoulder Captain America’s red-white-and-blue Vibranium shield, fully aware of all the issues he was taking on.\u003c/p>\n\u003cp>“Every time I pick this thing up, I know there are millions of people out there who are going to hate me for it,” Wilson says in one poignant speech in the season finale. “Yet I’m still here. No super serum. No blond hair or blue eyes. The only power I have, is to believe we can do better.” At a time when average people are risking their safety to protest police brutality, putting so much on the line for the belief that America can be made better by the hard work of earnest people, that kind of speech feels like a rallying cry.\u003c/p>\n\u003cp>In the comic books, Marvel’s storytellers realized a long time ago that Captain America had the most impact when he challenged and resisted the nation’s exceptionalist propaganda, rather than reflecting it. So it was particularly satisfying to see this series create a Captain America for a new age—when so much of the nation’s systemic racism is directly challenged.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This also explains why so much in this series outside of Sam Wilson’s storylines felt so underdeveloped, especially the supposed bad guys, terrorist/freedom fighters, the Flag Smashers. These were average people who had taken a substance similar to the “super soldier serum” which gave the original Captain America his increased speed, stamina and strength. If you need to dig into the complicated backstory of the Flag Smashers, you can \u003ca href=\"https://marvelcinematicuniverse.fandom.com/wiki/Flag_Smashers\" target=\"_blank\" rel=\"noopener noreferrer\">read it here.\u003c/a>\u003c/p>\n\u003cp>Suffice it to say, these villains were so average, they added little beyond motivation for Wilson’s Falcon and Sebastian Stan’s Winter Soldier to bond. The Flag Smashers also gave a reason for the heroes to tap the expertise of a villain dedicated to killing anyone who takes a super soldier serum, Daniel Bruhl’s Baron Zemo.\u003c/p>\n\u003cp>I wish the show had also spent a little more time with John Walker, the PTSD-suffering ex-soldier initially selected by clueless American officials to be the new Captain America—only to lose the title when he murdered one of the Flag Smashers. Walker, played by blue-eyed celebrity son Wyatt Russell, is seen in the last episode with another compelling character, Contessa Valentina Allegra de Fontaine (played by Julia Louis-Dreyfus), a hint we’ll see more of both.\u003c/p>\n\u003cp>Here, Walker was positioned mostly as a nightmarish example of what happens when an insecure, damaged guy chases the mantle of Captain America—and the super soldier serum—for all the wrong reasons. (I still don’t understand why his only punishment for killing a subdued terrorist suspect in broad daylight was losing a job. Though that does sound familiar.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’ll also jump down the superhero fandom rabbit hole a bit more to complain about one other thing in \u003cem>The Falcon and the Winter Soldier\u003c/em>: the fight scenes. Marvel’s superhero movies have always been careful about how each hero’s power stacks up against others, even across movies. So it always irritated me a bit that these Flag Smashers, who are essentially average—if desperate—folks given great speed and strength from a serum, could successfully take on the Winter Soldier, a highly trained assassin with matching speed and strength, a Vibranium arm and who fought the original Captain America to a draw several times. OK. I feel better now.\u003c/p>\n\u003cp>I’ll be honest: As a Black comic book and superhero fan, I wasn’t always in love with Marvel’s big screen version of Sam Wilson/The Falcon. The films had a way of always reminding us he was Captain America’s second fiddle—in ways the character himself, a proud Black man, inexplicably encouraged. “I do what he does, just slower,” Wilson said, nodding toward beefcake white hero Steve Rogers in one memorable line from the 2014 film, \u003cem>Captain America: The Winter Soldier\u003c/em>. Ugh.\u003c/p>\n\u003cp>Black characters accepting a subordinate status always rubs me the wrong way. So it was a revelation to see the argument made in this series that all the performance-enhancing serums, propaganda rallies and traditionally white-bread staffing decisions in the world can’t surpass a dedicated Black man determined to defend his nation while also holding it accountable.\u003c/p>\n\u003cp>Pulling off that two-step of defense and accountability might just be the biggest feat this new Captain America achieves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And this Black superhero comics nerd can’t wait to see him try.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Falcon+And+The+Winter+Soldier%27+Finale+Makes+A+Poignant+Reveal+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Q: Into the Storm' Director Unravels the Twisted Knots of the QAnon Movement",
"headTitle": "‘Q: Into the Storm’ Director Unravels the Twisted Knots of the QAnon Movement | KQED",
"content": "\u003cp>The insurrection at the U.S. Capitol on Jan. 6 was predictable if you were following message boards on shadowy corners of the internet.\u003c/p>\n\u003cp>“Yeah, I thought Jan. 6 was going to be really bad,” Cullen Hoback, director of the documentary \u003cem>Q: Into the Storm, \u003c/em>told NPR in a recent interview. “I got hardly any sleep the two nights before it. I was very anxious going into that day.”\u003c/p>\n\u003cp>Hoback followed the growth of the QAnon movement for three years and unravels the twisted knots of the conspiracy theory in a six-part series on HBO. He focuses on the interpersonal drama between those behind the website 8chan (later 8kun), where an enigmatic “Q” posted false conspiracy theories that convinced millions there were nefarious Democratic actors involved in child-trafficking rings.\u003c/p>\n\u003cp>[aside postid='arts_13890913']Spurred on by former President Donald Trump’s false allegations of widespread fraud in the 2020 election that he lost to President Biden, many Q believers were among a larger group of anti-government extremists who stormed the Capitol on Jan. 6 in protest of the usually ceremonial counting of Electoral College votes affirming the election result.\u003c/p>\n\u003cp>The drama in the film develops incrementally as the inner workings of the dark web are explained for an audience unfamiliar with this world—which includes Fredrick Brennan, who created 8chan, and Jim and Ron Watkins, who later take on ownership and administration of the site.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The documentary centers on the rivalry between Brennan and the shadowy father-son duo of Jim and Ron Watkins. Though they once all worked together, Brennan turns and winds up strongly \u003ca href=\"https://www.nytimes.com/2019/08/04/technology/8chan-shooting-manifesto.html\" target=\"_blank\" rel=\"noopener noreferrer\">advocating against 8chan\u003c/a>. He does not believe the Watkinses, who test the bounds of free speech on the internet, are responsible stewards of the site, particularly after episodes of murder and violence that were linked to posters on the site.\u003c/p>\n\u003cp>Through his investigation, Hoback believes he has revealed the identity of Q. Through anonymous “drops,” Q boasted of dates—that never materialized—when the cabal would be toppled. Followers of the movement believed Q must be someone high up in Trump’s inner circle.\u003c/p>\n\u003cp>NPR has not independently verified Q’s identity, but Hoback’s film shows strong evidence that Ron Watkins was Q. He’s not someone particularly special and didn’t have any real ties to Trump, but he is someone who had access and motive.\u003c/p>\n\u003cp>“I hope that by revealing the mechanics behind Q and the personalities behind it,” Hoback said, “that they see that it really is just this kind of absurd cast of characters that created this massive global movement and that it is not this sort of scary mystery box.”\u003c/p>\n\u003cp>The movement grew so large that QAnon supporter Marjorie Taylor Greene, R-Ga., and Lauren Boebert, R-Colo., who “\u003ca href=\"https://www.npr.org/2020/07/01/885991730/gop-candidates-open-to-qanon-conspiracy-theory-advance-in-congressional-races\" target=\"_blank\" rel=\"noopener noreferrer\">expressed openness to Q\u003c/a>” even \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\">won\u003c/a> \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\" target=\"_blank\" rel=\"noopener noreferrer\">seats\u003c/a> in Congress, where they continue to spread misinformation. Greene even \u003ca href=\"https://twitter.com/JakeSherman/status/1383106255930155008\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> tried to start an “America First” caucus that would have focused on “Anglo-Saxon” values. After initially \u003ca href=\"https://twitter.com/groundyourstand/status/1383198051217465346\" target=\"_blank\" rel=\"noopener noreferrer\">seeming to defend it\u003c/a>, \u003ca href=\"https://www.salon.com/2021/04/17/marjorie-taylor-greene-forced-to-abandon-america-first-caucus-after-republican-outrage/\" target=\"_blank\" rel=\"noopener noreferrer\">she backed off\u003c/a> after the effort drew a sharp backlash.\u003c/p>\n\u003cp>Early in her tenure this year, she was stripped of committee assignments and yet, despite her marginalization—or perhaps because of it—she raised $3.2 million in the first three months of this year. It’s a sum that’s not just high for a member of Congress but rivals many Senate candidates.\u003c/p>\n\u003cp>Q hasn’t posted since the election, and many of its followers have been disappointed that its supposed prophecies haven’t come true. So where does the grassroots energy behind the movement, with its distrust of experts and willingness to believe misinformation, go from here?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rK_Gf9H2CWI\u003c/p>\n\u003cp>Hoback talked with NPR about his investigation, what he hopes people take away from it and what it all might mean for the future.\u003c/p>\n\u003cp>\u003cem>The following is a selection of our conversation and was edited for length and clarity:\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>NPR: You were following QAnon far back when most of us—it was under our noses and just didn’t really understand it. Why did you then think that this was an important topic to cover and what drew you to it?\u003c/strong>\u003c/p>\n\u003cp>HOBACK: I thought it was a sign of things to come, both in the ways Q was being managed online, removing Q or suggesting that this thing was something that was too dangerous to be allowed on Reddit. It made me wonder if it actually was going to have the opposite effect, if it was going to make it bigger. To me, it looked like something that was likely to continue to grow. And I was just drawn to the mystery as well. I felt that unmasking Q might bring the whole thing to a conclusion.\u003c/p>\n\u003cp>\u003cstrong>I’m a political editor. Jan. 6 was one of the most harrowing moments in the film. What do you take away from the lead-up to Jan. 6? \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13891014']The day itself, I found to be rather nerve-wracking. I think anybody who had really been tracking what was going on could see that this was the moment in which those power players who had been circling around Q, whether that’s Roger Stone, [retired Maj.] Gen. [Paul] Vallely, [retired] Gen. [Michael] Flynn, Steve Bannon, Alex Jones, Donald Trump, all of these guys, they were all prodding in the runup to Jan. 6 in a way to make the Q narrative real. And there were these overlapping groups that were all driving toward something similar. So I think if you were tracking it closely, you probably would have thought like myself that it was going to be even worse than it was.\u003c/p>\n\u003cp>\u003cstrong>How much fault do you think Ron and Jim deserve for that day? \u003c/strong>\u003c/p>\n\u003cp>Well, I don’t think Jan. 6 happened because of Q, but I also don’t think it would have happened without Q.\u003c/p>\n\u003cp>\u003cstrong>How interconnected was Trump world and Q?\u003c/strong>\u003c/p>\n\u003cp>So I would like for there to be more investigation into the ties between Ron and Jim and some of these power players in D.C.—Gen. Flynn and these other characters. I mean, we’ve seen some forensic evidence, and certainly after the 2016 election, it stands to reason that, given the amount of traffic 8chan was turning to Trump’s own campaign, that they would have reached out. I think the series paints a pretty good case for their ties to these D.C. operatives. But the exact nature of that relationship remains a little unclear.\u003c/p>\n\u003cp>\u003cstrong>Who were some of the key players and how much were they feeding Q information?\u003c/strong>\u003c/p>\n\u003cp>In the series, we show what we know, which is that Jerome Corsi, the known conspiracy theorist, had ties with all of these guys, close ties, and was one of the first to bolster Q. He says that a couple of people he holds very close to him—and we know that he has ties to Vallely—said you need to start paying attention to this. Bring it on Alex Jones’ [show]. Make it bigger.\u003c/p>\n\u003cp>So that would indicate that very early on, some of these ex-military networks saw the value in Q, saw that it was gaining steam and wanted to bolster it. When you talk about the information that’s being funneled, I don’t think there was really any meaningful information being funneled to Q. Q was just basically picking its favorite research out of things that the anons [anonymous posters] were collecting on 8chan and then 8kun, and then reflecting that research, or those ideas or the conspiracy theories back to the anons in the form of questions.\u003c/p>\n\u003cp>So you didn’t have to be Gen. Michael Flynn to write the Q drops. You just needed to be an incredibly engaged and active user of 8chan and very well versed in the research and analysis and all the internet data points that were being collected in order to create that narrative.\u003c/p>\n\u003cp>\u003cstrong>The documentary builds a powerful case that Ron is Q. Ron denies this, but in the documentary, he seems to relish the idea of being suspected. After the election, he comes out of the shadows and begins posting in his own name on Twitter about the election. He even \u003c/strong>\u003ca href=\"https://www.nbcnews.com/tech/internet/trump-meets-qanon-influencers-conspiracy-theory-s-adherents-beg-dictatorship-n1252144\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>appears on OAN\u003c/strong>\u003c/a>\u003cstrong>, the right-wing cable TV platform, to share his false conspiracies about Dominion voting machines. Along with Trump, Ron was banned from Twitter. Tell us more about why you think it’s him.\u003c/strong>\u003c/p>\n\u003cp>There’s so much more evidence I have pointing to Ron than what I was able to keep in the series. There’s mountains of it, including things he said to me since then. That’s part of why it was so valuable to spend this much time with them, because they’re not going to tell me the truth. So the answers lie in the omissions, in how they change their stories, in basically what they’re hiding and then what they eventually sort of choose to reveal.\u003c/p>\n\u003cp>One of the things Ron messaged me after the series dropped, he said, “You know, Cullen, I identify more with villains.” He wrote, “Something I learned a long time ago is that internet personalities are just actors on a stage. Making things larger than life makes for a better story and ultimately a more entertaining existence.” And then he goes on to say, “Getting away from the narrative that Ron is Q will be impossible, so I may as well embrace it.”\u003c/p>\n\u003cp>I think that it’s, like, almost an admission in and of itself. And there have been a few of those since then. You know, I think deep down he wants the credit, but he can’t take it.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people take away from knowing who Q was?\u003c/strong>\u003c/p>\n\u003cp>I think that when you demystify something, it takes away its power. You’re left with the baggage of the man and the motives of the man, and it just changes the equation. You know, if you talk to a Q follower, they could imagine that Q could be any number of things. It could have all of the benefits and none of the cons. And also it allowed them to imagine that there was this massive, super top secret military operation in the works. And I think that the truth matters. I think that it’s important to reveal the forces behind the operation.\u003c/p>\n\u003cp>And I think deep down, most of those who believed in Q wanted to know the truth. Whether or not they’re willing to accept it is another story. I just present them with the information, and they’ll draw their own conclusions. I don’t expect QAnons to watch this and suddenly, be like, “Well, I don’t believe in Q anymore.” The misery of shame is too great. I think that it’s a process, and that story may continue to evolve, but I think, also, the people who’ve seen who’s behind the operation, will they be likely to believe in Q now?\u003c/p>\n\u003cp>\u003cstrong>Have you heard from any Q followers or supporters?\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13891257']I have heard from a number of folks, I mean, my DMs on Twitter have been just insane. Some of them had been from Q followers. Some of them have been from family members of Q followers. And I’ve gotten more than a dozen messages now from people who said that, for the first time in a year in some cases, they’re communicating with their family members who were believers in Q. They feel like they understand now what this thing was that they believed in. They can talk about sort of the underlying mechanics and who was behind it.