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"content": "\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vM-Bja2Gy04\u003c/p>\n\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\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=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Despite being an eye-popping four hours long, 'Zach Snyder's Justice League' is a stronger film than Joss Whedon's 2017 version.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way, first. Yes, \u003cem>Zack Snyder’s Justice League\u003c/em> is just over four hours long.\u003c/p>\n\u003cp>Four. Hours. Long.\u003c/p>\n\u003cp>Yet, somehow, it feels like the right length for a film that has moved mountains—and \u003ca href=\"https://www.thewrap.com/justice-league-snyder-additional-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly spent around $70 million beyond its original, blockbuster budget\u003c/a>—to reinvent one of the biggest superhero movie bombs in recent memory.\u003c/p>\n\u003cp>And here’s the thing: It actually succeeds. In more ways than I ever expected.\u003c/p>\n\u003cp>By now, the backstory is a bit of superhero film legend. Director Zack Snyder fought a lot of second-guessing by the film studio while making \u003cem>Justice League\u003c/em>, an important movie in building out the universe of superhero characters from DC Comics. Perhaps the disappointing public response to Snyder’s take on Superman in 2013’s \u003cem>Man of Steel \u003c/em>and \u003cem>Batman v. Superman: Dawn of Justice\u003c/em> in 2016 had spooked the corporate suits at Warner Bros. Pictures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Snyder’s daughter died in early 2017, the director left \u003cem>Justice League\u003c/em>‘s production and let Joss Whedon, director of Marvel’s first two \u003cem>Avengers\u003c/em> movies, take over. Judging by Snyder’s version, Whedon must have completely retooled the film, creating a schizophrenic two-hour cut with loads of additional scenes which sometimes felt like two different movies playing at the same time.\u003c/p>\n\u003cp>With an avalanche of terrible reviews and a reported $300 million budget, the film lost many millions for Warner Bros. But passionate fans and some stars from the film kept hope alive—yes, there were billboards, social media campaigns and signs towed by airplanes—convincing Warner Media that releasing Snyder’s mega-version would bring a badly-needed superhero event to its corporate kin, streaming service HBO Max.\u003c/p>\n\u003cp>I may sound like the biggest of comic book/superhero story geeks, but it must be said: \u003cem>Zack Snyder’s Justice League\u003c/em> is a much better movie. Especially since there are some critics—and film fans—who would likely prefer a bullet in the head than to sit through four hours of CGI-augmented fist fights and flying sequences.\u003c/p>\n\u003cp>Understand, I’m usually quite cynical about director’s cuts and expanded versions of theatrical releases. As much as I love James Cameron’s \u003cem>Aliens\u003c/em> and the extra scenes he added in his director’s cut, the original theatrical release was a much leaner and focused story. After watching the new director’s cut of Francis Ford Coppola’s \u003cem>Godfather III\u003c/em>, I wondered why he even bothered—none of its narrative problems were cured by Coppola’s new take.\u003c/p>\n\u003cp>Most theatrical releases contain the movie’s best scenes, regardless of what else gets tossed in through a director’s cut. But not so with \u003cem>Zack Snyder’s Justice League\u003c/em>, which offers an entirely different narrative, different beginning, different ending and wider scope, to give a glimpse of the larger story he was driving towards all along. All this, married with the kind of dazzling visual sequences that once made Snyder the perfect custodian of the DC Extended Universe in film.\u003c/p>\n\u003cp>Gone is a lot of the hokey humor that Whedon seemed to insert to offset criticisms of Snyder’s relentlessly dark vision (Whedon’s name has also disappeared from this new film’s credits, suggesting they exorcised every bit of his material).\u003c/p>\n\u003cp>Superman and Cyborg don’t joke about getting knocked on their behinds at the film’s finish. Jason Momoa’s Aquaman and Batfleck—I mean, Ben Affleck’s Batman—don’t trade quips about how a son of Atlantis talks to fish. And, mercifully, a scene where Flash lands on Wonder Woman’s breasts after saving her from falling debris—an awkward bit of sexualization that star Gal Gadot \u003ca href=\"https://twitter.com/GraceRandolph/status/1278402984716705794?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly refused to film\u003c/a>, forcing Whedon to use a stunt double—has also been cut.\u003c/p>\n\u003cp>Snyder’s take is also an R-rated version. There is more blood and gore than typical big-budget superhero stories; Batman and other characters use the f-word and there is a scene where more than one hero actually murders a villain. Welcome to the Snyderverse.\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/vM-Bja2Gy04'\n title='//www.youtube.com/embed/vM-Bja2Gy04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It makes sense that a movie which exists because of the fans would work so hard to please them. So there are depictions of cool characters from the comics we haven’t yet seen on the big screen. Martian Manhunter and Deathstroke pop up, along with extended footage of supreme bad guy Darkseid and his lieutenants, like Granny Goodness.\u003c/p>\n\u003cp>Steppenwolf, the major villain of \u003cem>Justice League\u003c/em>, is given a deadlier, less human look, and his mission to prepare Earth for Darkseid’s conquest—inspired by comic book legend Jack Kirby’s \u003cem>New Gods\u003c/em> stories—is made more clear.\u003c/p>\n\u003cp>There are also expanded backstories on Ezra Miller’s Flash and Ray Fisher’s Cyborg; Fisher in particular gets to shine as we learn more about why Cyborg hates the father who used an alien machine to save his life after a horrific car accident, grafting unknown technology to his body.\u003c/p>\n\u003cp>And, of course, there’s a newly-filmed epilogue that leans toward the story of the \u003cem>Injustice\u003c/em> graphic novel series. There’s a few surprises for fans, so I won’t detail much here; but it helps clarify a head-scratching moment from \u003cem>Batman v. Superman\u003c/em> and includes a cameo from a character who remains a bit of a disappointment in the Snyder era of DC superhero films.\u003c/p>\n\u003cp>There are other problems here, too. This new \u003cem>Justice League\u003c/em> is still packed with a lot of computer-generated effects that make the action feel unreal. Aside from Gadot’s Wonder Woman and the Amazons at the film’s start, the female characters here are mostly mopey and have little purpose beyond supporting the men.\u003c/p>\n\u003cp>The essential story—a group of misfit heroes must get out of their own way to team up and defeat a world-threatening villain backed by another, badder villain—is also the story from Marvel’s first \u003cem>Avengers\u003c/em>‘ movie in 2012.\u003c/p>\n\u003cp>And it is four. Hours. Long. Frankly, this should have been a streaming project all along, given how much story Snyder wanted to cram into a theatrical feature. It’s tough to imagine audiences sitting in a theater for a movie this long, so you can’t help wondering what Snyder was thinking when he shot this much material in the first place.\u003c/p>\n\u003cp>Joss Whedon’s reputation has taken a hit since the original \u003cem>Justice League\u003c/em> was released, with Fisher in particular alleging that Whedon was abusive on set and oversaw story changes which reduced or eliminated the roles of non-white characters in the film. (Indeed, Black characters like Cyborg’s parents and Flash’s love interest Iris West reappear or get more screen time in \u003cem>Zack Snyder’s Justice League\u003c/em>).\u003c/p>\n\u003cp>Warner Bros. has denied Fisher’s allegations that executives there hindered an investigation into studio executives’ role in enabling Whedon. WarnerMedia \u003ca href=\"https://deadline.com/2020/12/ray-fisher-justice-league-probe-ends-remedial-action-warnermedia-joss-whedon-1234655411/\" target=\"_blank\" rel=\"noopener noreferrer\">announced in December\u003c/a> that its investigation had concluded and unspecified “remedial action” had been taken.\u003c/p>\n\u003cp>It’s tough not to see \u003cem>Zack Snyder’s Justice League\u003c/em> as a last-ditch attempt to rescue the film and its characters from the vortex of failure, toxic rumors and offscreen intrigue which seemed to surround the project for many years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, it gives fans a tantalizing look at a world that could have been—the best iteration of Snyder’s vision for the DC universe in film, capitalizing on the kind of second chance which rarely comes around in Hollywood anymore.\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=Here+At+Long+%28Really+Long%29+Last%2C+%27Zack+Snyder%27s+Justice+League%27+Is+...+Not+Bad%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Shooting Midnight Cowboy' Turns an Eye to a Dark, Problematic Masterpiece",
"headTitle": "‘Shooting Midnight Cowboy’ Turns an Eye to a Dark, Problematic Masterpiece | KQED",
"content": "\u003cp>More than 50 years after it was released, shocking moviegoers across the U.S., \u003cem>Midnight Cowboy \u003c/em>has endured as one of the most original and heartbreaking films in American history.\u003c/p>\n\u003cp>The John Schlesinger drama made Jon Voight a star and solidified Dustin Hoffman’s status as one of his generation’s greatest actors, and it became the first and only X-rated film to win the Academy Award for best picture.\u003c/p>\n\u003cp>Watching the film isn’t easy—and neither was making it, as Glenn Frankel reveals in his new book, \u003cem>Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic\u003c/em>. It’s a fascinating look at the process that led to one of the 20th century’s most iconic works of art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894189 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Midnight Cowboy \u003c/em>had its genesis in the 1965 novel of the same name by James Leo Herlihy. The book wasn’t obvious fodder for a movie adaptation—the story of Joe Buck, a young Texas man who travels to New York in hopes of becoming a male escort, the novel featured “scenes of heterosexual and homosexual intercourse, sadomasochism, fellatio, gang rape, prostitution, and illegal drug use,” Frankel notes, and was “so bleak, troubling, and sexually raw that no ordinary film studio would go near it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>United Artists, however, wasn’t an ordinary film studio, and Schlesinger, reeling from the commercial disappointment of his movie adaptation of Thomas Hardy’s \u003cem>Far From the Madding Crowd\u003c/em>, proved willing to embark on the “especially risky gamble” of turning it into a movie.\u003c/p>\n\u003cp>The film as we know it almost didn’t happen. Schlesinger and producer Jerome Hellman had difficulty finding a screenwriter who wanted to take the project on—Truman Capote turned them down, and Gore Vidal told them the novel was “trash” and that they should adapt his novel \u003cem>The City and the Pillar \u003c/em>instead, Frankel recounts. But Waldo Salt agreed to write the screenplay, and the producer and director turned to casting the movie.\u003c/p>\n\u003cp>That wasn’t easy, either. “Schlesinger didn’t want either Voight or Hoffman in his movie, and looked far and wide for alternatives,” Frankel writes. He eventually changed his mind, and started shooting the film, although that turned out to be a slog: “The one thing practically everyone involved remembers about the filming of \u003cem>Midnight Cowboy \u003c/em>is that the man in charge didn’t seem to enjoy it very much.”\u003c/p>\n\u003cp>The shoot itself was a bizarre one—the crew used “stolen shots” in the movie’s New York scenes, meaning the extras in the movie weren’t actually aware they were being filmed. The extras in the Texas shoot were aware, but they weren’t told what the movie was about, and many were incensed once they found out, Frankel writes.\u003c/p>\n\u003cp>The movie was a surprise hit upon its release despite some skeptical reviews from the likes of Roger Ebert and Pauline Kael. Nevertheless, it won Schlesinger an Oscar for directing, although Hoffman and Voight lost out to John Wayne, who praised the acting in \u003cem>Midnight Cowboy\u003c/em> while dismissing the film as a whole with a characteristically homophobic remark.\u003c/p>\n\u003cp>Histories of filmmaking can easily turn into inside baseball, interesting only to film students and the most dedicated cinéastes, but Frankel does a remarkable job telling the story of how the movie happened. He’s such a gifted storyteller that you don’t even have to be familiar with the film to find the book fascinating. (You really should see the movie, though, if your emotional state allows it.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vS2IdfBkkj0\u003c/p>\n\u003cp>Frankel provides ample context for the movie, painting a vivid picture of New York in the 1960s, when the city was down on its heels, with whole neighborhoods—including one used as a setting for the film—essentially being written off. He also points out how remarkable the film’s treatment of homosexuality was—although Voight’s and Hoffman’s characters are straight, Voight’s character has sex with men to earn money, a shocking plot point at the time. “[G]ay characters could appear openly on screen but only in situations that made clear their misery and depravity and that resulted in dire consequences for all involved,” he writes.\u003c/p>\n\u003cp>Still, Frankel points out in his excellent analysis of the film, it was hardly unproblematic. “The movie at times emits a noxious homophobia” and “is not kind to women,” he argues. One of the movie’s most difficult scenes to watch depicts a gang rape; Jennifer Salt, who played the victim, says the shooting of the scene traumatized her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Frankel is willing to point out that the movie is flawed is part of what makes the book so essential—\u003cem>Shooting Midnight Cowboy \u003c/em>is a history, not a paean, and he asks viewers to reconsider what the movie meant, not just to American culture, but to the cast and crew who made it. Frankel’s book is a must-read for anyone interested in cinematic history, and an enthralling look at Schlesinger’s “dark, difficult masterpiece and the deeply gifted and flawed men and women who made it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shooting+Midnight+Cowboy%27+Turns+An+Eye+To+A+Dark%2C+Problematic+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 50 years after it was released, shocking moviegoers across the U.S., \u003cem>Midnight Cowboy \u003c/em>has endured as one of the most original and heartbreaking films in American history.\u003c/p>\n\u003cp>The John Schlesinger drama made Jon Voight a star and solidified Dustin Hoffman’s status as one of his generation’s greatest actors, and it became the first and only X-rated film to win the Academy Award for best picture.\u003c/p>\n\u003cp>Watching the film isn’t easy—and neither was making it, as Glenn Frankel reveals in his new book, \u003cem>Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic\u003c/em>. It’s a fascinating look at the process that led to one of the 20th century’s most iconic works of art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894189 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg\" alt=\"\" width=\"800\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-800x1205.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1020x1536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-768x1157.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a-1360x2048.jpg 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cowboy_custom-f9fcf39d0be42160417e4ae3122c4fa16f68377a.jpg 1689w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Midnight Cowboy \u003c/em>had its genesis in the 1965 novel of the same name by James Leo Herlihy. The book wasn’t obvious fodder for a movie adaptation—the story of Joe Buck, a young Texas man who travels to New York in hopes of becoming a male escort, the novel featured “scenes of heterosexual and homosexual intercourse, sadomasochism, fellatio, gang rape, prostitution, and illegal drug use,” Frankel notes, and was “so bleak, troubling, and sexually raw that no ordinary film studio would go near it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>United Artists, however, wasn’t an ordinary film studio, and Schlesinger, reeling from the commercial disappointment of his movie adaptation of Thomas Hardy’s \u003cem>Far From the Madding Crowd\u003c/em>, proved willing to embark on the “especially risky gamble” of turning it into a movie.