\u003c/p>\n\u003cp>Mileage may vary. I don’t expect that that’s going to be the case for everybody. But anecdotally, there’s been a number of cases now where lines of communication are reopening between those who believe in Q and their family members. I think that’s really important, because I have a lot of Q followers who sometimes just call me in the middle of the night, because they were lonely or because they needed someone to talk to or they just saw me as a grounding force, and I would often tell them, “Look, you need to try to try to talk to your brother, try to find some common ground.”\u003c/p>\n\u003cp>\u003cstrong>Where does this all go from here? What happens to Q followers and the movement?\u003c/strong>\u003c/p>\n\u003cp>You’ve probably seen the \u003ca href=\"https://www.npr.org/sections/inauguration-day-live-updates/2021/01/20/958907699/the-qanon-storm-never-struck-some-supporters-are-wavering-others-steadfast\" target=\"_blank\" rel=\"noopener noreferrer\">Telegram groups\u003c/a>. They’re not that gigantic, maybe 100,000 people or so. And they’re a pretty passionate community. I suspect that it will evolve. It will splinter into factions. Elements of QAnon will be absorbed into the main line of the GOP. But I think Q, as we knew it, will not remain.\u003c/p>\n\u003cp>\u003cstrong>What is the point that you’re most hoping audiences take away from your film? \u003c/strong>\u003c/p>\n\u003cp>I think that the antiseptic of sunlight is a powerful force. And by having people sit down and actually engage with sort of the ugly reality of Q, it also gives them a language. It not only helps them understand what was really happening this whole time, but it also helps a lot of people kind of communicate with those who maybe were on the brink of buying into Q or currently believe in it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not going to be an easy path going forward coexisting with a lot of people who believe in this stuff, but I think that we’re already starting to see that the series is helping families reopen lines of communication now. To me, that’s the most positive outcome I’ve seen so far. And I hope it continues.\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=Q%26A%3A+Documentary+Unravels+Twisted+Knots+Of+QAnon+Movement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The insurrection at the U.S. Capitol on Jan. 6 was predictable if you were following message boards on shadowy corners of the internet.\u003c/p>\n\u003cp>“Yeah, I thought Jan. 6 was going to be really bad,” Cullen Hoback, director of the documentary \u003cem>Q: Into the Storm, \u003c/em>told NPR in a recent interview. “I got hardly any sleep the two nights before it. I was very anxious going into that day.”\u003c/p>\n\u003cp>Hoback followed the growth of the QAnon movement for three years and unravels the twisted knots of the conspiracy theory in a six-part series on HBO. He focuses on the interpersonal drama between those behind the website 8chan (later 8kun), where an enigmatic “Q” posted false conspiracy theories that convinced millions there were nefarious Democratic actors involved in child-trafficking rings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Spurred on by former President Donald Trump’s false allegations of widespread fraud in the 2020 election that he lost to President Biden, many Q believers were among a larger group of anti-government extremists who stormed the Capitol on Jan. 6 in protest of the usually ceremonial counting of Electoral College votes affirming the election result.\u003c/p>\n\u003cp>The drama in the film develops incrementally as the inner workings of the dark web are explained for an audience unfamiliar with this world—which includes Fredrick Brennan, who created 8chan, and Jim and Ron Watkins, who later take on ownership and administration of the site.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The documentary centers on the rivalry between Brennan and the shadowy father-son duo of Jim and Ron Watkins. Though they once all worked together, Brennan turns and winds up strongly \u003ca href=\"https://www.nytimes.com/2019/08/04/technology/8chan-shooting-manifesto.html\" target=\"_blank\" rel=\"noopener noreferrer\">advocating against 8chan\u003c/a>. He does not believe the Watkinses, who test the bounds of free speech on the internet, are responsible stewards of the site, particularly after episodes of murder and violence that were linked to posters on the site.\u003c/p>\n\u003cp>Through his investigation, Hoback believes he has revealed the identity of Q. Through anonymous “drops,” Q boasted of dates—that never materialized—when the cabal would be toppled. Followers of the movement believed Q must be someone high up in Trump’s inner circle.\u003c/p>\n\u003cp>NPR has not independently verified Q’s identity, but Hoback’s film shows strong evidence that Ron Watkins was Q. He’s not someone particularly special and didn’t have any real ties to Trump, but he is someone who had access and motive.\u003c/p>\n\u003cp>“I hope that by revealing the mechanics behind Q and the personalities behind it,” Hoback said, “that they see that it really is just this kind of absurd cast of characters that created this massive global movement and that it is not this sort of scary mystery box.”\u003c/p>\n\u003cp>The movement grew so large that QAnon supporter Marjorie Taylor Greene, R-Ga., and Lauren Boebert, R-Colo., who “\u003ca href=\"https://www.npr.org/2020/07/01/885991730/gop-candidates-open-to-qanon-conspiracy-theory-advance-in-congressional-races\" target=\"_blank\" rel=\"noopener noreferrer\">expressed openness to Q\u003c/a>” even \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\">won\u003c/a> \u003ca href=\"https://www.npr.org/2020/08/12/901628541/qanon-supporter-who-made-bigoted-videos-wins-ga-primary-likely-heading-to-congre\" target=\"_blank\" rel=\"noopener noreferrer\">seats\u003c/a> in Congress, where they continue to spread misinformation. Greene even \u003ca href=\"https://twitter.com/JakeSherman/status/1383106255930155008\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> tried to start an “America First” caucus that would have focused on “Anglo-Saxon” values. After initially \u003ca href=\"https://twitter.com/groundyourstand/status/1383198051217465346\" target=\"_blank\" rel=\"noopener noreferrer\">seeming to defend it\u003c/a>, \u003ca href=\"https://www.salon.com/2021/04/17/marjorie-taylor-greene-forced-to-abandon-america-first-caucus-after-republican-outrage/\" target=\"_blank\" rel=\"noopener noreferrer\">she backed off\u003c/a> after the effort drew a sharp backlash.\u003c/p>\n\u003cp>Early in her tenure this year, she was stripped of committee assignments and yet, despite her marginalization—or perhaps because of it—she raised $3.2 million in the first three months of this year. It’s a sum that’s not just high for a member of Congress but rivals many Senate candidates.\u003c/p>\n\u003cp>Q hasn’t posted since the election, and many of its followers have been disappointed that its supposed prophecies haven’t come true. So where does the grassroots energy behind the movement, with its distrust of experts and willingness to believe misinformation, go from here?\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/rK_Gf9H2CWI'\n title='//www.youtube.com/embed/rK_Gf9H2CWI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hoback talked with NPR about his investigation, what he hopes people take away from it and what it all might mean for the future.\u003c/p>\n\u003cp>\u003cem>The following is a selection of our conversation and was edited for length and clarity:\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>NPR: You were following QAnon far back when most of us—it was under our noses and just didn’t really understand it. Why did you then think that this was an important topic to cover and what drew you to it?\u003c/strong>\u003c/p>\n\u003cp>HOBACK: I thought it was a sign of things to come, both in the ways Q was being managed online, removing Q or suggesting that this thing was something that was too dangerous to be allowed on Reddit. It made me wonder if it actually was going to have the opposite effect, if it was going to make it bigger. To me, it looked like something that was likely to continue to grow. And I was just drawn to the mystery as well. I felt that unmasking Q might bring the whole thing to a conclusion.\u003c/p>\n\u003cp>\u003cstrong>I’m a political editor. Jan. 6 was one of the most harrowing moments in the film. What do you take away from the lead-up to Jan. 6? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The day itself, I found to be rather nerve-wracking. I think anybody who had really been tracking what was going on could see that this was the moment in which those power players who had been circling around Q, whether that’s Roger Stone, [retired Maj.] Gen. [Paul] Vallely, [retired] Gen. [Michael] Flynn, Steve Bannon, Alex Jones, Donald Trump, all of these guys, they were all prodding in the runup to Jan. 6 in a way to make the Q narrative real. And there were these overlapping groups that were all driving toward something similar. So I think if you were tracking it closely, you probably would have thought like myself that it was going to be even worse than it was.\u003c/p>\n\u003cp>\u003cstrong>How much fault do you think Ron and Jim deserve for that day? \u003c/strong>\u003c/p>\n\u003cp>Well, I don’t think Jan. 6 happened because of Q, but I also don’t think it would have happened without Q.\u003c/p>\n\u003cp>\u003cstrong>How interconnected was Trump world and Q?\u003c/strong>\u003c/p>\n\u003cp>So I would like for there to be more investigation into the ties between Ron and Jim and some of these power players in D.C.—Gen. Flynn and these other characters. I mean, we’ve seen some forensic evidence, and certainly after the 2016 election, it stands to reason that, given the amount of traffic 8chan was turning to Trump’s own campaign, that they would have reached out. I think the series paints a pretty good case for their ties to these D.C. operatives. But the exact nature of that relationship remains a little unclear.\u003c/p>\n\u003cp>\u003cstrong>Who were some of the key players and how much were they feeding Q information?\u003c/strong>\u003c/p>\n\u003cp>In the series, we show what we know, which is that Jerome Corsi, the known conspiracy theorist, had ties with all of these guys, close ties, and was one of the first to bolster Q. He says that a couple of people he holds very close to him—and we know that he has ties to Vallely—said you need to start paying attention to this. Bring it on Alex Jones’ [show]. Make it bigger.\u003c/p>\n\u003cp>So that would indicate that very early on, some of these ex-military networks saw the value in Q, saw that it was gaining steam and wanted to bolster it. When you talk about the information that’s being funneled, I don’t think there was really any meaningful information being funneled to Q. Q was just basically picking its favorite research out of things that the anons [anonymous posters] were collecting on 8chan and then 8kun, and then reflecting that research, or those ideas or the conspiracy theories back to the anons in the form of questions.\u003c/p>\n\u003cp>So you didn’t have to be Gen. Michael Flynn to write the Q drops. You just needed to be an incredibly engaged and active user of 8chan and very well versed in the research and analysis and all the internet data points that were being collected in order to create that narrative.\u003c/p>\n\u003cp>\u003cstrong>The documentary builds a powerful case that Ron is Q. Ron denies this, but in the documentary, he seems to relish the idea of being suspected. After the election, he comes out of the shadows and begins posting in his own name on Twitter about the election. He even \u003c/strong>\u003ca href=\"https://www.nbcnews.com/tech/internet/trump-meets-qanon-influencers-conspiracy-theory-s-adherents-beg-dictatorship-n1252144\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>appears on OAN\u003c/strong>\u003c/a>\u003cstrong>, the right-wing cable TV platform, to share his false conspiracies about Dominion voting machines. Along with Trump, Ron was banned from Twitter. Tell us more about why you think it’s him.\u003c/strong>\u003c/p>\n\u003cp>There’s so much more evidence I have pointing to Ron than what I was able to keep in the series. There’s mountains of it, including things he said to me since then. That’s part of why it was so valuable to spend this much time with them, because they’re not going to tell me the truth. So the answers lie in the omissions, in how they change their stories, in basically what they’re hiding and then what they eventually sort of choose to reveal.\u003c/p>\n\u003cp>One of the things Ron messaged me after the series dropped, he said, “You know, Cullen, I identify more with villains.” He wrote, “Something I learned a long time ago is that internet personalities are just actors on a stage. Making things larger than life makes for a better story and ultimately a more entertaining existence.” And then he goes on to say, “Getting away from the narrative that Ron is Q will be impossible, so I may as well embrace it.”\u003c/p>\n\u003cp>I think that it’s, like, almost an admission in and of itself. And there have been a few of those since then. You know, I think deep down he wants the credit, but he can’t take it.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people take away from knowing who Q was?\u003c/strong>\u003c/p>\n\u003cp>I think that when you demystify something, it takes away its power. You’re left with the baggage of the man and the motives of the man, and it just changes the equation. You know, if you talk to a Q follower, they could imagine that Q could be any number of things. It could have all of the benefits and none of the cons. And also it allowed them to imagine that there was this massive, super top secret military operation in the works. And I think that the truth matters. I think that it’s important to reveal the forces behind the operation.\u003c/p>\n\u003cp>And I think deep down, most of those who believed in Q wanted to know the truth. Whether or not they’re willing to accept it is another story. I just present them with the information, and they’ll draw their own conclusions. I don’t expect QAnons to watch this and suddenly, be like, “Well, I don’t believe in Q anymore.” The misery of shame is too great. I think that it’s a process, and that story may continue to evolve, but I think, also, the people who’ve seen who’s behind the operation, will they be likely to believe in Q now?\u003c/p>\n\u003cp>\u003cstrong>Have you heard from any Q followers or supporters?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I have heard from a number of folks, I mean, my DMs on Twitter have been just insane. Some of them had been from Q followers. Some of them have been from family members of Q followers. And I’ve gotten more than a dozen messages now from people who said that, for the first time in a year in some cases, they’re communicating with their family members who were believers in Q. They feel like they understand now what this thing was that they believed in. They can talk about sort of the underlying mechanics and who was behind it.\u003c/p>\n\u003cp>Mileage may vary. I don’t expect that that’s going to be the case for everybody. But anecdotally, there’s been a number of cases now where lines of communication are reopening between those who believe in Q and their family members. I think that’s really important, because I have a lot of Q followers who sometimes just call me in the middle of the night, because they were lonely or because they needed someone to talk to or they just saw me as a grounding force, and I would often tell them, “Look, you need to try to try to talk to your brother, try to find some common ground.”\u003c/p>\n\u003cp>\u003cstrong>Where does this all go from here? What happens to Q followers and the movement?\u003c/strong>\u003c/p>\n\u003cp>You’ve probably seen the \u003ca href=\"https://www.npr.org/sections/inauguration-day-live-updates/2021/01/20/958907699/the-qanon-storm-never-struck-some-supporters-are-wavering-others-steadfast\" target=\"_blank\" rel=\"noopener noreferrer\">Telegram groups\u003c/a>. They’re not that gigantic, maybe 100,000 people or so. And they’re a pretty passionate community. I suspect that it will evolve. It will splinter into factions. Elements of QAnon will be absorbed into the main line of the GOP. But I think Q, as we knew it, will not remain.\u003c/p>\n\u003cp>\u003cstrong>What is the point that you’re most hoping audiences take away from your film? \u003c/strong>\u003c/p>\n\u003cp>I think that the antiseptic of sunlight is a powerful force. And by having people sit down and actually engage with sort of the ugly reality of Q, it also gives them a language. It not only helps them understand what was really happening this whole time, but it also helps a lot of people kind of communicate with those who maybe were on the brink of buying into Q or currently believe in it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not going to be an easy path going forward coexisting with a lot of people who believe in this stuff, but I think that we’re already starting to see that the series is helping families reopen lines of communication now. To me, that’s the most positive outcome I’ve seen so far. And I hope it continues.\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=Q%26A%3A+Documentary+Unravels+Twisted+Knots+Of+QAnon+Movement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More",
"headTitle": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More | KQED",
"content": "\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p69lEMn0I8k\u003c/p>\n\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H9ePdk29rVI\u003c/p>\n\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9pyBKj5-jVk\u003c/p>\n\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WYj-7IrjC4c\u003c/p>\n\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OAK8Cd4t0WA\u003c/p>\n\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vCzaxunme7I\u003c/p>\n\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3s0LTDhqe5A\u003c/p>\n\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\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=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p69lEMn0I8k'\n title='//www.youtube.com/embed/p69lEMn0I8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H9ePdk29rVI'\n title='//www.youtube.com/embed/H9ePdk29rVI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9pyBKj5-jVk'\n title='//www.youtube.com/embed/9pyBKj5-jVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WYj-7IrjC4c'\n title='//www.youtube.com/embed/WYj-7IrjC4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OAK8Cd4t0WA'\n title='//www.youtube.com/embed/OAK8Cd4t0WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vCzaxunme7I'\n title='//www.youtube.com/embed/vCzaxunme7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3s0LTDhqe5A'\n title='//www.youtube.com/embed/3s0LTDhqe5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\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=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2021 Oscars' Best Original Song Nominees, Cruelly Ranked",
"headTitle": "The 2021 Oscars’ Best Original Song Nominees, Cruelly Ranked | KQED",
"content": "\u003cp>It’s been an unusual year for… a lot of things, really, so why should the Oscars be any different? But the category of best original song feels especially anomalous, given the way the pandemic forced the postponement of so many blockbusters: We didn’t get a \u003cem>Frozen\u003c/em>-style animated musical to lock down one of the spots by default (and Christina Aguilera’s \u003ca href=\"https://www.youtube.com/watch?v=G6PZm8vhm6I\" target=\"_blank\" rel=\"noopener noreferrer\">new song\u003c/a> from the live-action \u003cem>Mulan\u003c/em> remake didn’t make the cut), while Billie Eilish’s \u003ca href=\"https://www.youtube.com/watch?v=BboMpayJomw\" target=\"_blank\" rel=\"noopener noreferrer\">James Bond theme\u003c/a> might have been the frontrunner had \u003cem>No Time to Die\u003c/em> actually come out as planned.\u003c/p>\n\u003cp>That’s left more room than usual for somber closing-credits dirges reflecting the themes of dramas about the pursuit of social justice—songs that, over the years, tend to bleed together in our collective memory to form a glum-but-rousing \u003ca href=\"https://www.mentalfloss.com/article/506504/almost-comprehensive-history-rat-kings\">rat king\u003c/a> called “I Will Speak and Raise My Voice to Rise and Stand and Fight.” These songs, following a path blazed by Common and John Legend’s 2014 \u003cem>Selma\u003c/em> anthem “\u003ca href=\"https://www.youtube.com/watch?v=HUZOKvYcx_o\" target=\"_blank\" rel=\"noopener noreferrer\">Glory\u003c/a>,” form a subgenre best described as, well, Glorycore. Speak! Rise! Stand! Fight!\u003c/p>\n\u003cp>Taken collectively, this year’s crop could have used a jolt of joy and energy—a “\u003ca href=\"https://www.youtube.com/watch?v=bOR38552MJA\">Blame Canada\u003c/a>,” if you will. But, given that it’s probably best that we won’t have to watch Sacha Baron Cohen perform “\u003ca href=\"https://www.youtube.com/watch?v=1EuyDMq3mYQ\" target=\"_blank\" rel=\"noopener noreferrer\">Wuhan Flu\u003c/a>” on the Oscars out of context, these are the five songs we’re getting. Here they are, cruelly and objectively ranked in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “Hear My Voice,” \u003c/strong>\u003cstrong>\u003cem>The Trial of the Chicago 7\u003c/em>\u003c/strong>\u003cstrong>, performed by Celeste (Daniel Pemberton and Celeste, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pnY9_DXMBis\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hear My Voice” has a vibrant vocal from soul singer Celeste, a grand string arrangement and a universally accessible message about, you know, having one’s voice heard. But a song can be \u003cem>too\u003c/em> universal: You could tack “Hear My Voice” onto the closing credits of three dozen different movies from 2020 and make a case that it fits. It’s an afterthought in \u003cem>The Trial of the Chicago 7\u003c/em>, and it’d be an afterthought just about anywhere else.\u003c/p>\n\u003cp>Seriously, what reason does “Hear My Voice” have to exist beyond the pursuit of this award? It’s a nice boost to Celeste’s worthy career, but the song itself might as well be titled “For Your Consideration: Hear My Voice (from \u003cem>The Trial Of The Chicago 7\u003c/em>).”\u003c/p>\n\u003cp>\u003cstrong>4. “Io sì (Seen),” \u003c/strong>\u003cstrong>\u003cem>The Life Ahead\u003c/em>\u003c/strong>\u003cstrong>, performed by Laura Pausini (Diane Warren and Laura Pausini, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=imjSm7FNmwE\u003c/p>\n\u003cp>Diane Warren has been nominated for Best Original Song an astonishing 12 times, including for indelible hits like “Nothing’s Gonna Stop Us Now,” “How Do I Live” and “I Don’t Want to Miss a Thing”—from the Academy Awards staples \u003cem>Mannequin\u003c/em>, \u003cem>Con Air\u003c/em> and \u003cem>Armageddon\u003c/em>, respectively. But she’s never won, and after her 2015 Lady Gaga collaboration “\u003ca href=\"https://www.youtube.com/watch?v=ZmWBrN7QV6Y\" target=\"_blank\" rel=\"noopener noreferrer\">Til It Happens to You\u003c/a>” wrongly lost to Sam Smith’s “\u003ca href=\"https://www.youtube.com/watch?v=8jzDnsjYv9A\" target=\"_blank\" rel=\"noopener noreferrer\">Writing’s on the Wall\u003c/a>,” Warren has settled into a pattern of writing or co-writing a given year’s fourth- or fifth-most-powerful Best Original Song nominee, year in and year out.\u003c/p>\n\u003cp>Though she didn’t write Celeste’s “Hear My Voice,” Warren has become one of the most dedicated and persistent practitioners of Glorycore, contributing “\u003ca href=\"https://www.youtube.com/watch?v=2GhY7qXGx-0\" target=\"_blank\" rel=\"noopener noreferrer\">Stand Up for Something\u003c/a>” (from \u003cem>Marshall\u003c/em>), “\u003ca href=\"https://www.youtube.com/watch?v=ho0aVZHQnNM\" target=\"_blank\" rel=\"noopener noreferrer\">I’ll Fight\u003c/a>” (from \u003cem>RBG\u003c/em>) and “\u003ca href=\"https://www.youtube.com/watch?v=s7CHl9cB-m8\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Standing With You\u003c/a>” (from \u003cem>Breakthrough\u003c/em>) to the catalog of Oscars-approved anthems about loyalty and/or defiance. In “Io sì” (from the Italian drama \u003cem>The Life Ahead\u003c/em>), she at least mellows her approach a bit, writing in Italian about… well, a kind of defiant loyalty. Translated, the words Laura Pausini sings could have been written by an app programmed to get its user nominated for Best Original Song at the Academy Awards: “If you want me, I’m here / Nobody sees you, but I do.”\u003c/p>\n\u003cp>Still, though it’s not a heavy favorite to win, don’t be surprised if Warren finally ends her losing streak Sunday night. As a sentimental choice from a pool with no clear frontrunner, she’s got a significantly better chance than Celeste—or, say, anyone nominated for Best Actor against Chadwick Boseman.\u003c/p>\n\u003cp>\u003cstrong>3. “Speak Now,” \u003c/strong>\u003cstrong>\u003cem>One Night in Miami…\u003c/em>\u003c/strong>\u003cstrong>, performed by Leslie Odom Jr. (Sam Ashworth and Leslie Odom Jr., songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZvnPEMW1jj8\u003c/p>\n\u003cp>On one hand, “Speak Now” doesn’t figure into the plot of \u003cem>One Night in Miami…\u003c/em>, Regina King’s excellent drama about an eventful evening in the lives of Sam Cooke, Malcolm X, Muhammad Ali and Jim Brown. Nor does it stretch the boundaries of Oscar-friendly songs about speaking, standing, rising and/or fighting. But it does tie into one of the central tensions of the film, in which Cooke (as played by Odom) wrestles with his responsibility to perform songs that address the moment and challenge white audiences.\u003c/p>\n\u003cp>The Tony- and Grammy-winning star of \u003cem>Hamilton\u003c/em>, Odom was also nominated for best supporting actor, and he’s deployed extremely well throughout King’s film: In both \u003cem>One Night in Miami…\u003c/em> and “Speak Now,” he’s not imitating Cooke so much as embodying the legend’s essence and letting his own talent make up the difference.\u003c/p>\n\u003cp>\u003cstrong>2. “Fight for You,” \u003c/strong>\u003cstrong>\u003cem>Judas and the Black Messiah\u003c/em>\u003c/strong>\u003cstrong>, performed by H.E.R. (D’Mile, H.E.R. and Tiara Thomas, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nu8TS2Vr6lo\u003c/p>\n\u003cp>So if you’re keeping track, that’s a song about being heard, a song about being seen and \u003cem>another\u003c/em> song about being heard. At least H.E.R. is bringing a fight to the mix, right?\u003c/p>\n\u003cp>Unfortunately, we’re now 4-for-4 with best original song nominees whose placement in their respective movies begins riiiiiiiight as the credits begin to roll. Still, “Fight for You” has a brassy period quality to it that suits the sound and tone of \u003cem>Judas and the Black Messiah\u003c/em>; it feels like an extension of the film’s score and overall messaging. Even better, it raises the stakes from words to actions, complete with a call for revolution befitting the film’s subject matter.\u003c/p>\n\u003cp>If you’re attempting to navigate an Oscar pool, this feels like an unusually tricky category to call—a notion reflected in the \u003ca href=\"https://www.goldderby.com/odds/graph/oscars-2021-predictions/best-song/\" target=\"_blank\" rel=\"noopener noreferrer\">bunched-up Gold Derby standings\u003c/a>. After all, voters could be eager to help Warren break her dry spell, or get Leslie Odom Jr. one letter closer to his inevitable EGOT, or surrender to Netflix’s aggressive attempts to promote \u003cem>The Trial of the Chicago 7\u003c/em> at all costs. But “Fight for You” feels like as likely a bet as any: It’s timeless \u003cem>and\u003c/em> timely \u003cem>and\u003c/em> era-appropriate, in ways that help it transcend mere Glorycore award-grubbing. Plus, \u003ca href=\"https://www.grammy.com/grammys/artists/her/243298\" target=\"_blank\" rel=\"noopener noreferrer\">the Grammys love H.E.R.\u003c/a> Why wouldn’t the Oscars join them?\u003c/p>\n\u003cp>\u003cstrong>1. “Husavik,” \u003c/strong>\u003cstrong>\u003cem>Eurovision Song Contest: The Story of Fire Saga\u003c/em>\u003c/strong>\u003cstrong>, performed by Molly Sandén, Rachel McAdams and Will Ferrell (Rickard Göransson, Fat Max Gsus and Savan Kotecha, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjuphuG3ndw&t=1s\u003c/p>\n\u003cp>\u003cem>Eurovision Song Contest\u003c/em> is hardly what you’d consider Oscar bait: It’s a fun but scattershot send-up of a subject that’s already parodying itself, led by stars (Will Ferrell and Rachel McAdams) whose eternal gameness can’t overcome a laggy pace and iffy joke density. But the film succeeds in a crucial area: It largely gets the songs right, pushing the pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.\u003c/p>\n\u003cp>Lyrically cheesy in a manner befitting its context in the film, the song is built on a soaring melody that ratchets up the orchestral grandeur and provides a strong showcase for both McAdams (in a quiet solo scene) and Swedish singer Molly Sandén, whose tremendous voice viewers hear when McAdams sings onstage. As a best original song nominee, “Husavik” checks all the boxes this category ought to be in the interest of checking: Where all four other nominated songs are tacked onto their films’ closing credits, “Husavik” resides at the center of \u003cem>Eurovision Song Contest\u003c/em>‘s climactic scene. It has to absolutely kill for the film’s finale to work, and it brings the house down.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not saying it \u003cem>will\u003c/em> win, because it probably won’t. But it should.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2021+Oscars%27+Best+Original+Song+Nominees%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been an unusual year for… a lot of things, really, so why should the Oscars be any different? But the category of best original song feels especially anomalous, given the way the pandemic forced the postponement of so many blockbusters: We didn’t get a \u003cem>Frozen\u003c/em>-style animated musical to lock down one of the spots by default (and Christina Aguilera’s \u003ca href=\"https://www.youtube.com/watch?v=G6PZm8vhm6I\" target=\"_blank\" rel=\"noopener noreferrer\">new song\u003c/a> from the live-action \u003cem>Mulan\u003c/em> remake didn’t make the cut), while Billie Eilish’s \u003ca href=\"https://www.youtube.com/watch?v=BboMpayJomw\" target=\"_blank\" rel=\"noopener noreferrer\">James Bond theme\u003c/a> might have been the frontrunner had \u003cem>No Time to Die\u003c/em> actually come out as planned.\u003c/p>\n\u003cp>That’s left more room than usual for somber closing-credits dirges reflecting the themes of dramas about the pursuit of social justice—songs that, over the years, tend to bleed together in our collective memory to form a glum-but-rousing \u003ca href=\"https://www.mentalfloss.com/article/506504/almost-comprehensive-history-rat-kings\">rat king\u003c/a> called “I Will Speak and Raise My Voice to Rise and Stand and Fight.” These songs, following a path blazed by Common and John Legend’s 2014 \u003cem>Selma\u003c/em> anthem “\u003ca href=\"https://www.youtube.com/watch?v=HUZOKvYcx_o\" target=\"_blank\" rel=\"noopener noreferrer\">Glory\u003c/a>,” form a subgenre best described as, well, Glorycore. Speak! Rise! Stand! Fight!\u003c/p>\n\u003cp>Taken collectively, this year’s crop could have used a jolt of joy and energy—a “\u003ca href=\"https://www.youtube.com/watch?v=bOR38552MJA\">Blame Canada\u003c/a>,” if you will. But, given that it’s probably best that we won’t have to watch Sacha Baron Cohen perform “\u003ca href=\"https://www.youtube.com/watch?v=1EuyDMq3mYQ\" target=\"_blank\" rel=\"noopener noreferrer\">Wuhan Flu\u003c/a>” on the Oscars out of context, these are the five songs we’re getting. Here they are, cruelly and objectively ranked in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “Hear My Voice,” \u003c/strong>\u003cstrong>\u003cem>The Trial of the Chicago 7\u003c/em>\u003c/strong>\u003cstrong>, performed by Celeste (Daniel Pemberton and Celeste, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pnY9_DXMBis'\n title='//www.youtube.com/embed/pnY9_DXMBis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hear My Voice” has a vibrant vocal from soul singer Celeste, a grand string arrangement and a universally accessible message about, you know, having one’s voice heard. But a song can be \u003cem>too\u003c/em> universal: You could tack “Hear My Voice” onto the closing credits of three dozen different movies from 2020 and make a case that it fits. It’s an afterthought in \u003cem>The Trial of the Chicago 7\u003c/em>, and it’d be an afterthought just about anywhere else.\u003c/p>\n\u003cp>Seriously, what reason does “Hear My Voice” have to exist beyond the pursuit of this award? It’s a nice boost to Celeste’s worthy career, but the song itself might as well be titled “For Your Consideration: Hear My Voice (from \u003cem>The Trial Of The Chicago 7\u003c/em>).”\u003c/p>\n\u003cp>\u003cstrong>4. “Io sì (Seen),” \u003c/strong>\u003cstrong>\u003cem>The Life Ahead\u003c/em>\u003c/strong>\u003cstrong>, performed by Laura Pausini (Diane Warren and Laura Pausini, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/imjSm7FNmwE'\n title='//www.youtube.com/embed/imjSm7FNmwE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Diane Warren has been nominated for Best Original Song an astonishing 12 times, including for indelible hits like “Nothing’s Gonna Stop Us Now,” “How Do I Live” and “I Don’t Want to Miss a Thing”—from the Academy Awards staples \u003cem>Mannequin\u003c/em>, \u003cem>Con Air\u003c/em> and \u003cem>Armageddon\u003c/em>, respectively. But she’s never won, and after her 2015 Lady Gaga collaboration “\u003ca href=\"https://www.youtube.com/watch?v=ZmWBrN7QV6Y\" target=\"_blank\" rel=\"noopener noreferrer\">Til It Happens to You\u003c/a>” wrongly lost to Sam Smith’s “\u003ca href=\"https://www.youtube.com/watch?v=8jzDnsjYv9A\" target=\"_blank\" rel=\"noopener noreferrer\">Writing’s on the Wall\u003c/a>,” Warren has settled into a pattern of writing or co-writing a given year’s fourth- or fifth-most-powerful Best Original Song nominee, year in and year out.\u003c/p>\n\u003cp>Though she didn’t write Celeste’s “Hear My Voice,” Warren has become one of the most dedicated and persistent practitioners of Glorycore, contributing “\u003ca href=\"https://www.youtube.com/watch?v=2GhY7qXGx-0\" target=\"_blank\" rel=\"noopener noreferrer\">Stand Up for Something\u003c/a>” (from \u003cem>Marshall\u003c/em>), “\u003ca href=\"https://www.youtube.com/watch?v=ho0aVZHQnNM\" target=\"_blank\" rel=\"noopener noreferrer\">I’ll Fight\u003c/a>” (from \u003cem>RBG\u003c/em>) and “\u003ca href=\"https://www.youtube.com/watch?v=s7CHl9cB-m8\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Standing With You\u003c/a>” (from \u003cem>Breakthrough\u003c/em>) to the catalog of Oscars-approved anthems about loyalty and/or defiance. In “Io sì” (from the Italian drama \u003cem>The Life Ahead\u003c/em>), she at least mellows her approach a bit, writing in Italian about… well, a kind of defiant loyalty. Translated, the words Laura Pausini sings could have been written by an app programmed to get its user nominated for Best Original Song at the Academy Awards: “If you want me, I’m here / Nobody sees you, but I do.”\u003c/p>\n\u003cp>Still, though it’s not a heavy favorite to win, don’t be surprised if Warren finally ends her losing streak Sunday night. As a sentimental choice from a pool with no clear frontrunner, she’s got a significantly better chance than Celeste—or, say, anyone nominated for Best Actor against Chadwick Boseman.