\u003c/p>\n\u003cp>The film as we know it almost didn’t happen. Schlesinger and producer Jerome Hellman had difficulty finding a screenwriter who wanted to take the project on—Truman Capote turned them down, and Gore Vidal told them the novel was “trash” and that they should adapt his novel \u003cem>The City and the Pillar \u003c/em>instead, Frankel recounts. But Waldo Salt agreed to write the screenplay, and the producer and director turned to casting the movie.\u003c/p>\n\u003cp>That wasn’t easy, either. “Schlesinger didn’t want either Voight or Hoffman in his movie, and looked far and wide for alternatives,” Frankel writes. He eventually changed his mind, and started shooting the film, although that turned out to be a slog: “The one thing practically everyone involved remembers about the filming of \u003cem>Midnight Cowboy \u003c/em>is that the man in charge didn’t seem to enjoy it very much.”\u003c/p>\n\u003cp>The shoot itself was a bizarre one—the crew used “stolen shots” in the movie’s New York scenes, meaning the extras in the movie weren’t actually aware they were being filmed. The extras in the Texas shoot were aware, but they weren’t told what the movie was about, and many were incensed once they found out, Frankel writes.\u003c/p>\n\u003cp>The movie was a surprise hit upon its release despite some skeptical reviews from the likes of Roger Ebert and Pauline Kael. Nevertheless, it won Schlesinger an Oscar for directing, although Hoffman and Voight lost out to John Wayne, who praised the acting in \u003cem>Midnight Cowboy\u003c/em> while dismissing the film as a whole with a characteristically homophobic remark.\u003c/p>\n\u003cp>Histories of filmmaking can easily turn into inside baseball, interesting only to film students and the most dedicated cinéastes, but Frankel does a remarkable job telling the story of how the movie happened. He’s such a gifted storyteller that you don’t even have to be familiar with the film to find the book fascinating. (You really should see the movie, though, if your emotional state allows it.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vS2IdfBkkj0'\n title='//www.youtube.com/embed/vS2IdfBkkj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Frankel provides ample context for the movie, painting a vivid picture of New York in the 1960s, when the city was down on its heels, with whole neighborhoods—including one used as a setting for the film—essentially being written off. He also points out how remarkable the film’s treatment of homosexuality was—although Voight’s and Hoffman’s characters are straight, Voight’s character has sex with men to earn money, a shocking plot point at the time. “[G]ay characters could appear openly on screen but only in situations that made clear their misery and depravity and that resulted in dire consequences for all involved,” he writes.\u003c/p>\n\u003cp>Still, Frankel points out in his excellent analysis of the film, it was hardly unproblematic. “The movie at times emits a noxious homophobia” and “is not kind to women,” he argues. One of the movie’s most difficult scenes to watch depicts a gang rape; Jennifer Salt, who played the victim, says the shooting of the scene traumatized her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Frankel is willing to point out that the movie is flawed is part of what makes the book so essential—\u003cem>Shooting Midnight Cowboy \u003c/em>is a history, not a paean, and he asks viewers to reconsider what the movie meant, not just to American culture, but to the cast and crew who made it. Frankel’s book is a must-read for anyone interested in cinematic history, and an enthralling look at Schlesinger’s “dark, difficult masterpiece and the deeply gifted and flawed men and women who made it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Shooting+Midnight+Cowboy%27+Turns+An+Eye+To+A+Dark%2C+Problematic+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Amazon's Shadow, an America Divided in Search of 'Fulfillment'",
"headTitle": "In Amazon’s Shadow, an America Divided in Search of ‘Fulfillment’ | KQED",
"content": "\u003cp>America has been sorted. There are “winner-take-all” places and “left-behind” places—and the two are increasingly isolated, struggling to comprehend the divide.\u003c/p>\n\u003cp>This is the story that unfolds in Alec MacGillis’ \u003cem>Fulfillment: Winning and Losing in One-Click America\u003c/em>. Ostensibly about Amazon, the book is instead an economic history of the country, shaped by an intimate introduction to people living and working in Amazon’s shadow as their home cities and states transform around them.\u003c/p>\n\u003cfigure id=\"attachment_13894073\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-800x1198.jpg\" alt=\"A truck drives down an empty road on the cover of 'Fulfillment: Winning and Losing in One-Click America,' by Alec MacGillis.\" width=\"800\" height=\"1198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb.jpg 1702w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fulfillment: Winning and Losing in One-Click America,’ by Alec MacGillis. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That shadow of Amazon forms slowly. MacGillis, a reporter for \u003cem>ProPublica, \u003c/em>devotes much of his writing to intricate portraits: a forklift driver and a salvaged-brick seller from Baltimore, a lawyer-turned-artist and a gospel-choir leader from Seattle, a young politician and a truck driver from Ohio. These personal stories are sweeping and in-depth, and not all connect directly to Amazon. But most bring to light some facet of the company or socioeconomic forces shaping the communities affected by it.\u003c/p>\n\u003cp>The narrative traces how hypergrowth and prosperity clustered in a few places—Seattle, Northern Virginia, Washington, D.C.—in parallel to the regression and often overwrought pursuit of revival by cities that corporate rainmakers bypassed. MacGillis lingers on several historic retrospectives about the decline of companies that once thrived in “left-behind” places: Bethlehem Steel in Baltimore, Md.; National Cash Register in Dayton, Ohio; Bon-Ton in York, Pa.; auto plants and other manufacturing across the states. [aside postid='arts_13874905']\u003c/p>\n\u003cp>Over time, America’s tech economy launched an era where the key to competitiveness became human rather than physical capital. New corporate giants concentrated workers and wealth around themselves, creating a feedback loop that continued to propel already prosperous cities even as they got more expensive. Since the 1970s, MacGillis writes, wages in the very largest cities have grown far faster than in the rest of the country—by 20 percentage points. And lower-wage workers relocating to the costly prosperous cities stood to gain much less than highly educated professionals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Regional inequality was making parts of the country incomprehensible to one another—one world wracked with painkillers, the other tainted by elite-college admission schemes,” MacGillis writes. Amazon, he eventually posits, “was playing an outsized role in this zero-sum sorting.”\u003c/p>\n\u003cp>At the heart of Amazon’s sorting is its internal division. Now the second-largest private U.S. employer, Amazon is now a company with clout in both white-collar and blue-collar work. Employing some 1.3 million people worldwide, it’s run—\u003ca href=\"https://www.npr.org/2021/02/02/963370968/jeff-bezos-to-step-down-as-amazons-ceo\" target=\"_blank\" rel=\"noopener noreferrer\">at least for a few more months\u003c/a>—by one of the wealthiest people in modern history. MacGillis delivers a key insight:\u003c/p>\n\u003cblockquote>\u003cp>“The company had, in a sense, segmented its workforce into classes and spread them across the map: there were its engineering and software-developer towns, there were the datacenter towns, and there were the warehouse towns.