\u003c/p>\n\u003cp>\u003cstrong>3. “Speak Now,” \u003c/strong>\u003cstrong>\u003cem>One Night in Miami…\u003c/em>\u003c/strong>\u003cstrong>, performed by Leslie Odom Jr. (Sam Ashworth and Leslie Odom Jr., songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZvnPEMW1jj8'\n title='//www.youtube.com/embed/ZvnPEMW1jj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On one hand, “Speak Now” doesn’t figure into the plot of \u003cem>One Night in Miami…\u003c/em>, Regina King’s excellent drama about an eventful evening in the lives of Sam Cooke, Malcolm X, Muhammad Ali and Jim Brown. Nor does it stretch the boundaries of Oscar-friendly songs about speaking, standing, rising and/or fighting. But it does tie into one of the central tensions of the film, in which Cooke (as played by Odom) wrestles with his responsibility to perform songs that address the moment and challenge white audiences.\u003c/p>\n\u003cp>The Tony- and Grammy-winning star of \u003cem>Hamilton\u003c/em>, Odom was also nominated for best supporting actor, and he’s deployed extremely well throughout King’s film: In both \u003cem>One Night in Miami…\u003c/em> and “Speak Now,” he’s not imitating Cooke so much as embodying the legend’s essence and letting his own talent make up the difference.\u003c/p>\n\u003cp>\u003cstrong>2. “Fight for You,” \u003c/strong>\u003cstrong>\u003cem>Judas and the Black Messiah\u003c/em>\u003c/strong>\u003cstrong>, performed by H.E.R. (D’Mile, H.E.R. and Tiara Thomas, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Nu8TS2Vr6lo'\n title='//www.youtube.com/embed/Nu8TS2Vr6lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So if you’re keeping track, that’s a song about being heard, a song about being seen and \u003cem>another\u003c/em> song about being heard. At least H.E.R. is bringing a fight to the mix, right?\u003c/p>\n\u003cp>Unfortunately, we’re now 4-for-4 with best original song nominees whose placement in their respective movies begins riiiiiiiight as the credits begin to roll. Still, “Fight for You” has a brassy period quality to it that suits the sound and tone of \u003cem>Judas and the Black Messiah\u003c/em>; it feels like an extension of the film’s score and overall messaging. Even better, it raises the stakes from words to actions, complete with a call for revolution befitting the film’s subject matter.\u003c/p>\n\u003cp>If you’re attempting to navigate an Oscar pool, this feels like an unusually tricky category to call—a notion reflected in the \u003ca href=\"https://www.goldderby.com/odds/graph/oscars-2021-predictions/best-song/\" target=\"_blank\" rel=\"noopener noreferrer\">bunched-up Gold Derby standings\u003c/a>. After all, voters could be eager to help Warren break her dry spell, or get Leslie Odom Jr. one letter closer to his inevitable EGOT, or surrender to Netflix’s aggressive attempts to promote \u003cem>The Trial of the Chicago 7\u003c/em> at all costs. But “Fight for You” feels like as likely a bet as any: It’s timeless \u003cem>and\u003c/em> timely \u003cem>and\u003c/em> era-appropriate, in ways that help it transcend mere Glorycore award-grubbing. Plus, \u003ca href=\"https://www.grammy.com/grammys/artists/her/243298\" target=\"_blank\" rel=\"noopener noreferrer\">the Grammys love H.E.R.\u003c/a> Why wouldn’t the Oscars join them?\u003c/p>\n\u003cp>\u003cstrong>1. “Husavik,” \u003c/strong>\u003cstrong>\u003cem>Eurovision Song Contest: The Story of Fire Saga\u003c/em>\u003c/strong>\u003cstrong>, performed by Molly Sandén, Rachel McAdams and Will Ferrell (Rickard Göransson, Fat Max Gsus and Savan Kotecha, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qjuphuG3ndw'\n title='//www.youtube.com/embed/qjuphuG3ndw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Eurovision Song Contest\u003c/em> is hardly what you’d consider Oscar bait: It’s a fun but scattershot send-up of a subject that’s already parodying itself, led by stars (Will Ferrell and Rachel McAdams) whose eternal gameness can’t overcome a laggy pace and iffy joke density. But the film succeeds in a crucial area: It largely gets the songs right, pushing the pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.\u003c/p>\n\u003cp>Lyrically cheesy in a manner befitting its context in the film, the song is built on a soaring melody that ratchets up the orchestral grandeur and provides a strong showcase for both McAdams (in a quiet solo scene) and Swedish singer Molly Sandén, whose tremendous voice viewers hear when McAdams sings onstage. As a best original song nominee, “Husavik” checks all the boxes this category ought to be in the interest of checking: Where all four other nominated songs are tacked onto their films’ closing credits, “Husavik” resides at the center of \u003cem>Eurovision Song Contest\u003c/em>‘s climactic scene. It has to absolutely kill for the film’s finale to work, and it brings the house down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not saying it \u003cem>will\u003c/em> win, because it probably won’t. But it should.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2021+Oscars%27+Best+Original+Song+Nominees%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Missing Travel? This 'Irreverent Guide' Visits Anthony Bourdain's Favorite Places",
"headTitle": "Missing Travel? This ‘Irreverent Guide’ Visits Anthony Bourdain’s Favorite Places | KQED",
"content": "\u003cp>The new book \u003cem>World Travel: An Irreverent Guide\u003c/em> is credited to Anthony Bourdain. But it was not really written by the bestselling author, chef and TV personality who \u003ca href=\"https://www.npr.org/sections/thesalt/2018/06/08/618185381/anthony-bourdain-chef-and-television-host-has-died-at-61\" target=\"_blank\" rel=\"noopener noreferrer\">died in 2018.\u003c/a>\u003c/p>\n\u003cp>\u003cem>World Travel: An Irreverent Guide\u003c/em> was assembled by one of Bourdain’s associates, Laurie Woolever, based entirely on his previous writings and an hourlong interview conducted shortly before his death. Bourdain had collaborated with Woolever on 2016’s \u003cem>\u003ca href=\"https://www.npr.org/sections/thesalt/2016/10/27/499308031/in-appetites-bourdain-pleases-the-toughest-food-critic-his-9-year-old\" target=\"_blank\" rel=\"noopener noreferrer\">Appetites: A Cookbook\u003c/a>\u003c/em>, and this project was conceived of shortly thereafter, she says, with the intent to spotlight some of Bourdain’s favorite places around the globe.\u003c/p>\n\u003cp>Given the dearth of original writing by Bourdain himself, \u003cem>World Travel\u003c/em> contains a handful of tributary essays, by the likes of Bourdain’s brother Christopher, music producer Steve Albini, and Nari Kye, who worked as a production manager on Bourdain’s TV show, \u003cem>No Reservations\u003c/em>. She describes, in her essay, how her former boss profoundly changed her life.\u003c/p>\n\u003cfigure id=\"attachment_13896117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg\" alt=\"The cover of 'World Travel: An Irreverent Guide' by Anthony Bourdain and Laurie Woolever.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘World Travel: An Irreverent Guide’ by Anthony Bourdain and Laurie Woolever. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The South Korea episode of \u003cem>No Reservations\u003c/em> started as a joke,” she writes. “At the end of Season 1, I said, ‘We’re all going to eat Korean barbecue, and drink lots of \u003cem>soju\u003c/em>.’ I got us a huge table in Manhattan’s K-town, and Tony came. We went outside to smoke, and in my drunken \u003cem>soju\u003c/em> haze, I said, ‘Tony, you have to swear you’re going to Korea.’ And he said, ‘Of course. And you have to come with me.’ ”\u003c/p>\n\u003cp>What happened after that drunken conversation was not a joke, Kye says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s hard not to get emotional when I talk about Tony,” she says, wiping away tears during a Zoom call from her Brooklyn home. Kye explains she was surprised not just to come along for the South Korea episode, which aired in 2006, but also to be its focus, along with her family there.\u003c/p>\n\u003cp>The show follows Kye and Bourdain as they explore Seoul’s famous Noryangjin fish market, visit a village famous for its kimchee, peer at soldiers guarding the DMZ and drink copiously at a karaoke bar. (Off-camera, Kye says, Bourdain performed a Billy Idol number.) The two sat down with Kye’s grandfather over a bowl of spicy fish stew as part of the episode. He described the trauma of escaping from his home in what’s now North Korea in 1951.\u003c/p>\n\u003cp>[aside postid='news_11673893']“If I could go back there once before I die,” her grandfather explains in Korean, “I would have no other wish, if I could just see my parents’ graves and just cry my heart out. There’s nothing that can be done, though. That’s just the way it is. That’s my fate.”\u003c/p>\n\u003cp>Kye and Bourdain listen, rapt. “I might not have learned these things had it not been [for] Tony and the show,” Kye mused to NPR. “I was one person before I made the show. I was a different person afterwards.”\u003c/p>\n\u003cp>As she recounts in her essay, Kye did not grow up feeling proud of her family’s history or culture.\u003c/p>\n\u003cp>“I moved to the States when I was 5, from Korea, and after that, I lived in a predominantly white, Anglo-American community,” she writes. “As a kid who already looked different from everyone else, I was trying to fit in as an American and was mortified by my Korean heritage. My mom cooked only Korean food. My parents spoke only Korean to me … We basically lived in Korea in our house in a very American town.”\u003c/p>\n\u003cp>Before Kye’s friends would come over—”white, blond-haired girls named Jenny and Erin who would wear shoes inside their houses”—she would hide everything in her house that looked Korean. She was a recent college graduate, still in her early 20s, when she traveled to South Korea with Bourdain. His full-throated enthusiasm for Korea’s spectacular history, culture and food transformed her perspective about something she had dismissed and taken for granted—and ignited her own sense of creative potential. Now Kye works on a children’s television show for Korean American families, and she’s writing an autobiographical screenplay, including her travels with Bourdain, filtered through learning about food.\u003c/p>\n\u003cfigure id=\"attachment_13896118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg\" alt=\"Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3.jpg 1547w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \u003ccite>(CNN/Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t know this had been so important to Nari until after [Bourdain] died, and we were talking about his impact on us,” Laurie Woolever told NPR. “Had Tony lived and written his own essay for the book—which was the original plan—I never would’ve gotten to hear from Nari. And I think it’s important, and I want people to understand how deep [Bourdain’s] legacy is.”\u003c/p>\n\u003cp>Part of that legacy, says Nari Kye, comes from how Bourdain reflexively stood up for underdogs, his embrace of those who get marginalized. “He always made people feel like they belonged,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And wherever he traveled, she says, Anthony Bourdain managed to belong as well.\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=Missing+Travel%3F+This+%27Irreverent+Guide%27+Visits+Anthony+Bourdain%27s+Favorite+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new book \u003cem>World Travel: An Irreverent Guide\u003c/em> is credited to Anthony Bourdain. But it was not really written by the bestselling author, chef and TV personality who \u003ca href=\"https://www.npr.org/sections/thesalt/2018/06/08/618185381/anthony-bourdain-chef-and-television-host-has-died-at-61\" target=\"_blank\" rel=\"noopener noreferrer\">died in 2018.\u003c/a>\u003c/p>\n\u003cp>\u003cem>World Travel: An Irreverent Guide\u003c/em> was assembled by one of Bourdain’s associates, Laurie Woolever, based entirely on his previous writings and an hourlong interview conducted shortly before his death. Bourdain had collaborated with Woolever on 2016’s \u003cem>\u003ca href=\"https://www.npr.org/sections/thesalt/2016/10/27/499308031/in-appetites-bourdain-pleases-the-toughest-food-critic-his-9-year-old\" target=\"_blank\" rel=\"noopener noreferrer\">Appetites: A Cookbook\u003c/a>\u003c/em>, and this project was conceived of shortly thereafter, she says, with the intent to spotlight some of Bourdain’s favorite places around the globe.\u003c/p>\n\u003cp>Given the dearth of original writing by Bourdain himself, \u003cem>World Travel\u003c/em> contains a handful of tributary essays, by the likes of Bourdain’s brother Christopher, music producer Steve Albini, and Nari Kye, who worked as a production manager on Bourdain’s TV show, \u003cem>No Reservations\u003c/em>. She describes, in her essay, how her former boss profoundly changed her life.\u003c/p>\n\u003cfigure id=\"attachment_13896117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg\" alt=\"The cover of 'World Travel: An Irreverent Guide' by Anthony Bourdain and Laurie Woolever.\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1017x1536.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-1356x2048.jpg 1356w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/worldtravel-hc-c_custom-f40d26228021e9447e177289b70023282a4da1da-scaled.jpg 1695w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘World Travel: An Irreverent Guide’ by Anthony Bourdain and Laurie Woolever. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The South Korea episode of \u003cem>No Reservations\u003c/em> started as a joke,” she writes. “At the end of Season 1, I said, ‘We’re all going to eat Korean barbecue, and drink lots of \u003cem>soju\u003c/em>.’ I got us a huge table in Manhattan’s K-town, and Tony came. We went outside to smoke, and in my drunken \u003cem>soju\u003c/em> haze, I said, ‘Tony, you have to swear you’re going to Korea.’ And he said, ‘Of course. And you have to come with me.’ ”\u003c/p>\n\u003cp>What happened after that drunken conversation was not a joke, Kye says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s hard not to get emotional when I talk about Tony,” she says, wiping away tears during a Zoom call from her Brooklyn home. Kye explains she was surprised not just to come along for the South Korea episode, which aired in 2006, but also to be its focus, along with her family there.\u003c/p>\n\u003cp>The show follows Kye and Bourdain as they explore Seoul’s famous Noryangjin fish market, visit a village famous for its kimchee, peer at soldiers guarding the DMZ and drink copiously at a karaoke bar. (Off-camera, Kye says, Bourdain performed a Billy Idol number.) The two sat down with Kye’s grandfather over a bowl of spicy fish stew as part of the episode. He described the trauma of escaping from his home in what’s now North Korea in 1951.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“If I could go back there once before I die,” her grandfather explains in Korean, “I would have no other wish, if I could just see my parents’ graves and just cry my heart out. There’s nothing that can be done, though. That’s just the way it is. That’s my fate.”\u003c/p>\n\u003cp>Kye and Bourdain listen, rapt. “I might not have learned these things had it not been [for] Tony and the show,” Kye mused to NPR. “I was one person before I made the show. I was a different person afterwards.”\u003c/p>\n\u003cp>As she recounts in her essay, Kye did not grow up feeling proud of her family’s history or culture.\u003c/p>\n\u003cp>“I moved to the States when I was 5, from Korea, and after that, I lived in a predominantly white, Anglo-American community,” she writes. “As a kid who already looked different from everyone else, I was trying to fit in as an American and was mortified by my Korean heritage. My mom cooked only Korean food. My parents spoke only Korean to me … We basically lived in Korea in our house in a very American town.”\u003c/p>\n\u003cp>Before Kye’s friends would come over—”white, blond-haired girls named Jenny and Erin who would wear shoes inside their houses”—she would hide everything in her house that looked Korean. She was a recent college graduate, still in her early 20s, when she traveled to South Korea with Bourdain. His full-throated enthusiasm for Korea’s spectacular history, culture and food transformed her perspective about something she had dismissed and taken for granted—and ignited her own sense of creative potential. Now Kye works on a children’s television show for Korean American families, and she’s writing an autobiographical screenplay, including her travels with Bourdain, filtered through learning about food.\u003c/p>\n\u003cfigure id=\"attachment_13896118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg\" alt=\"Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/hireswooleverandbourdain.credit-cnn-2c276a8ec17dbd88f34dc28e5eaea98bec9019f3.jpg 1547w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laurie Woolever and Anthony Bourdain at the Aqueduct Racetrack in Queens, N.Y. \u003ccite>(CNN/Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t know this had been so important to Nari until after [Bourdain] died, and we were talking about his impact on us,” Laurie Woolever told NPR. “Had Tony lived and written his own essay for the book—which was the original plan—I never would’ve gotten to hear from Nari. And I think it’s important, and I want people to understand how deep [Bourdain’s] legacy is.”\u003c/p>\n\u003cp>Part of that legacy, says Nari Kye, comes from how Bourdain reflexively stood up for underdogs, his embrace of those who get marginalized. “He always made people feel like they belonged,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And wherever he traveled, she says, Anthony Bourdain managed to belong as well.\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=Missing+Travel%3F+This+%27Irreverent+Guide%27+Visits+Anthony+Bourdain%27s+Favorite+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hundreds of Fyre Festival Ticket Holders Poised to Win Payout in Class-Action Suit",
"headTitle": "Hundreds of Fyre Festival Ticket Holders Poised to Win Payout in Class-Action Suit | KQED",
"content": "\u003cp>Attendees of the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">infamous Fyre Festival\u003c/a> didn’t exactly get what they paid for in 2017, when they arrived in the Bahamas for a luxury music festival only to find themselves stranded without basic provisions, let alone first-class accommodations.\u003c/p>\n\u003cp>Some four years later, hundreds of ticket holders are poised to receive more than $7,000 each after settling a class-action lawsuit with event organizers.\u003c/p>\n\u003cp>The settlement was reached Tuesday in U.S. Bankruptcy Court in the Southern District of New York, court documents show, with an early May deadline to object. The plaintiff is named as Gregory Messer, the Chapter 7 trustee of the estate of Fyre Festival LLC.\u003c/p>\n\u003cp>[aside postid='pop_108743'] It adds up to $2 million, and was announced as part of the festival’s ongoing bankruptcy proceedings. As it stands, the \u003ca href=\"https://www.nytimes.com/2021/04/15/arts/music/fyre-festival-settlement.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a> reports, 277 ticket holders will each receive a payout of $7,220, with an approval hearing scheduled for May 13. (The exact amount of the payout may change depending on how ongoing bankruptcy proceedings progress.)\u003c/p>\n\u003cp>“Billy [McFarland] went to jail, ticket holders can get some money back, and some very entertaining documentaries were made,” Ben Meiselas, a partner at California-based Geragos & Geragos who represented the ticket holders, told \u003cem>the Times\u003c/em>. “Now that’s justice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7_omekVr9fE\u003c/p>\n\u003cp>Indeed, the 2017 festival-that-wasn’t has left a trail of lawsuits, criminal charges and \u003ca href=\"https://www.npr.org/2019/01/18/686262708/fighting-fyre-with-fyre-fraud-two-documentaries-about-the-same-disaster\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic documentaries\u003c/a> in its wake.\u003c/p>\n\u003cp>McFarland, who organized and promoted the event, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">pled guilty\u003c/a> in 2018 to two counts of wire fraud related to the festival. He was \u003ca href=\"https://www.justice.gov/usao-sdny/pr/william-mcfarland-sentenced-6-years-prison-manhattan-federal-court-engaging-multiple\" target=\"_blank\" rel=\"noopener noreferrer\">sentenced\u003c/a> to six years in prison and three on probation for engaging in what prosecutors described as “multiple fraudulent schemes” and making false statements to law enforcement.\u003c/p>\n\u003cp>McFarland and his company, Fyre Media, have faced some \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">dozen\u003c/a> lawsuits in the festival’s aftermath. As NPR \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in 2018:\u003c/p>\n\u003cblockquote>\u003cp>McFarland had hawked a “life-changing,” paradisiacal music festival for well-heeled patrons intended to take place in the Bahamas in late April and early May 2017. Instead, the festival—which carried ticket prices of up to $12,000 apiece—collapsed in chaos, launching a parade of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">#dumpsterfyre\u003c/a> jokes and scads of schadenfreudic social media commentary, as hopeful festival-goers and vendors alike realized that they had been bilked.\u003c/p>\u003c/blockquote>\n\u003cp>Organizers offered an \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a> in the immediate wake of the event, admitting it “fell dramatically short of even the most modest expectations” and providing a form attendees could fill out to apply for a refund.\u003c/p>\n\u003cp>But for many, a refund was not enough.\u003c/p>\n\u003cp>The original class-action suit was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">filed in April 2017\u003c/a> against Fyre Media, McFarland and rapper Ja Rule, who was advertised as the festival’s co-founder, and sought $100 million in damages. The plaintiff is named as Daniel Jung, acting individually and as a representative of “a class of similarly-situated persons.”\u003c/p>\n\u003cp>The 21-page \u003ca href=\"https://www.documentcloud.org/documents/3688226-Fyre-Fest-Lawsuit.html\" target=\"_blank\" rel=\"noopener noreferrer\">complaint\u003c/a> said refunds were inadequate, writing, “Class Members’ damages in being lured to a deserted island and left to fend for themselves—a situation tantamount to false imprisonment—exceed the face value of their ticket packages by many orders of magnitude.”\u003c/p>\n\u003cp>It accuses organizers of knowingly lying about the festival’s accommodations and safety, reaching out to celebrities and performers to discourage them from coming while continuing to sell ticket packages, which started at $1,200.\u003c/p>\n\u003cp>The festival was promoted—including by many \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\">social media influencers\u003c/a>—as a posh musical festival on a private island once owned by drug kingpin Pablo Escobar, complete with luxurious accommodations and first-class culinary experiences.\u003c/p>\n\u003cp>Instead, attendees arrived to find unsecured FEMA tents, \u003ca href=\"https://twitter.com/trev4president/status/857776562615308288?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">widely panned\u003c/a> food rations and no festival or medical staff to offer assistance. The island was neither private nor formerly owned by Escobar, attorneys noted.\u003c/p>\n\u003cp>[aside postid='arts_13148571'] “The festival’s lack of adequate food, water, shelter and medical care created a dangerous and panicked situation among attendees—suddenly finding themselves stranded on a remote island without basic provisions—that was closer to \u003cem>The Hunger Games\u003c/em> or \u003cem>Lord of the Flies\u003c/em> than Coachella,” they wrote, adding that efforts to escape were hampered by attendees’ reliance on organizers for transportation and the fact that the event had been billed as “cashless.”\u003c/p>\n\u003cp>Several other lawsuits involving the failed festival have been settled already.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2018, a North Carolina judge awarded \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">$5 million in damages\u003c/a> to two attendees who had sued McFarland; Ja Rule was initially named in that suit but was removed from the claim after settling with the two. And last May, \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\" target=\"_blank\" rel=\"noopener noreferrer\">Kendall Jenner\u003c/a> agreed to pay $90,000 for promoting the festival in a social media post.\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=Hundreds+Of+Fyre+Festival+Ticket+Holders+Poised+To+Win+Payout+In+Class-Action+Suit+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "A class-action settlement will award 277 ticket holders more than $7,000 each, pending a judge's approval in May. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attendees of the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">infamous Fyre Festival\u003c/a> didn’t exactly get what they paid for in 2017, when they arrived in the Bahamas for a luxury music festival only to find themselves stranded without basic provisions, let alone first-class accommodations.\u003c/p>\n\u003cp>Some four years later, hundreds of ticket holders are poised to receive more than $7,000 each after settling a class-action lawsuit with event organizers.\u003c/p>\n\u003cp>The settlement was reached Tuesday in U.S. Bankruptcy Court in the Southern District of New York, court documents show, with an early May deadline to object. The plaintiff is named as Gregory Messer, the Chapter 7 trustee of the estate of Fyre Festival LLC.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> It adds up to $2 million, and was announced as part of the festival’s ongoing bankruptcy proceedings. As it stands, the \u003ca href=\"https://www.nytimes.com/2021/04/15/arts/music/fyre-festival-settlement.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a> reports, 277 ticket holders will each receive a payout of $7,220, with an approval hearing scheduled for May 13. (The exact amount of the payout may change depending on how ongoing bankruptcy proceedings progress.)\u003c/p>\n\u003cp>“Billy [McFarland] went to jail, ticket holders can get some money back, and some very entertaining documentaries were made,” Ben Meiselas, a partner at California-based Geragos & Geragos who represented the ticket holders, told \u003cem>the Times\u003c/em>. “Now that’s justice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7_omekVr9fE'\n title='//www.youtube.com/embed/7_omekVr9fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, the 2017 festival-that-wasn’t has left a trail of lawsuits, criminal charges and \u003ca href=\"https://www.npr.org/2019/01/18/686262708/fighting-fyre-with-fyre-fraud-two-documentaries-about-the-same-disaster\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic documentaries\u003c/a> in its wake.\u003c/p>\n\u003cp>McFarland, who organized and promoted the event, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">pled guilty\u003c/a> in 2018 to two counts of wire fraud related to the festival. He was \u003ca href=\"https://www.justice.gov/usao-sdny/pr/william-mcfarland-sentenced-6-years-prison-manhattan-federal-court-engaging-multiple\" target=\"_blank\" rel=\"noopener noreferrer\">sentenced\u003c/a> to six years in prison and three on probation for engaging in what prosecutors described as “multiple fraudulent schemes” and making false statements to law enforcement.\u003c/p>\n\u003cp>McFarland and his company, Fyre Media, have faced some \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">dozen\u003c/a> lawsuits in the festival’s aftermath. As NPR \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in 2018:\u003c/p>\n\u003cblockquote>\u003cp>McFarland had hawked a “life-changing,” paradisiacal music festival for well-heeled patrons intended to take place in the Bahamas in late April and early May 2017. Instead, the festival—which carried ticket prices of up to $12,000 apiece—collapsed in chaos, launching a parade of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">#dumpsterfyre\u003c/a> jokes and scads of schadenfreudic social media commentary, as hopeful festival-goers and vendors alike realized that they had been bilked.\u003c/p>\u003c/blockquote>\n\u003cp>Organizers offered an \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a> in the immediate wake of the event, admitting it “fell dramatically short of even the most modest expectations” and providing a form attendees could fill out to apply for a refund.\u003c/p>\n\u003cp>But for many, a refund was not enough.\u003c/p>\n\u003cp>The original class-action suit was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">filed in April 2017\u003c/a> against Fyre Media, McFarland and rapper Ja Rule, who was advertised as the festival’s co-founder, and sought $100 million in damages. The plaintiff is named as Daniel Jung, acting individually and as a representative of “a class of similarly-situated persons.”\u003c/p>\n\u003cp>The 21-page \u003ca href=\"https://www.documentcloud.org/documents/3688226-Fyre-Fest-Lawsuit.html\" target=\"_blank\" rel=\"noopener noreferrer\">complaint\u003c/a> said refunds were inadequate, writing, “Class Members’ damages in being lured to a deserted island and left to fend for themselves—a situation tantamount to false imprisonment—exceed the face value of their ticket packages by many orders of magnitude.”\u003c/p>\n\u003cp>It accuses organizers of knowingly lying about the festival’s accommodations and safety, reaching out to celebrities and performers to discourage them from coming while continuing to sell ticket packages, which started at $1,200.\u003c/p>\n\u003cp>The festival was promoted—including by many \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\">social media influencers\u003c/a>—as a posh musical festival on a private island once owned by drug kingpin Pablo Escobar, complete with luxurious accommodations and first-class culinary experiences.\u003c/p>\n\u003cp>Instead, attendees arrived to find unsecured FEMA tents, \u003ca href=\"https://twitter.com/trev4president/status/857776562615308288?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">widely panned\u003c/a> food rations and no festival or medical staff to offer assistance. The island was neither private nor formerly owned by Escobar, attorneys noted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> “The festival’s lack of adequate food, water, shelter and medical care created a dangerous and panicked situation among attendees—suddenly finding themselves stranded on a remote island without basic provisions—that was closer to \u003cem>The Hunger Games\u003c/em> or \u003cem>Lord of the Flies\u003c/em> than Coachella,” they wrote, adding that efforts to escape were hampered by attendees’ reliance on organizers for transportation and the fact that the event had been billed as “cashless.”\u003c/p>\n\u003cp>Several other lawsuits involving the failed festival have been settled already.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2018, a North Carolina judge awarded \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">$5 million in damages\u003c/a> to two attendees who had sued McFarland; Ja Rule was initially named in that suit but was removed from the claim after settling with the two. And last May, \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\" target=\"_blank\" rel=\"noopener noreferrer\">Kendall Jenner\u003c/a> agreed to pay $90,000 for promoting the festival in a social media post.\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=Hundreds+Of+Fyre+Festival+Ticket+Holders+Poised+To+Win+Payout+In+Class-Action+Suit+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Grey's Anatomy' is in its 17th Season... But Are Today's Shows Built to Last?",
"headTitle": "‘Grey’s Anatomy’ is in its 17th Season… But Are Today’s Shows Built to Last? | KQED",
"content": "\u003cp>The venerable doctor drama \u003cem>Grey’s Anatomy\u003c/em> is adding new characters, bringing back old ones and writing in COVID-19 subplots in its 17th season. When you look at \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">a list of the longest-running scripted shows\u003c/a>,\u003cem> Grey’s Anatomy\u003c/em> is among the very few still airing on primetime TV, along with \u003cem>The Simpsons\u003c/em> (32 seasons), \u003cem>Law & Order: SVU\u003c/em> (22 seasons), \u003cem>Family Guy\u003c/em> (19 seasons) and \u003cem>NCIS\u003c/em> (18 seasons.)\u003c/p>\n\u003cp>They all come from a completely different era of television, says Steve Mosko, a former Sony Pictures Television executive, now CEO of Village Roadshow Entertainment Group. Back when those shows first started, people still used VCRs to tape TV programs they missed.\u003c/p>\n\u003cp>“Look at how\u003cem> Law & Order \u003c/em>and some of these great dramas on broadcast TV were doing 22 episodes a year plus. That’s like 22 movies a year,” he points out. “That’s not easy.” [aside postid='arts_13893475']\u003c/p>\n\u003cp>Compare that to today, he says, when great dramas on cable and streaming TV like \u003cem>The Crown\u003c/em> or \u003cem>Game of Thrones \u003c/em>run only 10 episodes a season—or fewer. And for some shows today, he adds, such as new comedies, the old calculus of re-runs and syndication, which depends on making a certain number of shows, simply does not apply.\u003c/p>\n\u003cp>Nasim Pedrad can testify. “You know, I think it’s pretty unlikely that a show could ever do six seasons, let alone 16 seasons nowadays, just based on the way that we produce content and watch things,” she observes. Pedrad created and stars in \u003cem>Chad,\u003c/em> which started this month on TBS. She plays an obnoxious, teenage American Muslim boy trying to fit in at his high school. “I’m not right now picturing Chad going off to college,” she laughs.\u003c/p>\n\u003cfigure id=\"attachment_13895901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg\" alt=\"Showrunner Nasim Pedrad behind the scenes of 'Chad' with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Showrunner Nasim Pedrad behind the scenes of ‘Chad’ with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy. \u003ccite>(Scott Patrick Green/Warner Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pedrad started her career on \u003cem>Saturday Night Live\u003c/em>—a show you now may mostly watch on YouTube. “The competition is just so different now,” Pedrad says, pointing to the sheer volume of original scripted shows today, around 500 a year. “Now, there’s not only so many more shows, but there’s also different mediums distracting us. TV shows are also competing against Instagram, YouTube, TikTok and other things that are taking our attention.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I do think it’s harder today in the sense that eyeballs are more fractured,” agrees Steven D. Binder, a showrunner for \u003cem>NCIS.\u003c/em> “People are now playing video games as much as they’re watching television.”\u003c/p>\n\u003cp>\u003cem>NCIS\u003c/em>, which started in 2003, still pulls in phenomenal ratings. It draws more than 10 million viewers a week. Police procedurals are a special case; they’re built to last forever. On \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">that list of the longest-running scripted primetime shows\u003c/a>, \u003cem>CSI\u003c/em> and \u003cem>Criminal Minds\u003c/em> are also way up there along with two \u003cem>Law & Order\u003c/em> franchises. [aside postid='arts_13895138']\u003c/p>\n\u003cp>As my colleague \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Holmes\u003c/a> pointed out to me, these cop procedurals are not complicated, conceptually. Every week, a case gets solved. Actors can get swapped out. Some shows have baked-in advantages that make it easier to stick around, including animated shows like \u003cem>The Simpsons\u003c/em>, \u003cem>American Dad \u003c/em>and \u003cem>Family Guy, \u003c/em>all also \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">at the top of that list\u003c/a>. Making these shows is easier for actors, you can watch them no matter how old you are, and they’re relatively cheap.