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Fulfillment \u003c/em>visits each type of town, punctuating their many pain-points. The erosion of historic Black neighborhoods in Seattle. Anonymous, mass-recruiting fairs for warehouses in struggling suburbs. Deaths and injuries involving forklifts and trucks. A civic battle in Virginia over a power line to Amazon’s data center—a plan that at first intended to seize land from residents of a \u003ca href=\"https://www.washingtonpost.com/local/virginia-politics/as-data-centers-bloom-a-century-old-african-american-enclave-is-threatened/2017/07/02/f33db65a-5502-11e7-a204-ad706461fa4f_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">century-old African-American enclave\u003c/a>, but later took a different tack funded partly by new fees on local electric bills. (Amazon, MacGillis notes, sought a discounted rate.)\u003c/p>\n\u003cp>MacGillis lays out, with detail gathered through freedom of information requests, exactly how Amazon methodically built its presence in several communities: playing “the reluctant target rather than the suitor” to receive tax breaks and other financial perks, often demanding total secrecy. A recurrent spotlight falls on Amazon’s tax-avoidance, which MacGillis calls out as contributing to “the unraveling of the civic fabric:” the company’s facilities straining roadways, housing and utilities while eroding the governments’ ability to support them.\u003c/p>\n\u003cp>A critic’s business case against Amazon takes shape in the chapter about the company’s push to become a top provider of office supplies to schools, governments and other organizations. A former pen salesman lays out, at a registered-guests-only expo MacGillis attended in Texas, how Amazon wins at the expense of small sellers: The company collects fees on every item that sells; it bears no cost for items that don’t sell well, but can copycat hot sellers and drive even more demand by pushing prices down, eroding small sellers’ profits while still collecting more fees. [aside postid='arts_13882749']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fulfillment is a functional term for work done inside Amazon’s sprawling warehouses. It is also a promise advertised by Amazon on the buildings “to all who passed by, all who had a longing—for what, exactly, they might still be trying to decide—and now knew from whence it would be delivered to them.” This promise, MacGillis points out, applies less obviously to workers inside. They and other people under Amazon’s shadow are the main subjects of his book: finding and losing jobs, building families and grieving loved ones, growing roots and uprooting, quelling sore limbs with numbing creams and ice—performing and, or, searching for \u003cem>fulfillment.\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=In+Amazon%27s+Shadow%2C+An+America+Divided+In+Search+Of+%27Fulfillment%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America has been sorted. There are “winner-take-all” places and “left-behind” places—and the two are increasingly isolated, struggling to comprehend the divide.\u003c/p>\n\u003cp>This is the story that unfolds in Alec MacGillis’ \u003cem>Fulfillment: Winning and Losing in One-Click America\u003c/em>. Ostensibly about Amazon, the book is instead an economic history of the country, shaped by an intimate introduction to people living and working in Amazon’s shadow as their home cities and states transform around them.\u003c/p>\n\u003cfigure id=\"attachment_13894073\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-800x1198.jpg\" alt=\"A truck drives down an empty road on the cover of 'Fulfillment: Winning and Losing in One-Click America,' by Alec MacGillis.\" width=\"800\" height=\"1198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/amazon_custom-946d118b67f91d40d811f0651de08a23dc70f8cb.jpg 1702w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fulfillment: Winning and Losing in One-Click America,’ by Alec MacGillis. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That shadow of Amazon forms slowly. MacGillis, a reporter for \u003cem>ProPublica, \u003c/em>devotes much of his writing to intricate portraits: a forklift driver and a salvaged-brick seller from Baltimore, a lawyer-turned-artist and a gospel-choir leader from Seattle, a young politician and a truck driver from Ohio. These personal stories are sweeping and in-depth, and not all connect directly to Amazon. But most bring to light some facet of the company or socioeconomic forces shaping the communities affected by it.\u003c/p>\n\u003cp>The narrative traces how hypergrowth and prosperity clustered in a few places—Seattle, Northern Virginia, Washington, D.C.—in parallel to the regression and often overwrought pursuit of revival by cities that corporate rainmakers bypassed. MacGillis lingers on several historic retrospectives about the decline of companies that once thrived in “left-behind” places: Bethlehem Steel in Baltimore, Md.; National Cash Register in Dayton, Ohio; Bon-Ton in York, Pa.; auto plants and other manufacturing across the states. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over time, America’s tech economy launched an era where the key to competitiveness became human rather than physical capital. New corporate giants concentrated workers and wealth around themselves, creating a feedback loop that continued to propel already prosperous cities even as they got more expensive. Since the 1970s, MacGillis writes, wages in the very largest cities have grown far faster than in the rest of the country—by 20 percentage points. And lower-wage workers relocating to the costly prosperous cities stood to gain much less than highly educated professionals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Regional inequality was making parts of the country incomprehensible to one another—one world wracked with painkillers, the other tainted by elite-college admission schemes,” MacGillis writes. Amazon, he eventually posits, “was playing an outsized role in this zero-sum sorting.”\u003c/p>\n\u003cp>At the heart of Amazon’s sorting is its internal division. Now the second-largest private U.S. employer, Amazon is now a company with clout in both white-collar and blue-collar work. Employing some 1.3 million people worldwide, it’s run—\u003ca href=\"https://www.npr.org/2021/02/02/963370968/jeff-bezos-to-step-down-as-amazons-ceo\" target=\"_blank\" rel=\"noopener noreferrer\">at least for a few more months\u003c/a>—by one of the wealthiest people in modern history. MacGillis delivers a key insight:\u003c/p>\n\u003cblockquote>\u003cp>“The company had, in a sense, segmented its workforce into classes and spread them across the map: there were its engineering and software-developer towns, there were the datacenter towns, and there were the warehouse towns.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Fulfillment \u003c/em>visits each type of town, punctuating their many pain-points. The erosion of historic Black neighborhoods in Seattle. Anonymous, mass-recruiting fairs for warehouses in struggling suburbs. Deaths and injuries involving forklifts and trucks. A civic battle in Virginia over a power line to Amazon’s data center—a plan that at first intended to seize land from residents of a \u003ca href=\"https://www.washingtonpost.com/local/virginia-politics/as-data-centers-bloom-a-century-old-african-american-enclave-is-threatened/2017/07/02/f33db65a-5502-11e7-a204-ad706461fa4f_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">century-old African-American enclave\u003c/a>, but later took a different tack funded partly by new fees on local electric bills. (Amazon, MacGillis notes, sought a discounted rate.)\u003c/p>\n\u003cp>MacGillis lays out, with detail gathered through freedom of information requests, exactly how Amazon methodically built its presence in several communities: playing “the reluctant target rather than the suitor” to receive tax breaks and other financial perks, often demanding total secrecy. A recurrent spotlight falls on Amazon’s tax-avoidance, which MacGillis calls out as contributing to “the unraveling of the civic fabric:” the company’s facilities straining roadways, housing and utilities while eroding the governments’ ability to support them.\u003c/p>\n\u003cp>A critic’s business case against Amazon takes shape in the chapter about the company’s push to become a top provider of office supplies to schools, governments and other organizations. A former pen salesman lays out, at a registered-guests-only expo MacGillis attended in Texas, how Amazon wins at the expense of small sellers: The company collects fees on every item that sells; it bears no cost for items that don’t sell well, but can copycat hot sellers and drive even more demand by pushing prices down, eroding small sellers’ profits while still collecting more fees. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fulfillment is a functional term for work done inside Amazon’s sprawling warehouses. It is also a promise advertised by Amazon on the buildings “to all who passed by, all who had a longing—for what, exactly, they might still be trying to decide—and now knew from whence it would be delivered to them.” This promise, MacGillis points out, applies less obviously to workers inside. They and other people under Amazon’s shadow are the main subjects of his book: finding and losing jobs, building families and grieving loved ones, growing roots and uprooting, quelling sore limbs with numbing creams and ice—performing and, or, searching for \u003cem>fulfillment.\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=In+Amazon%27s+Shadow%2C+An+America+Divided+In+Search+Of+%27Fulfillment%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘The Bachelor’s Cluelessness About Race Comes to a Head in Season Finale | KQED",