\u003c/p>\n\u003cp>“I don’t know if a show created now could go the distance,” says Mike Barker, who’s written and produced for \u003cem>Family Guy (\u003c/em>on its 20th season) and \u003cem>American Dad (\u003c/em>on its 18th). “Because everything has changed so much.”\u003c/p>\n\u003cp>Those changes are not only in how we consume TV shows, says Nasim Pedrad. They translate to changes in how TV writers tell stories.\u003c/p>\n\u003cp>“Things on shows happen fast. You have to find an audience quickly because of that,” she says. “Like, it used to take multiple seasons before the \u003cem>Friends \u003c/em>[characters] started sleeping with each other, for example, but now with binge culture, there’s so much pressure to hook the audience that things just need to happen faster. You’re burning through plot a lot faster.”\u003c/p>\n\u003cp>“A streaming provider has incredible amounts of data on a TV show,” adds Binder. “And they’re so data-driven, maybe they won’t let a show nurture. They’ll cut it off and replace it with another one.”\u003c/p>\n\u003cp>A constant stream of brand-new shows works for Netflix, which uses them to draw new subscribers. It works less well for an old-school, advertiser-driven network relying on relationships between shows and their fans. Even if somehow, Pedrad’s new show\u003cem> Chad\u003c/em> ends up becoming a long-running hit, she’s not sure if that’s the best thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oh my goodness,” she says. “I don’t know if I can pull off looking like a 14-year old-boy for 14, 15, 17 seasons.”\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=%27Grey%27s+Anatomy%27+Is+In+Its+17th+Season+...+But+Are+Today%27s+Shows+Built+To+Last%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The venerable doctor drama \u003cem>Grey’s Anatomy\u003c/em> is adding new characters, bringing back old ones and writing in COVID-19 subplots in its 17th season. When you look at \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">a list of the longest-running scripted shows\u003c/a>,\u003cem> Grey’s Anatomy\u003c/em> is among the very few still airing on primetime TV, along with \u003cem>The Simpsons\u003c/em> (32 seasons), \u003cem>Law & Order: SVU\u003c/em> (22 seasons), \u003cem>Family Guy\u003c/em> (19 seasons) and \u003cem>NCIS\u003c/em> (18 seasons.)\u003c/p>\n\u003cp>They all come from a completely different era of television, says Steve Mosko, a former Sony Pictures Television executive, now CEO of Village Roadshow Entertainment Group. Back when those shows first started, people still used VCRs to tape TV programs they missed.\u003c/p>\n\u003cp>“Look at how\u003cem> Law & Order \u003c/em>and some of these great dramas on broadcast TV were doing 22 episodes a year plus. That’s like 22 movies a year,” he points out. “That’s not easy.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compare that to today, he says, when great dramas on cable and streaming TV like \u003cem>The Crown\u003c/em> or \u003cem>Game of Thrones \u003c/em>run only 10 episodes a season—or fewer. And for some shows today, he adds, such as new comedies, the old calculus of re-runs and syndication, which depends on making a certain number of shows, simply does not apply.\u003c/p>\n\u003cp>Nasim Pedrad can testify. “You know, I think it’s pretty unlikely that a show could ever do six seasons, let alone 16 seasons nowadays, just based on the way that we produce content and watch things,” she observes. Pedrad created and stars in \u003cem>Chad,\u003c/em> which started this month on TBS. She plays an obnoxious, teenage American Muslim boy trying to fit in at his high school. “I’m not right now picturing Chad going off to college,” she laughs.\u003c/p>\n\u003cfigure id=\"attachment_13895901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg\" alt=\"Showrunner Nasim Pedrad behind the scenes of 'Chad' with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/chad-1-pix-34b7c31ef462ba1da15c469a15ef2ad9d07416d8.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Showrunner Nasim Pedrad behind the scenes of ‘Chad’ with director Rhys Thomas. Pedrad plays a teenage boy in the new TBS comedy. \u003ccite>(Scott Patrick Green/Warner Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pedrad started her career on \u003cem>Saturday Night Live\u003c/em>—a show you now may mostly watch on YouTube. “The competition is just so different now,” Pedrad says, pointing to the sheer volume of original scripted shows today, around 500 a year. “Now, there’s not only so many more shows, but there’s also different mediums distracting us. TV shows are also competing against Instagram, YouTube, TikTok and other things that are taking our attention.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I do think it’s harder today in the sense that eyeballs are more fractured,” agrees Steven D. Binder, a showrunner for \u003cem>NCIS.\u003c/em> “People are now playing video games as much as they’re watching television.”\u003c/p>\n\u003cp>\u003cem>NCIS\u003c/em>, which started in 2003, still pulls in phenomenal ratings. It draws more than 10 million viewers a week. Police procedurals are a special case; they’re built to last forever. On \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">that list of the longest-running scripted primetime shows\u003c/a>, \u003cem>CSI\u003c/em> and \u003cem>Criminal Minds\u003c/em> are also way up there along with two \u003cem>Law & Order\u003c/em> franchises. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As my colleague \u003ca href=\"https://www.npr.org/people/93702353/linda-holmes\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Holmes\u003c/a> pointed out to me, these cop procedurals are not complicated, conceptually. Every week, a case gets solved. Actors can get swapped out. Some shows have baked-in advantages that make it easier to stick around, including animated shows like \u003cem>The Simpsons\u003c/em>, \u003cem>American Dad \u003c/em>and \u003cem>Family Guy, \u003c/em>all also \u003ca href=\"https://en.wikipedia.org/wiki/List_of_longest-running_scripted_American_primetime_television_series\" target=\"_blank\" rel=\"noopener noreferrer\">at the top of that list\u003c/a>. Making these shows is easier for actors, you can watch them no matter how old you are, and they’re relatively cheap.\u003c/p>\n\u003cp>“I don’t know if a show created now could go the distance,” says Mike Barker, who’s written and produced for \u003cem>Family Guy (\u003c/em>on its 20th season) and \u003cem>American Dad (\u003c/em>on its 18th). “Because everything has changed so much.”\u003c/p>\n\u003cp>Those changes are not only in how we consume TV shows, says Nasim Pedrad. They translate to changes in how TV writers tell stories.\u003c/p>\n\u003cp>“Things on shows happen fast. You have to find an audience quickly because of that,” she says. “Like, it used to take multiple seasons before the \u003cem>Friends \u003c/em>[characters] started sleeping with each other, for example, but now with binge culture, there’s so much pressure to hook the audience that things just need to happen faster. You’re burning through plot a lot faster.”\u003c/p>\n\u003cp>“A streaming provider has incredible amounts of data on a TV show,” adds Binder. “And they’re so data-driven, maybe they won’t let a show nurture. They’ll cut it off and replace it with another one.”\u003c/p>\n\u003cp>A constant stream of brand-new shows works for Netflix, which uses them to draw new subscribers. It works less well for an old-school, advertiser-driven network relying on relationships between shows and their fans. Even if somehow, Pedrad’s new show\u003cem> Chad\u003c/em> ends up becoming a long-running hit, she’s not sure if that’s the best thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oh my goodness,” she says. “I don’t know if I can pull off looking like a 14-year old-boy for 14, 15, 17 seasons.”\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=%27Grey%27s+Anatomy%27+Is+In+Its+17th+Season+...+But+Are+Today%27s+Shows+Built+To+Last%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Neither #OscarsSoWhite Nor #OscarsSoMale—What a Difference a Pandemic Makes",
"headTitle": "Neither #OscarsSoWhite Nor #OscarsSoMale—What a Difference a Pandemic Makes | KQED",
"content": "\u003cp>This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.\u003c/p>\n\u003cp>Odd as this might seem, I suspect those two things are related—a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it’s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They’ll start phasing them in next year.\u003c/p>\n\u003cp>This year, they got lucky.\u003c/p>\n\u003cp>One thing you don’t want, if you’re in charge of the Oscars, is a hashtag—especially something like #OscarsSoWhite—as telecast host Chris Rock acknowledged in 2016, when that one went viral. “It’s the 88th Academy Awards,” he said then to applause, “which means this whole no-black-nominees thing has happened at least 71 other times.”\u003c/p>\n\u003cp>The situation didn’t change much in the next few years. Last year’s Oscars were again among the least diverse in recent memory; only one of 20 acting nominees was non-white.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this year, nine of the 20—almost half the acting nominees—are non-white.\u003c/p>\n\u003cp>Another telecast, another hashtag: 2018 was the year of #OscarsSoMale, which Frances McDormand riffed on in her Best Actress acceptance speech by asking to have “all the female nominees in every category stand with me in this room tonight.” [aside postid='arts_13892640']\u003c/p>\n\u003cp>Dozens of women stood as the crowd cheered but, again, it didn’t initially have much effect. Last year, just as in 86 of the 91 previous years, not a single woman director was nominated, even though McDormand had closed-out this speech urging her colleagues to insist on women behind the camera by adding a clause to their contracts called an “inclusion rider.”\u003c/p>\n\u003cp>But McDormand took her own advice and this year, what a difference a pandemic makes. She produced as well as starred in \u003cem>Nomadland\u003c/em>, a film based on a book by a woman, featuring the stories of quite a few women, and scripted, edited and directed by Chloe Zhao, who, for the first time in Hollywood history, is a woman competing with a second woman in the directing category.\u003c/p>\n\u003cp>As for the unprecedented number of actors of color among the nominees, it represents a remarkable moment of recognition.\u003c/p>\n\u003cp>There were the nominations for vibrant performances in the true stories of celebrated African-American figures: Daniel Kaluuya and Lakeith Stanfield, each a Best Supporting Actor nominee as, respectively, Black Panther Fred Hampton and the informant who set him up for assassination in \u003cem>Judas and the Black Messiah\u003c/em>; Andra Day as Best Actress for playing blues legend Lady Day in \u003cem>The United States Vs. Billie Holiday\u003c/em>; Leslie Odom Jr. for Supporting Actor as Sam Cooke in \u003cem>One Night in Miami. \u003c/em>[aside postid='arts_13890664']\u003c/p>\n\u003cp>And there were nominations for acting as fictional characters too: A blues singer and her trumpet player in \u003cem>Ma Rainey’s Black Bottom\u003c/em> earned Viola Davis and the late Chadwick Bosemen nods for Best Actress and Actor. Youn Yuh-Jung received a supporting actress nomination as a feisty grandmother in \u003cem>Minari\u003c/em>, the story of Korean immigrants in Arkansas. Riz Ahmed became the first Muslim Best Actor nominee playing a heavy metal drummer who suffers hearing loss in \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>All are eye-opening performances that, taken together, are a clear sign that this is a year of inclusion for the Academy.\u003c/p>\n\u003cp>But not necessarily because Tinseltown has awakened to the virtues of diversity. These are the films that studios decided to open in the middle of a pandemic, a decision that they were well aware would have financial consequences.\u003c/p>\n\u003cp>Films usually get an Oscar bounce from being nominated—a bump in ticket sales that, in a normal year, can amount to many millions of dollars, and also give a film far more reach.\u003c/p>\n\u003cp>Last year’s Best Picture winner, \u003cem>Parasite\u003c/em>, is a case in point. The film was playing in 300 theaters before it was nominated. Following the award, its run in the U.S. expanded to five times as many theaters.\u003c/p>\n\u003cp>But this year, with cinemas mostly closed, and audiences skittish about crowds, that box office bounce doesn’t exist. If you take all eight of the Best Picture nominees, and combine their earnings, the total comes to barely $35 million worldwide. That would be an unimpressive number for just one nominee in a normal year.\u003c/p>\n\u003cp>So to compete for an Oscar in 2020, a filmmaker had to make an almost Faustian bargain: Come out mid-pandemic for awards consideration and lose your shirt, or sell your soul for bigger box office after the pandemic and lose your shot. [aside postid='arts_13893138']\u003c/p>\n\u003cp>Many of the films regarded as Oscar shoo-ins decided to wait. A new version of the musical \u003cem>West Side Story,\u003c/em> for instance, with a script by Pulitzer winner Tony Kushner, directed by Oscar winner Steven Spielberg. Also the star-studded costume epic \u003cem>The Last Duel\u003c/em> from \u003cem>Gladiator \u003c/em>director Ridley Scott. And \u003cem>The French Dispatch\u003c/em>, the latest weirdness from Wes Anderson, director of \u003cem>Grand Budapest Hotel.\u003c/em>\u003c/p>\n\u003cp>These films were all shot, edited, and ready-to-go in plenty of time for Oscar consideration, but their studios opted to wait. And from a financial perspective, it’s easy to see why. Until a couple of weeks ago, New York and Los Angeles—the two markets that make-or-break prestige pictures—were still not allowing theaters to open.\u003c/p>\n\u003cp>Almost as bad, the theaters elsewhere that were open were reducing attendance to as little as 25 per cent of capacity. That scared off even the commercial crowd, from 007, to Marvel superheroes, to the \u003cem>Fast & Furious\u003c/em> crew.\u003c/p>\n\u003cp>If they weren’t willing to brave the crippling economics at cinemas in a pandemic year, why should Oscar hopefuls?\u003c/p>\n\u003cp>So when filmmakers had the clout to say “let’s wait” they did. And who had that clout? The same mostly male, mostly white stars, producers and studio heads who’ve always had it.\u003c/p>\n\u003cp>Who apparently didn’t have that clout? Well, start with the women who made \u003cem>Nomadland\u003c/em> and \u003cem>Promising Young Woman\u003c/em>. Or the Korean-American director of the low-budget indie, \u003cem>Minari.\u003c/em>\u003c/p>\n\u003cp>Or even the well-connected folks behind \u003cem>Judas and the Black Messiah\u003c/em> who are the first all-Black producing team ever nominated for Best Picture. They told \u003cem>The Hollywood Reporter\u003c/em> they’d originally thought their film would perform about as well as \u003cem>Straight Outta Compton\u003c/em>, which earned $200 million worldwide. [aside postid='arts_13895652']\u003c/p>\n\u003cp>The pandemic lowered that estimate, and Warner’s decision to stream all its films the same day they hit theaters lowered it further. Left with no choice but to go along, the producers watched as their film stalled at the box office. Instead of $200 million, \u003cem>Judas and the Black Messiah\u003c/em> has made less than $6 million.\u003c/p>\n\u003cp>It’s not easy to imagine a Steven Spielberg being put in that position.\u003c/p>\n\u003cp>Is this another way of saying Hollywood’s power and privilege still resides mostly with white men? The power to maximize box office; the privilege of making event pictures so expensive they can’t be treated as loss-leaders for streaming services.\u003c/p>\n\u003cp>Well, sure. But while dollars are important, for filmmakers who have traditionally been marginalized, they are not all-important.\u003c/p>\n\u003cp>This pandemic year will go down in history as the year without blockbusters—not one, single, billion-dollar superhero epic or action-adventure.\u003c/p>\n\u003cp>But it will also be remembered as a watershed for inclusion. The Academy of Motion Picture Arts and Sciences, which produces the Oscars has already made history by nominating the most diverse slate of actors ever, as well as a record number of women. Had studios thrown their weight behind the usual, big-budget spectacles, that might not have happened.\u003c/p>\n\u003cp>By letting less expensive, more socially conscious films lead the way back to cinemas, studios have—possibly inadvertently—ended up championing work that speaks to this moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Next year, the blockbusters will return, and with them, no doubt, a lot of inequities that seem wedded to the cash they generate. But in the meantime, audiences get to celebrate artists for whom the recognition brought by awards may just have greater value than dollars.\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=Neither+%23OscarsSoWhite+Nor+%23OscarsSoMale+%E2%80%94+What+A+Difference+A+Pandemic+Makes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.\u003c/p>\n\u003cp>Odd as this might seem, I suspect those two things are related—a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it’s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They’ll start phasing them in next year.\u003c/p>\n\u003cp>This year, they got lucky.\u003c/p>\n\u003cp>One thing you don’t want, if you’re in charge of the Oscars, is a hashtag—especially something like #OscarsSoWhite—as telecast host Chris Rock acknowledged in 2016, when that one went viral. “It’s the 88th Academy Awards,” he said then to applause, “which means this whole no-black-nominees thing has happened at least 71 other times.”\u003c/p>\n\u003cp>The situation didn’t change much in the next few years. Last year’s Oscars were again among the least diverse in recent memory; only one of 20 acting nominees was non-white.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this year, nine of the 20—almost half the acting nominees—are non-white.\u003c/p>\n\u003cp>Another telecast, another hashtag: 2018 was the year of #OscarsSoMale, which Frances McDormand riffed on in her Best Actress acceptance speech by asking to have “all the female nominees in every category stand with me in this room tonight.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dozens of women stood as the crowd cheered but, again, it didn’t initially have much effect. Last year, just as in 86 of the 91 previous years, not a single woman director was nominated, even though McDormand had closed-out this speech urging her colleagues to insist on women behind the camera by adding a clause to their contracts called an “inclusion rider.”\u003c/p>\n\u003cp>But McDormand took her own advice and this year, what a difference a pandemic makes. She produced as well as starred in \u003cem>Nomadland\u003c/em>, a film based on a book by a woman, featuring the stories of quite a few women, and scripted, edited and directed by Chloe Zhao, who, for the first time in Hollywood history, is a woman competing with a second woman in the directing category.\u003c/p>\n\u003cp>As for the unprecedented number of actors of color among the nominees, it represents a remarkable moment of recognition.\u003c/p>\n\u003cp>There were the nominations for vibrant performances in the true stories of celebrated African-American figures: Daniel Kaluuya and Lakeith Stanfield, each a Best Supporting Actor nominee as, respectively, Black Panther Fred Hampton and the informant who set him up for assassination in \u003cem>Judas and the Black Messiah\u003c/em>; Andra Day as Best Actress for playing blues legend Lady Day in \u003cem>The United States Vs. Billie Holiday\u003c/em>; Leslie Odom Jr. for Supporting Actor as Sam Cooke in \u003cem>One Night in Miami. \u003c/em>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And there were nominations for acting as fictional characters too: A blues singer and her trumpet player in \u003cem>Ma Rainey’s Black Bottom\u003c/em> earned Viola Davis and the late Chadwick Bosemen nods for Best Actress and Actor. Youn Yuh-Jung received a supporting actress nomination as a feisty grandmother in \u003cem>Minari\u003c/em>, the story of Korean immigrants in Arkansas. Riz Ahmed became the first Muslim Best Actor nominee playing a heavy metal drummer who suffers hearing loss in \u003cem>Sound of Metal.\u003c/em>\u003c/p>\n\u003cp>All are eye-opening performances that, taken together, are a clear sign that this is a year of inclusion for the Academy.\u003c/p>\n\u003cp>But not necessarily because Tinseltown has awakened to the virtues of diversity. These are the films that studios decided to open in the middle of a pandemic, a decision that they were well aware would have financial consequences.\u003c/p>\n\u003cp>Films usually get an Oscar bounce from being nominated—a bump in ticket sales that, in a normal year, can amount to many millions of dollars, and also give a film far more reach.\u003c/p>\n\u003cp>Last year’s Best Picture winner, \u003cem>Parasite\u003c/em>, is a case in point. The film was playing in 300 theaters before it was nominated. Following the award, its run in the U.S. expanded to five times as many theaters.\u003c/p>\n\u003cp>But this year, with cinemas mostly closed, and audiences skittish about crowds, that box office bounce doesn’t exist. If you take all eight of the Best Picture nominees, and combine their earnings, the total comes to barely $35 million worldwide. That would be an unimpressive number for just one nominee in a normal year.\u003c/p>\n\u003cp>So to compete for an Oscar in 2020, a filmmaker had to make an almost Faustian bargain: Come out mid-pandemic for awards consideration and lose your shirt, or sell your soul for bigger box office after the pandemic and lose your shot. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the films regarded as Oscar shoo-ins decided to wait. A new version of the musical \u003cem>West Side Story,\u003c/em> for instance, with a script by Pulitzer winner Tony Kushner, directed by Oscar winner Steven Spielberg. Also the star-studded costume epic \u003cem>The Last Duel\u003c/em> from \u003cem>Gladiator \u003c/em>director Ridley Scott. And \u003cem>The French Dispatch\u003c/em>, the latest weirdness from Wes Anderson, director of \u003cem>Grand Budapest Hotel.\u003c/em>\u003c/p>\n\u003cp>These films were all shot, edited, and ready-to-go in plenty of time for Oscar consideration, but their studios opted to wait. And from a financial perspective, it’s easy to see why. Until a couple of weeks ago, New York and Los Angeles—the two markets that make-or-break prestige pictures—were still not allowing theaters to open.\u003c/p>\n\u003cp>Almost as bad, the theaters elsewhere that were open were reducing attendance to as little as 25 per cent of capacity. That scared off even the commercial crowd, from 007, to Marvel superheroes, to the \u003cem>Fast & Furious\u003c/em> crew.\u003c/p>\n\u003cp>If they weren’t willing to brave the crippling economics at cinemas in a pandemic year, why should Oscar hopefuls?\u003c/p>\n\u003cp>So when filmmakers had the clout to say “let’s wait” they did. And who had that clout? The same mostly male, mostly white stars, producers and studio heads who’ve always had it.\u003c/p>\n\u003cp>Who apparently didn’t have that clout? Well, start with the women who made \u003cem>Nomadland\u003c/em> and \u003cem>Promising Young Woman\u003c/em>. Or the Korean-American director of the low-budget indie, \u003cem>Minari.\u003c/em>\u003c/p>\n\u003cp>Or even the well-connected folks behind \u003cem>Judas and the Black Messiah\u003c/em> who are the first all-Black producing team ever nominated for Best Picture. They told \u003cem>The Hollywood Reporter\u003c/em> they’d originally thought their film would perform about as well as \u003cem>Straight Outta Compton\u003c/em>, which earned $200 million worldwide. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pandemic lowered that estimate, and Warner’s decision to stream all its films the same day they hit theaters lowered it further. Left with no choice but to go along, the producers watched as their film stalled at the box office. Instead of $200 million, \u003cem>Judas and the Black Messiah\u003c/em> has made less than $6 million.\u003c/p>\n\u003cp>It’s not easy to imagine a Steven Spielberg being put in that position.\u003c/p>\n\u003cp>Is this another way of saying Hollywood’s power and privilege still resides mostly with white men? The power to maximize box office; the privilege of making event pictures so expensive they can’t be treated as loss-leaders for streaming services.\u003c/p>\n\u003cp>Well, sure. But while dollars are important, for filmmakers who have traditionally been marginalized, they are not all-important.\u003c/p>\n\u003cp>This pandemic year will go down in history as the year without blockbusters—not one, single, billion-dollar superhero epic or action-adventure.\u003c/p>\n\u003cp>But it will also be remembered as a watershed for inclusion. The Academy of Motion Picture Arts and Sciences, which produces the Oscars has already made history by nominating the most diverse slate of actors ever, as well as a record number of women. Had studios thrown their weight behind the usual, big-budget spectacles, that might not have happened.\u003c/p>\n\u003cp>By letting less expensive, more socially conscious films lead the way back to cinemas, studios have—possibly inadvertently—ended up championing work that speaks to this moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next year, the blockbusters will return, and with them, no doubt, a lot of inequities that seem wedded to the cash they generate. But in the meantime, audiences get to celebrate artists for whom the recognition brought by awards may just have greater value than dollars.\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=Neither+%23OscarsSoWhite+Nor+%23OscarsSoMale+%E2%80%94+What+A+Difference+A+Pandemic+Makes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Leaving Isn't the Hardest Thing' is More Than Just a Cult Memoir",
"headTitle": "‘Leaving Isn’t the Hardest Thing’ is More Than Just a Cult Memoir | KQED",
"content": "\u003cp>A couple months after Lauren Hough’s essay \u003ca href=\"https://www.huffpost.com/entry/cable-tech-dick-cheney-sex-dungeon_n_5c0ea571e4b06484c9fd4c21\" target=\"_blank\" rel=\"noopener noreferrer\">“I Was a Cable Guy. I Saw the Worst of America”\u003c/a> went viral at the tail-end of 2018, I assigned it to my creative writing students in a unit on “character.”\u003c/p>\n\u003cp>Hough’s essay had a distinct narrative voice—and she was capable of giving so much information about the people she encountered through a few quick details, like one of those cartoonists who can sketch out four lines and suddenly you see your face in them.\u003c/p>\n\u003cp>Hough’s first book, \u003cem>Leaving Isn’t the Hardest Thing\u003c/em>, includes “Cable Guy” and 10 more essays, each of them more revealing and honest than the next.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895832 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-800x1231.jpg\" alt=\"\" width=\"800\" height=\"1231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-1020x1569.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-998x1536.jpg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-1331x2048.jpg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c.jpg 1550w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hough was raised in a cult known alternately as the Family, the Family of Love, the Children of God, or, if you go back far enough, Teens for Christ. I was startled to learn that the whole “Jesus was a socialist hippie” line is not necessarily the progressive talking point I’d believed it was. (Look, I’m Jewish, I first learned about this kind of Jesus from the Buddy Christ in \u003cem>Dogma.\u003c/em>) Instead, this version of Jesus (along with the term Jesus Freaks) seems to have originated around the same time as David Berg “tested his new brand of Gospel” on disenchanted youth in Huntington Beach in the late 1960s: “Jesus was a long-haired hippie like them. Jesus was a socialist. Jesus was the biggest radical ever.” People wanted to find something to believe in—this was mid-Vietnam War—and they followed him, and his cult grew and changed. Hough’s parents joined up separately, met each other, married on a whim, and had Hough and her three siblings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A cult,” writes Hough, “is your textbook abusive relationship—love-bomb, isolate, create dependence, and your victim won’t have the power to leave, even if staying in the relationship means buying into the new Gospel of David Berg.” This theme comes up over and over again throughout the essays, and how could it not? We all want to believe that growing up in a cult must be a particular kind of awful; nearly unfathomable, affecting a person’s whole life—and in many ways it \u003cem>was \u003c/em>like that for Hough. [aside postid='pop_4982']\u003c/p>\n\u003cp>In “Badlands,” she writes about the constant vigilance she had as a child, how she knew to expect violence, and how she learned to enact it on those smaller than her—in particular her little brother—because what other models did she have for how to deal with her anger and hurt and upset at the time? In “Speaking in Tongues,” she lists some of the cult’s rituals, the fasting and sleep deprivation used in the name of practicing its spirituality according to their leader, but which really served to make everyone too tired and hungry to see clearly what they were doing. The Family was also a sex cult, and in “Boys on the Side,” Hough details the encouragement children got to “express themselves sexually,” how when “an adult groped a preteen girl, she might freeze; she might be called unloving and told to be more receptive. She’d learn, eventually, to only freeze on the outside.”\u003c/p>\n\u003cp>But Hough’s book isn’t really a cult memoir—it’s about so much more than that (and it’s also quite funny, although you’ll have to take my word on that because most of the funny bits include expletives I can’t quote here). Slowly, essay after essay, it becomes clear that she’s drawing parallels between the Family and good ol’ fashioned American Exceptionalism in all its various facets, from rah-rah-‘Merica attitudes surrounding freedom, to the worship of individualism, to the demands of capitalism.\u003c/p>\n\u003cp>In “Solitaire,” the first essay, she’s gaslighted by her superiors in the Air Force after her car is torched in what is clearly a hate crime—Hough is gay, and she’d been getting death threats for some time—and instead of trying to find out who did it, they try to pin it on her. “I knew I wasn’t guilty,” she writes. “But guilt or innocence had never mattered all that much in my experience.” In the Family, after all, she was punished simply for being tired or not being upbeat enough.\u003c/p>\n\u003cp>In “The Slide,” Hough describes her days living out of her car in Washington, D.C., trying to find work and a room to rent. It was her first time encountering a gayborhood, in the form of Dupont Circle of the early aughts, but that didn’t make it home, because “both cultures—the religious cult and the white-teeth gays—share a rule about smiling. Both believe in the power of positive thinking to keep things like homelessness at bay. This way, when you fall, you have only yourself to blame. There has to be a reason because no one wants to think it could happen to them.”\u003c/p>\n\u003cp>The United States is a nation full of people to whom it has already happened; people who are one paycheck, accident, or unexpected bill away from it happening; and people who are so astronomically far away from it happening to them that they can only imagine that those of us closer to the bottom of the financial safety rungs must be morally bankrupt, stupid, lazy, or all the above. There’s less space in between these tiers than we think.\u003c/p>\n\u003cp>At her cable guy job, Hough watched a man get an award for never taking a day off in ten years—not a sick day, a snow day, or even a vacation. He had a wife and kids. “In a sane society, he would be a cautionary tale. In our society, he got a plaque and a fifty-dollar gift card to Best Buy.” You can’t make this kind of thing up—it’s all too common, the praise Americans get for working hard, the way we’re obsessed with “efficiency” and “productivity hacking” and even “self-care,” that term that originated in Black activist circles and that has become another marketing tactic to sell us things. [aside postid='arts_13894648']\u003c/p>\n\u003cp>Which is not to say that Hough believes we’re all doomed, exactly. In “Everything That’s Beautiful Breaks My Heart,” she makes the ties between her own upbringing and the cultishness of American ideology explicit, but also opens up room for hope via small acts of resistance. One time she and a bunch of her fellow JETTS (Junior End Time Teens) went out to play in the snow after arriving at a new house in Switzerland after fleeing their last home because it was about to be raided. When a grownup came out to get them, he was ignored—a rarity. “We realized, if only for that one morning, they had no power. The same holds true now,” she adds, referring to the systems that surround us, that promise protection and care via personal responsibility and hard work but that fail more of us than not. “They only have power because we believe, because they’ve taught us to need them.”\u003c/p>\n\u003cp>Do we believe? There are many reasons we do: The lies are comforting; they give structure to our lives, something to strive for, goals to achieve; they make us feel safer, because they make us feel certain that we can see what’s going to happen next. Not knowing is far scarier. Thank goodness that Hough doesn’t claim to know either, that she isn’t trying to sell us a solution or asking us to join anything. She tells it like it is, and it’s heartbreaking—but to find our way out, we have to see things clearly first. Any survivor of a cult or an abusive relationship will tell you that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast The Other Stories. Her debut novel is \u003c/em>All My Mother’s Lovers\u003cem>.\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=%27Leaving+Isn%27t+The+Hardest+Thing%27+Isn%27t+Just+A+Cult+Memoir&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A couple months after Lauren Hough’s essay \u003ca href=\"https://www.huffpost.com/entry/cable-tech-dick-cheney-sex-dungeon_n_5c0ea571e4b06484c9fd4c21\" target=\"_blank\" rel=\"noopener noreferrer\">“I Was a Cable Guy. I Saw the Worst of America”\u003c/a> went viral at the tail-end of 2018, I assigned it to my creative writing students in a unit on “character.”\u003c/p>\n\u003cp>Hough’s essay had a distinct narrative voice—and she was capable of giving so much information about the people she encountered through a few quick details, like one of those cartoonists who can sketch out four lines and suddenly you see your face in them.\u003c/p>\n\u003cp>Hough’s first book, \u003cem>Leaving Isn’t the Hardest Thing\u003c/em>, includes “Cable Guy” and 10 more essays, each of them more revealing and honest than the next.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895832 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-800x1231.jpg\" alt=\"\" width=\"800\" height=\"1231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-1020x1569.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-998x1536.jpg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c-1331x2048.jpg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/leaving_custom-3ed61d4a13dd106c7f024f0f18436067e566ce9c.jpg 1550w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hough was raised in a cult known alternately as the Family, the Family of Love, the Children of God, or, if you go back far enough, Teens for Christ. I was startled to learn that the whole “Jesus was a socialist hippie” line is not necessarily the progressive talking point I’d believed it was. (Look, I’m Jewish, I first learned about this kind of Jesus from the Buddy Christ in \u003cem>Dogma.