"content": "\u003cp>It’s a safe bet this wasn’t the conversation producers of \u003cem>The Bachelor\u003c/em> expected would cap Matt James’ season when they named him as the unscripted dating show’s first Black star.\u003c/p>\n\u003cp>But the tense, emotional exchange Monday night between James and former girlfriend Rachael Kirkconnell—where he revealed why he broke off their relationship after photos of her at an Antebellum South-themed party surfaced on social media—is the kind of conversation about race and white cluelessness that \u003cem>The Bachelor\u003c/em> has been avoiding for far too long.\u003c/p>\n\u003cp>“Rachael might not understand what it means to be Black in America,” James told host Emmanuel Acho during the show’s \u003cem>After the Final Rose\u003c/em> special Monday, dropping a line that felt like the understatement of the year.\u003c/p>\n\u003cp>Indeed, the show’s refusal to appreciate what it means to be Black on \u003cem>The Bachelor\u003c/em> is what made this moment. [aside postid='pop_27797']\u003c/p>\n\u003cp>It led producers to stumble into a roiling, race-centered controversy that has sidelined the show’s longtime host Chris Harrison, obliterated the storybook romance set up by months of pre-taped episodes, and forced the white woman James selected from a field of nearly 40 contestants to tearfully explain herself on national television.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I see someone who was living in this ignorance, without thinking who it might be hurting,” Kirkconnell said, looking at a photo of herself hanging with friends at that fraternity party in 2018, decked out in frilly dresses, celebrating the spectacle of a bygone era.\u003c/p>\n\u003cp>Civil rights activists have criticized these kinds of parties for many years, noting that they elevate the beauty of the Old South’s plantations while erasing their roots in the bondage and brutal oppression of Black slaves. It’s similar to the denialism among some who seek to honor symbols of the Confederacy while downplaying or ignoring its role in fighting to maintain slavery.\u003c/p>\n\u003cp>Kirkconnell admitted as much on Monday, noting some supporters told her they didn’t think attending such parties were racist because they personally were not racist.\u003c/p>\n\u003cp>“I did get a lot of people saying, ‘This is normal where I grew up,'” she said. “People need to realize that just saying ‘This is normal where I came from’ … that doesn’t make it right. That doesn’t make it okay.”\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> stumbled into this mess because the show has refused to face how deeply centered on white culture the whole enterprise truly is—naming James as its first Black star in 25 seasons, after years of criticism for the omission. It has seemingly shown little regard for the extra pressure non-white people face in trying to compete on the program.\u003c/p>\n\u003cp>Worst of all, the show seems to have no clue how deeply embedded racism is in the fabric of American life—and how dating, especially across racial lines, can bring out those issues in ways that are explosive and damaging if not handled well. [aside postid='arts_13893077']\u003c/p>\n\u003cp>Acho, a former pro football linebacker who wrote the book and hosts a webcast called \u003cem>Uncomfortable Conversations with a Black Man\u003c/em>, led Monday’s discussion with the deft charm of a man used to untangling complex racial dynamics for clueless white people. He explained thorny concepts and sympathized with James, who spoke about the extra burden of avoiding stereotypes while starring on the show. (“It’s just what we’re conditioned to do as Black men,” James said. “Making people comfortable with your Blackness.”)\u003c/p>\n\u003cp>Acho stepped up when longtime host Chris Harrison announced he would step away from the program—a move which came after Harrison tried to defend Kirkconnell by suggesting Antebellum parties weren’t considered offensive in 2018, criticizing the “woke police” for targeting her.\u003c/p>\n\u003cp>It was a clumsy attempt at damage control that only made the controversy worse. Now Harrison’s future with the franchise is in doubt—he won’t be hosting the next two seasons of \u003cem>The Bachelorette\u003c/em> airing this summer and fall—even as his dismissive attitude seemed completely in tune with how producers have shrugged off past criticisms regarding race on the show.\u003c/p>\n\u003cp>Rachel Lindsay, who became the first Black woman to star in the spin off series \u003cem>The Bachelorette \u003c/em>in 2017, found her season marred by the antics of a white man who antagonized many of the show’s Black male contestants and had a history of inflammatory social media posts. Lindsay, who was interviewing Harrison for the TV show \u003cem>Extra\u003c/em> when he dropped his “woke police” comments, \u003ca href=\"https://extratv.com/2021/02/15/rachel-lindsay-reacts-to-chris-harrison-stepping-aside-after-her-headline-making-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">has emerged as a consistent critic\u003c/a> of the franchise’s handling of race.\u003c/p>\n\u003cp>Why doesn’t the show do a better job of screening its white contestants’ backgrounds? And why did it take so long for the show to name a Black man to star in \u003cem>The Bachelor\u003c/em> in the first place? These are questions that are tough to answer for another reason; the show’s producers don’t talk openly about what they do or why they do it.\u003c/p>\n\u003cp>James has perfected the show’s style of speaking in vague platitudes. So it was tough to discern from his answers Monday exactly what happened between him and Kirkconnell when the pictures surfaced; they both implied that she didn’t take the controversy seriously enough at first. [aside postid='pop_104953']\u003c/p>\n\u003cp>“It was in the context of you not fully understanding my Blackness … and what it would mean for our kids when I saw these things floating around the internet,” James told Kirkconnell about his decision to end their relationship. “I didn’t sign up to have this conversation.”\u003c/p>\n\u003cp>That may also be part of the problem. Because \u003cem>The Bachelor\u003c/em> is basically a princess fantasy—a soap opera featuring non-actors centered on a hunky guy choosing a romantic partner in the most idealized settings possible.\u003c/p>\n\u003cp>But talking about and understanding how race works in America is the opposite of fantasy. It’s a difficult, challenging process, which often requires facing uncomfortable truths. And James admitted \u003ca href=\"https://www.goodmorningamerica.com/culture/video/matt-james-opens-final-rose-special-76484182\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview on ABC’s \u003cem>Good Morning America\u003c/em>\u003c/a> Tuesday that he didn’t discuss race or the challenge of dating across racial lines with Kirkconnell before the controversy emerged.\u003c/p>\n\u003cp>It’s tough to know whether a franchise as manipulative and problematic as \u003cem>The Bachelor/Bachelorette\u003c/em> can ever correct itself enough to consistently handle racial issues well.\u003c/p>\n\u003cp>But with another Black woman scheduled to star in a future season of \u003cem>The Bachelorette\u003c/em>—Michelle Young, the runner-up in James’ season, \u003ca href=\"https://abc.com/shows/the-bachelorette/news/updates/whos-the-next-bachelorette-2021-two-seasons-katie-thurston-summer-michelle-young-fall\" target=\"_blank\" rel=\"noopener noreferrer\">was announced as star of the show’s 18th season Monday\u003c/a>—ABC’s high-profile franchise better raise its game in a hurry.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Or it won’t be long before another season goes down in flames, felled by its ignorance of race in a world which will no longer tolerate white cluelessness.\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+Bachelor%27s+Cluelessness+About+Race+Comes+To+A+Head+In+Season+Finale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a safe bet this wasn’t the conversation producers of \u003cem>The Bachelor\u003c/em> expected would cap Matt James’ season when they named him as the unscripted dating show’s first Black star.\u003c/p>\n\u003cp>But the tense, emotional exchange Monday night between James and former girlfriend Rachael Kirkconnell—where he revealed why he broke off their relationship after photos of her at an Antebellum South-themed party surfaced on social media—is the kind of conversation about race and white cluelessness that \u003cem>The Bachelor\u003c/em> has been avoiding for far too long.\u003c/p>\n\u003cp>“Rachael might not understand what it means to be Black in America,” James told host Emmanuel Acho during the show’s \u003cem>After the Final Rose\u003c/em> special Monday, dropping a line that felt like the understatement of the year.\u003c/p>\n\u003cp>Indeed, the show’s refusal to appreciate what it means to be Black on \u003cem>The Bachelor\u003c/em> is what made this moment. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I see someone who was living in this ignorance, without thinking who it might be hurting,” Kirkconnell said, looking at a photo of herself hanging with friends at that fraternity party in 2018, decked out in frilly dresses, celebrating the spectacle of a bygone era.\u003c/p>\n\u003cp>Civil rights activists have criticized these kinds of parties for many years, noting that they elevate the beauty of the Old South’s plantations while erasing their roots in the bondage and brutal oppression of Black slaves. It’s similar to the denialism among some who seek to honor symbols of the Confederacy while downplaying or ignoring its role in fighting to maintain slavery.\u003c/p>\n\u003cp>Kirkconnell admitted as much on Monday, noting some supporters told her they didn’t think attending such parties were racist because they personally were not racist.\u003c/p>\n\u003cp>“I did get a lot of people saying, ‘This is normal where I grew up,'” she said. “People need to realize that just saying ‘This is normal where I came from’ … that doesn’t make it right. That doesn’t make it okay.”\u003c/p>\n\u003cp>\u003cem>The Bachelor\u003c/em> stumbled into this mess because the show has refused to face how deeply centered on white culture the whole enterprise truly is—naming James as its first Black star in 25 seasons, after years of criticism for the omission. It has seemingly shown little regard for the extra pressure non-white people face in trying to compete on the program.\u003c/p>\n\u003cp>Worst of all, the show seems to have no clue how deeply embedded racism is in the fabric of American life—and how dating, especially across racial lines, can bring out those issues in ways that are explosive and damaging if not handled well. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Acho, a former pro football linebacker who wrote the book and hosts a webcast called \u003cem>Uncomfortable Conversations with a Black Man\u003c/em>, led Monday’s discussion with the deft charm of a man used to untangling complex racial dynamics for clueless white people. He explained thorny concepts and sympathized with James, who spoke about the extra burden of avoiding stereotypes while starring on the show. (“It’s just what we’re conditioned to do as Black men,” James said. “Making people comfortable with your Blackness.”)\u003c/p>\n\u003cp>Acho stepped up when longtime host Chris Harrison announced he would step away from the program—a move which came after Harrison tried to defend Kirkconnell by suggesting Antebellum parties weren’t considered offensive in 2018, criticizing the “woke police” for targeting her.\u003c/p>\n\u003cp>It was a clumsy attempt at damage control that only made the controversy worse. Now Harrison’s future with the franchise is in doubt—he won’t be hosting the next two seasons of \u003cem>The Bachelorette\u003c/em> airing this summer and fall—even as his dismissive attitude seemed completely in tune with how producers have shrugged off past criticisms regarding race on the show.\u003c/p>\n\u003cp>Rachel Lindsay, who became the first Black woman to star in the spin off series \u003cem>The Bachelorette \u003c/em>in 2017, found her season marred by the antics of a white man who antagonized many of the show’s Black male contestants and had a history of inflammatory social media posts. Lindsay, who was interviewing Harrison for the TV show \u003cem>Extra\u003c/em> when he dropped his “woke police” comments, \u003ca href=\"https://extratv.com/2021/02/15/rachel-lindsay-reacts-to-chris-harrison-stepping-aside-after-her-headline-making-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">has emerged as a consistent critic\u003c/a> of the franchise’s handling of race.\u003c/p>\n\u003cp>Why doesn’t the show do a better job of screening its white contestants’ backgrounds? And why did it take so long for the show to name a Black man to star in \u003cem>The Bachelor\u003c/em> in the first place? These are questions that are tough to answer for another reason; the show’s producers don’t talk openly about what they do or why they do it.\u003c/p>\n\u003cp>James has perfected the show’s style of speaking in vague platitudes. So it was tough to discern from his answers Monday exactly what happened between him and Kirkconnell when the pictures surfaced; they both implied that she didn’t take the controversy seriously enough at first. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was in the context of you not fully understanding my Blackness … and what it would mean for our kids when I saw these things floating around the internet,” James told Kirkconnell about his decision to end their relationship. “I didn’t sign up to have this conversation.”\u003c/p>\n\u003cp>That may also be part of the problem. Because \u003cem>The Bachelor\u003c/em> is basically a princess fantasy—a soap opera featuring non-actors centered on a hunky guy choosing a romantic partner in the most idealized settings possible.\u003c/p>\n\u003cp>But talking about and understanding how race works in America is the opposite of fantasy. It’s a difficult, challenging process, which often requires facing uncomfortable truths. And James admitted \u003ca href=\"https://www.goodmorningamerica.com/culture/video/matt-james-opens-final-rose-special-76484182\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview on ABC’s \u003cem>Good Morning America\u003c/em>\u003c/a> Tuesday that he didn’t discuss race or the challenge of dating across racial lines with Kirkconnell before the controversy emerged.\u003c/p>\n\u003cp>It’s tough to know whether a franchise as manipulative and problematic as \u003cem>The Bachelor/Bachelorette\u003c/em> can ever correct itself enough to consistently handle racial issues well.\u003c/p>\n\u003cp>But with another Black woman scheduled to star in a future season of \u003cem>The Bachelorette\u003c/em>—Michelle Young, the runner-up in James’ season, \u003ca href=\"https://abc.com/shows/the-bachelorette/news/updates/whos-the-next-bachelorette-2021-two-seasons-katie-thurston-summer-michelle-young-fall\" target=\"_blank\" rel=\"noopener noreferrer\">was announced as star of the show’s 18th season Monday\u003c/a>—ABC’s high-profile franchise better raise its game in a hurry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Or it won’t be long before another season goes down in flames, felled by its ignorance of race in a world which will no longer tolerate white cluelessness.\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+Bachelor%27s+Cluelessness+About+Race+Comes+To+A+Head+In+Season+Finale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "5 Tips to Ditch Fast Fashion and Cultivate a Sustainable Closet",
"headTitle": "5 Tips to Ditch Fast Fashion and Cultivate a Sustainable Closet | KQED",