\u003c/em>) Instead, this version of Jesus (along with the term Jesus Freaks) seems to have originated around the same time as David Berg “tested his new brand of Gospel” on disenchanted youth in Huntington Beach in the late 1960s: “Jesus was a long-haired hippie like them. Jesus was a socialist. Jesus was the biggest radical ever.” People wanted to find something to believe in—this was mid-Vietnam War—and they followed him, and his cult grew and changed. Hough’s parents joined up separately, met each other, married on a whim, and had Hough and her three siblings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A cult,” writes Hough, “is your textbook abusive relationship—love-bomb, isolate, create dependence, and your victim won’t have the power to leave, even if staying in the relationship means buying into the new Gospel of David Berg.” This theme comes up over and over again throughout the essays, and how could it not? We all want to believe that growing up in a cult must be a particular kind of awful; nearly unfathomable, affecting a person’s whole life—and in many ways it \u003cem>was \u003c/em>like that for Hough. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “Badlands,” she writes about the constant vigilance she had as a child, how she knew to expect violence, and how she learned to enact it on those smaller than her—in particular her little brother—because what other models did she have for how to deal with her anger and hurt and upset at the time? In “Speaking in Tongues,” she lists some of the cult’s rituals, the fasting and sleep deprivation used in the name of practicing its spirituality according to their leader, but which really served to make everyone too tired and hungry to see clearly what they were doing. The Family was also a sex cult, and in “Boys on the Side,” Hough details the encouragement children got to “express themselves sexually,” how when “an adult groped a preteen girl, she might freeze; she might be called unloving and told to be more receptive. She’d learn, eventually, to only freeze on the outside.”\u003c/p>\n\u003cp>But Hough’s book isn’t really a cult memoir—it’s about so much more than that (and it’s also quite funny, although you’ll have to take my word on that because most of the funny bits include expletives I can’t quote here). Slowly, essay after essay, it becomes clear that she’s drawing parallels between the Family and good ol’ fashioned American Exceptionalism in all its various facets, from rah-rah-‘Merica attitudes surrounding freedom, to the worship of individualism, to the demands of capitalism.\u003c/p>\n\u003cp>In “Solitaire,” the first essay, she’s gaslighted by her superiors in the Air Force after her car is torched in what is clearly a hate crime—Hough is gay, and she’d been getting death threats for some time—and instead of trying to find out who did it, they try to pin it on her. “I knew I wasn’t guilty,” she writes. “But guilt or innocence had never mattered all that much in my experience.” In the Family, after all, she was punished simply for being tired or not being upbeat enough.\u003c/p>\n\u003cp>In “The Slide,” Hough describes her days living out of her car in Washington, D.C., trying to find work and a room to rent. It was her first time encountering a gayborhood, in the form of Dupont Circle of the early aughts, but that didn’t make it home, because “both cultures—the religious cult and the white-teeth gays—share a rule about smiling. Both believe in the power of positive thinking to keep things like homelessness at bay. This way, when you fall, you have only yourself to blame. There has to be a reason because no one wants to think it could happen to them.”\u003c/p>\n\u003cp>The United States is a nation full of people to whom it has already happened; people who are one paycheck, accident, or unexpected bill away from it happening; and people who are so astronomically far away from it happening to them that they can only imagine that those of us closer to the bottom of the financial safety rungs must be morally bankrupt, stupid, lazy, or all the above. There’s less space in between these tiers than we think.\u003c/p>\n\u003cp>At her cable guy job, Hough watched a man get an award for never taking a day off in ten years—not a sick day, a snow day, or even a vacation. He had a wife and kids. “In a sane society, he would be a cautionary tale. In our society, he got a plaque and a fifty-dollar gift card to Best Buy.” You can’t make this kind of thing up—it’s all too common, the praise Americans get for working hard, the way we’re obsessed with “efficiency” and “productivity hacking” and even “self-care,” that term that originated in Black activist circles and that has become another marketing tactic to sell us things. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is not to say that Hough believes we’re all doomed, exactly. In “Everything That’s Beautiful Breaks My Heart,” she makes the ties between her own upbringing and the cultishness of American ideology explicit, but also opens up room for hope via small acts of resistance. One time she and a bunch of her fellow JETTS (Junior End Time Teens) went out to play in the snow after arriving at a new house in Switzerland after fleeing their last home because it was about to be raided. When a grownup came out to get them, he was ignored—a rarity. “We realized, if only for that one morning, they had no power. The same holds true now,” she adds, referring to the systems that surround us, that promise protection and care via personal responsibility and hard work but that fail more of us than not. “They only have power because we believe, because they’ve taught us to need them.”\u003c/p>\n\u003cp>Do we believe? There are many reasons we do: The lies are comforting; they give structure to our lives, something to strive for, goals to achieve; they make us feel safer, because they make us feel certain that we can see what’s going to happen next. Not knowing is far scarier. Thank goodness that Hough doesn’t claim to know either, that she isn’t trying to sell us a solution or asking us to join anything. She tells it like it is, and it’s heartbreaking—but to find our way out, we have to see things clearly first. Any survivor of a cult or an abusive relationship will tell you that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Quo Vadis, Aida?' Asks: Where Does a Society Go After War Ends?",
"headTitle": "‘Quo Vadis, Aida?’ Asks: Where Does a Society Go After War Ends? | KQED",
"content": "\u003cp>Filmmaker Jasmila Zbanic was a 17-year-old student living in Sarajevo with her family when the Bosnian war began in April 1992. As clashes over Bosnia’s referendum for independence first started, she says nobody imagined there could ever be a full war. “It started like [the] riots on Congress in January in [the] U.S. … I was happy when this happened because I thought what a cool thing not to go to school and have [the] whole city stop,” she says.\u003c/p>\n\u003cp>Instead, the ensuing siege of Sarajevo became part of the longest and bloodiest armed conflict in Europe since World War II. The experience marked Zbanic as a young woman—and as an artist—and her award-winning films have explored the legacy of war with a particular focus on women’s stories. Her latest film \u003cem>Quo Vadis, Aida?\u003c/em> is among the nominees for this year’s Oscars for Best International Feature and it dramatizes the genocide of more than 8,000 Bosnian Muslim men and boys in Srebrenica in July 1995.\u003c/p>\n\u003cp>Journalist Christiane Amanpour, who covered the war for CNN, says she was “gobsmacked” by the film and it took her right back to the asymmetry of that conflict. “I was a young woman in my first real war and it took me several weeks, maybe a couple of months, to understand that in Bosnia there was no question that there was an aggressor, clearly defined and there were victims, clearly defined. The aggressors were white Christians who were the Serbs and the Bosnian Serbs. The victims were white European Muslims and the aim of the aggressor was exactly the definition of genocide: to destroy a community in part or in whole based on their ethnicity.”\u003c/p>\n\u003cp>Zbanic spent years researching the real-world politics and mass violence that unfolded in Srebrenica but she says she knew she was also creating a piece of cinema. “Media are dealing with numbers or shocking images but cinema allows us to identify with characters and spend time with them and be with their decisions, having [the] feeling that it’s in real time,” she says.\u003c/p>\n\u003cp>Her version eschews on-screen violence and widescreen battles for a more immersive and intimate experience than traditional Hollywood war films. “I just respect [the] audience very much and I know that [an] audience can imagine many things so I didn’t show blood and violence in an obvious way. I really think we don’t have to see men in blood to know that they were all killed.”\u003c/p>\n\u003cfigure id=\"attachment_13895792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/jasmila-zbanic-c-deblokada-photo-by-imrana-kapetanovic_enl-57353808e02f73f7c9ad5abd7c075ea90ff20b43-800x1200.jpg\" alt=\"Jasmila Žbanić, who wrote and directed 'Quo Vadis, Aida?'\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Jasmila Žbanić wrote and directed ‘Quo Vadis, Aida?’ \u003ccite>(Super LTD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zbanic tells the story of Srebrenica through Aida, a former teacher working as a translator for the United Nations forces. Played by acclaimed Serbian actress Jasna Duricic, Aida rushes between meetings and military negotiations as Srebrenica is ethnically cleansed, her own family joining the thousands of refugees outside the gates of the U.N. base seeking protection. Despite her privileged status as a United Nations employee, she is unable to ensure her own family’s safety. Zbanic says the U.N. betrayed the people it sought to protect and Aida is a tragic character placed at the intersection of that impossible position. In a landmark 1999 report completed under then Secretary General Kofi Annan, the United Nations acknowledged its systemic failures to intervene and protect civilians in Srebrenica.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite being Bosnia’s entry to this year’s Oscars, for some viewers, the film has been simply too painful to watch. Amir Husak, who is a Bosnian filmmaker and scholar of media studies at The New School says, “I can tell you that many of my friends and family reported not being able to finish the film in one sitting. It’s a collective trauma that we’re speaking about and it brings back many painful memories.” [aside postid='arts_80724']\u003c/p>\n\u003cp>More than 25 years after the events of Srebrenica, the bones of missing victims are still being found in mass graves surrounding the forests where the film is set. Zbanic says she has been following the stories of those discoveries and \u003cem>Quo Vadis, Aida? \u003c/em>includes Aida’s own search for closure in the present day. In this on screen portrayal, Zbanic says she wanted to pay tribute to the mothers of Srebrenica who have shown a way beyond the politics of vengeance.\u003c/p>\n\u003cp>“These women of Srebrenica are what we thought once saints are,” Zbanic adds. “They are really going back and facing these perpetrators and there was not a single case of revenge. They shaped our country in completely unbelievable ways because they said no revenge, we just want people who did killings to be in prison and they are always talking about truth and justice, not revenge, and how we have to live together.”\u003c/p>\n\u003cp>Therefore the film’s title—\u003cem>Quo Vadis, Aida?\u003c/em>—\u003ca href=\"https://www.nationalgallery.org.uk/paintings/glossary/domine-quo-vadis\" target=\"_blank\" rel=\"noopener noreferrer\">taken from the apocryphal Christian tradition\u003c/a>—asks the question at the heart of the film’s story: where is Aida going and where does a society go after a war ends?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5Kn4TOJwR2w\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=%27Quo+Vadis%2C+Aida%3F%27+Asks%3A+Where+Does+A+Society+Go+After+War+Ends%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmaker Jasmila Zbanic was a 17-year-old student living in Sarajevo with her family when the Bosnian war began in April 1992. As clashes over Bosnia’s referendum for independence first started, she says nobody imagined there could ever be a full war. “It started like [the] riots on Congress in January in [the] U.S. … I was happy when this happened because I thought what a cool thing not to go to school and have [the] whole city stop,” she says.\u003c/p>\n\u003cp>Instead, the ensuing siege of Sarajevo became part of the longest and bloodiest armed conflict in Europe since World War II. The experience marked Zbanic as a young woman—and as an artist—and her award-winning films have explored the legacy of war with a particular focus on women’s stories. Her latest film \u003cem>Quo Vadis, Aida?\u003c/em> is among the nominees for this year’s Oscars for Best International Feature and it dramatizes the genocide of more than 8,000 Bosnian Muslim men and boys in Srebrenica in July 1995.\u003c/p>\n\u003cp>Journalist Christiane Amanpour, who covered the war for CNN, says she was “gobsmacked” by the film and it took her right back to the asymmetry of that conflict. “I was a young woman in my first real war and it took me several weeks, maybe a couple of months, to understand that in Bosnia there was no question that there was an aggressor, clearly defined and there were victims, clearly defined. The aggressors were white Christians who were the Serbs and the Bosnian Serbs. The victims were white European Muslims and the aim of the aggressor was exactly the definition of genocide: to destroy a community in part or in whole based on their ethnicity.”\u003c/p>\n\u003cp>Zbanic spent years researching the real-world politics and mass violence that unfolded in Srebrenica but she says she knew she was also creating a piece of cinema. “Media are dealing with numbers or shocking images but cinema allows us to identify with characters and spend time with them and be with their decisions, having [the] feeling that it’s in real time,” she says.\u003c/p>\n\u003cp>Her version eschews on-screen violence and widescreen battles for a more immersive and intimate experience than traditional Hollywood war films. “I just respect [the] audience very much and I know that [an] audience can imagine many things so I didn’t show blood and violence in an obvious way. I really think we don’t have to see men in blood to know that they were all killed.”\u003c/p>\n\u003cfigure id=\"attachment_13895792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/jasmila-zbanic-c-deblokada-photo-by-imrana-kapetanovic_enl-57353808e02f73f7c9ad5abd7c075ea90ff20b43-800x1200.jpg\" alt=\"Jasmila Žbanić, who wrote and directed 'Quo Vadis, Aida?'\" width=\"800\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Jasmila Žbanić wrote and directed ‘Quo Vadis, Aida?’ \u003ccite>(Super LTD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zbanic tells the story of Srebrenica through Aida, a former teacher working as a translator for the United Nations forces. Played by acclaimed Serbian actress Jasna Duricic, Aida rushes between meetings and military negotiations as Srebrenica is ethnically cleansed, her own family joining the thousands of refugees outside the gates of the U.N. base seeking protection. Despite her privileged status as a United Nations employee, she is unable to ensure her own family’s safety. Zbanic says the U.N. betrayed the people it sought to protect and Aida is a tragic character placed at the intersection of that impossible position. In a landmark 1999 report completed under then Secretary General Kofi Annan, the United Nations acknowledged its systemic failures to intervene and protect civilians in Srebrenica.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite being Bosnia’s entry to this year’s Oscars, for some viewers, the film has been simply too painful to watch. Amir Husak, who is a Bosnian filmmaker and scholar of media studies at The New School says, “I can tell you that many of my friends and family reported not being able to finish the film in one sitting. It’s a collective trauma that we’re speaking about and it brings back many painful memories.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than 25 years after the events of Srebrenica, the bones of missing victims are still being found in mass graves surrounding the forests where the film is set. Zbanic says she has been following the stories of those discoveries and \u003cem>Quo Vadis, Aida? \u003c/em>includes Aida’s own search for closure in the present day. In this on screen portrayal, Zbanic says she wanted to pay tribute to the mothers of Srebrenica who have shown a way beyond the politics of vengeance.\u003c/p>\n\u003cp>“These women of Srebrenica are what we thought once saints are,” Zbanic adds. “They are really going back and facing these perpetrators and there was not a single case of revenge. They shaped our country in completely unbelievable ways because they said no revenge, we just want people who did killings to be in prison and they are always talking about truth and justice, not revenge, and how we have to live together.”\u003c/p>\n\u003cp>Therefore the film’s title—\u003cem>Quo Vadis, Aida?\u003c/em>—\u003ca href=\"https://www.nationalgallery.org.uk/paintings/glossary/domine-quo-vadis\" target=\"_blank\" rel=\"noopener noreferrer\">taken from the apocryphal Christian tradition\u003c/a>—asks the question at the heart of the film’s story: where is Aida going and where does a society go after a war ends?\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/5Kn4TOJwR2w'\n title='//www.youtube.com/embed/5Kn4TOJwR2w'\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=%27Quo+Vadis%2C+Aida%3F%27+Asks%3A+Where+Does+A+Society+Go+After+War+Ends%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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