"content": "\u003cp>When fashionable clothes can be so cheap, it can be easy to fill up virtual shopping carts just for the rush of the purchase. But this attitude of excess has led to mass over-production and a clothing waste crisis.\u003c/p>\n\u003cp>“Ultimately, any item of clothing that you get rid of is going to end up in the landfill because the technological solutions just really aren’t at scale yet to do something different with it,” says Elizabeth Cline, author of \u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>.\u003c/p>\n\u003cp>Less than \u003ca href=\"https://www.ellenmacarthurfoundation.org/assets/downloads/A-New-Textiles-Economy_Summary-of-Findings_Updated_1-12-17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1% of all clothing\u003c/a> material is ever recycled back into new clothes. And of the clothes we donate to charity, only a fraction gets resold in stores. Much of what doesn’t sell gets shipped in bulk and \u003ca href=\"https://slate.com/human-interest/2012/06/the-salvation-army-and-goodwill-inside-the-places-your-clothes-go-when-you-donate-them.html\" target=\"_blank\" rel=\"noopener noreferrer\">sold internationally\u003c/a>.\u003c/p>\n\u003cp>The costs of fast fashion are huge to the environment and to the people making clothes. Each year the fashion industry consumes approximately \u003ca href=\"https://www.nature.com/articles/s43017-020-0039-9).\" target=\"_blank\" rel=\"noopener noreferrer\">79 trillion liters of water and then throws out 92 million tons of waste. \u003c/a>To make clothes so quickly and affordably, factory workers are often underpaid and operate in unsafe working conditions.\u003c/p>\n\u003cp>It can make us feel powerless, as individuals, to do something about it. But there are ways to shop smarter and to curate a more eco-and ethically conscious closet. Here are some takeaways the experts recommend:\u003c/p>\n\u003ch3>1. Don’t think of your clothes as disposable.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894014 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png\" alt=\"\" width=\"774\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-768x508.png 768w\" sizes=\"(max-width: 774px) 100vw, 774px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Symphony Clarke, known as the \u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">Thrift Guru\u003c/a> on social media, has noticed that a lot of her peers feel pressure to keep up with trends online. Some even feel like they can’t post a picture in the same outfit twice. “That’s the lifespan of their clothing. Once a picture is taken, it’s done,” she says.\u003c/p>\n\u003cp>To abandon that attitude of excess, change your mindset! Buy with the notion that what you purchase should stay with you. Clarke recommends a 30-wear test: When shopping, ask yourself if you’d wear that item 30 times or more.\u003c/p>\n\u003cp>The other way to extend the lifespan of your clothing is with a little more TLC.\u003c/p>\n\u003cp>“Taking care of clothes…I think it can feed the soul. It’s just a very good life skill to have,” says Cline. (We have a \u003ca href=\"https://www.npr.org/2019/12/17/789172148/how-do-i-get-this-out-your-guide-to-stain-removal\" target=\"_blank\" rel=\"noopener noreferrer\">Life Kit episode all about getting stains out\u003c/a>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H7l2FAIjccU\u003c/p>\n\u003ch3>2. Revamp or “thrift flip” your clothing and accessories.\u003c/h3>\n\u003cp>Clarke established her own personal style by revamping—taking something old and changing it up. She gives clothes a fresh feel by cutting them up or adding some new details.\u003c/p>\n\u003cp>“Go in your closet and say, hey, how can I switch up this old crewneck or this old hoodie that I had? Maybe I could cut it and crop it [into] a whole different item,” Clarke suggests.\u003c/p>\n\u003cp>Watch YouTuber \u003ca href=\"https://www.youtube.com/channel/UCTeNpbcaDZWZiCPziLWkOYw\" target=\"_blank\" rel=\"noopener noreferrer\">Nava Rose\u003c/a>‘s revamps or search YouTube or TikTok for thrift revamps or thrift flips. One useful hashtag to search is #DIYnosew—so that no sewing is required.\u003c/p>\n\u003ch3>3. Get rid of your clothing responsibly.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894010 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93.jpg 1436w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Marie Kondo’s popular approach was to throw out that which no longer brought us joy. But be intentional about how you donate.\u003c/p>\n\u003cp>“It has a much, much higher chance of finding a second life [by] finding another person who’s excited to wear it,” Cline says.\u003c/p>\n\u003cp>For instance, you could organize a clothing swap with friends or sell your unneeded items on resale sites like \u003ca href=\"https://www.thredup.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ThredUp\u003c/a>, \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a>, \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://www.therealreal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Real Real\u003c/a>. To attract buyers, Clarke recommends modeling your clothes instead of taking a picture on the floor, so shoppers can see what it looks like on. Good lighting and ironed clothes can also boost your sales.\u003c/p>\n\u003ch3>4. Buy second-hand when you’re in the mood for something “new.”\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894008 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Since the pandemic means many people avoid extra in-person shopping, thrifting online is more and more widespread.\u003c/p>\n\u003cp>“You don’t have to have the hassle of going into the thrift store and feeling overwhelmed,” Clarke says.\u003c/p>\n\u003cp>You can buy on the same sites people sell their clothes. Apps like \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a> let you search for specific items.\u003c/p>\n\u003ch3>5. Get educated.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894011 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Learn to look out for greenwashing and campaigns for a fairer, more sustainable fashion industry.\u003c/p>\n\u003cp>“Greenwashing is when companies either intentionally mislead consumers or just oversell and embellish the efforts they’re making to be more sustainable,” Cline explains.\u003c/p>\n\u003cp>To learn more, she recommends a site called \u003ca href=\"https://goodonyou.eco/\" target=\"_blank\" rel=\"noopener noreferrer\">Good On You\u003c/a> and a nonprofit called \u003ca href=\"https://remake.world/\" target=\"_blank\" rel=\"noopener noreferrer\">Remake\u003c/a>. Remake’s \u003ca href=\"https://remake.world/wp-content/uploads/2020/11/2020-Remake-Transparency-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">transparency reports\u003c/a> give brands sustainability scores. And once you’re educated, consider getting more involved.\u003c/p>\n\u003cp>“We can’t forget that the problems in the fashion industry are systemic and that we have to have systemic solutions to these issues as well,” Cline says.\u003c/p>\n\u003cp>PayUp Fashion, a campaign Cline co-founded, pushes against exploitative practices in the fashion industry. It’s supporting \u003ca href=\"https://payupfashion.com/everything-you-need-to-know-about-californias-landmark-garment-worker-protect-act/\" target=\"_blank\" rel=\"noopener noreferrer\">California’s Garment Worker Protection Act\u003c/a>, which will hold fashion brands legally and financially accountable for what happens in their garment factories. A reminder there’s strength in numbers.\u003c/p>\n\u003cp>“This is the ultimate intersectional issue. It is the combination of race and gender and class and exploitation that [cuts] so many different ways,” Cline says.\u003c/p>\n\u003cp>But the potential for change is possible. It could lead us to a fashion future that’s better for workers, the planet, and potentially even your wardrobe.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Symphony Clarke runs her own \u003c/em>\u003ca href=\"https://www.shopthriftguru.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>revamped clothing website\u003c/em>\u003c/a>\u003cem>. You can also find her on \u003c/em>\u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.tiktok.com/@thethriftguru?lang=en&is_copy_url=1&is_from_webapp=v1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>TikTok\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://www.youtube.com/channel/UCbQuCnD-n9aNpVs4KN5V-0g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Elizabeth L. Cline is the co-founder of \u003c/em>\u003ca href=\"https://payupfashion.com/the-problem/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>PayUp Fashion\u003c/em>\u003c/a>\u003cem> and author of \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/overdressed\" target=\"_blank\" rel=\"noopener noreferrer\">Overdressed: The Shockingly High Cost of Cheap Fashion\u003c/a> \u003cem>(2012) and \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>\u003cem> (2019).\u003c/em>\u003c/p>\n\u003cp>\u003cem>The podcast version of this story was produced by Fiona Geiran.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We’d love to hear from you. Leave us a voicemail at 202-216-9823, or email us at LifeKit@npr.org.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Life Kit, \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/life-kit\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>subscribe to our newsletter\u003c/em>\u003c/a>\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=5+Tips+To+Ditch+Fast+Fashion+And+Cultivate+A+Sustainable+Closet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When fashionable clothes can be so cheap, it can be easy to fill up virtual shopping carts just for the rush of the purchase. But this attitude of excess has led to mass over-production and a clothing waste crisis.\u003c/p>\n\u003cp>“Ultimately, any item of clothing that you get rid of is going to end up in the landfill because the technological solutions just really aren’t at scale yet to do something different with it,” says Elizabeth Cline, author of \u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>.\u003c/p>\n\u003cp>Less than \u003ca href=\"https://www.ellenmacarthurfoundation.org/assets/downloads/A-New-Textiles-Economy_Summary-of-Findings_Updated_1-12-17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1% of all clothing\u003c/a> material is ever recycled back into new clothes. And of the clothes we donate to charity, only a fraction gets resold in stores. Much of what doesn’t sell gets shipped in bulk and \u003ca href=\"https://slate.com/human-interest/2012/06/the-salvation-army-and-goodwill-inside-the-places-your-clothes-go-when-you-donate-them.html\" target=\"_blank\" rel=\"noopener noreferrer\">sold internationally\u003c/a>.\u003c/p>\n\u003cp>The costs of fast fashion are huge to the environment and to the people making clothes. Each year the fashion industry consumes approximately \u003ca href=\"https://www.nature.com/articles/s43017-020-0039-9).\" target=\"_blank\" rel=\"noopener noreferrer\">79 trillion liters of water and then throws out 92 million tons of waste. \u003c/a>To make clothes so quickly and affordably, factory workers are often underpaid and operate in unsafe working conditions.\u003c/p>\n\u003cp>It can make us feel powerless, as individuals, to do something about it. But there are ways to shop smarter and to curate a more eco-and ethically conscious closet. Here are some takeaways the experts recommend:\u003c/p>\n\u003ch3>1. Don’t think of your clothes as disposable.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894014 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png\" alt=\"\" width=\"774\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-768x508.png 768w\" sizes=\"(max-width: 774px) 100vw, 774px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Symphony Clarke, known as the \u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">Thrift Guru\u003c/a> on social media, has noticed that a lot of her peers feel pressure to keep up with trends online. Some even feel like they can’t post a picture in the same outfit twice. “That’s the lifespan of their clothing. Once a picture is taken, it’s done,” she says.\u003c/p>\n\u003cp>To abandon that attitude of excess, change your mindset! Buy with the notion that what you purchase should stay with you. Clarke recommends a 30-wear test: When shopping, ask yourself if you’d wear that item 30 times or more.\u003c/p>\n\u003cp>The other way to extend the lifespan of your clothing is with a little more TLC.\u003c/p>\n\u003cp>“Taking care of clothes…I think it can feed the soul. It’s just a very good life skill to have,” says Cline. (We have a \u003ca href=\"https://www.npr.org/2019/12/17/789172148/how-do-i-get-this-out-your-guide-to-stain-removal\" target=\"_blank\" rel=\"noopener noreferrer\">Life Kit episode all about getting stains out\u003c/a>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H7l2FAIjccU'\n title='//www.youtube.com/embed/H7l2FAIjccU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>2. Revamp or “thrift flip” your clothing and accessories.\u003c/h3>\n\u003cp>Clarke established her own personal style by revamping—taking something old and changing it up. She gives clothes a fresh feel by cutting them up or adding some new details.\u003c/p>\n\u003cp>“Go in your closet and say, hey, how can I switch up this old crewneck or this old hoodie that I had? Maybe I could cut it and crop it [into] a whole different item,” Clarke suggests.\u003c/p>\n\u003cp>Watch YouTuber \u003ca href=\"https://www.youtube.com/channel/UCTeNpbcaDZWZiCPziLWkOYw\" target=\"_blank\" rel=\"noopener noreferrer\">Nava Rose\u003c/a>‘s revamps or search YouTube or TikTok for thrift revamps or thrift flips. One useful hashtag to search is #DIYnosew—so that no sewing is required.\u003c/p>\n\u003ch3>3. Get rid of your clothing responsibly.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894010 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93.jpg 1436w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Marie Kondo’s popular approach was to throw out that which no longer brought us joy. But be intentional about how you donate.\u003c/p>\n\u003cp>“It has a much, much higher chance of finding a second life [by] finding another person who’s excited to wear it,” Cline says.\u003c/p>\n\u003cp>For instance, you could organize a clothing swap with friends or sell your unneeded items on resale sites like \u003ca href=\"https://www.thredup.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ThredUp\u003c/a>, \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a>, \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://www.therealreal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Real Real\u003c/a>. To attract buyers, Clarke recommends modeling your clothes instead of taking a picture on the floor, so shoppers can see what it looks like on. Good lighting and ironed clothes can also boost your sales.\u003c/p>\n\u003ch3>4. Buy second-hand when you’re in the mood for something “new.”\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894008 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Since the pandemic means many people avoid extra in-person shopping, thrifting online is more and more widespread.\u003c/p>\n\u003cp>“You don’t have to have the hassle of going into the thrift store and feeling overwhelmed,” Clarke says.\u003c/p>\n\u003cp>You can buy on the same sites people sell their clothes. Apps like \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a> let you search for specific items.\u003c/p>\n\u003ch3>5. Get educated.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894011 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Learn to look out for greenwashing and campaigns for a fairer, more sustainable fashion industry.\u003c/p>\n\u003cp>“Greenwashing is when companies either intentionally mislead consumers or just oversell and embellish the efforts they’re making to be more sustainable,” Cline explains.\u003c/p>\n\u003cp>To learn more, she recommends a site called \u003ca href=\"https://goodonyou.eco/\" target=\"_blank\" rel=\"noopener noreferrer\">Good On You\u003c/a> and a nonprofit called \u003ca href=\"https://remake.world/\" target=\"_blank\" rel=\"noopener noreferrer\">Remake\u003c/a>. Remake’s \u003ca href=\"https://remake.world/wp-content/uploads/2020/11/2020-Remake-Transparency-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">transparency reports\u003c/a> give brands sustainability scores. And once you’re educated, consider getting more involved.\u003c/p>\n\u003cp>“We can’t forget that the problems in the fashion industry are systemic and that we have to have systemic solutions to these issues as well,” Cline says.\u003c/p>\n\u003cp>PayUp Fashion, a campaign Cline co-founded, pushes against exploitative practices in the fashion industry. It’s supporting \u003ca href=\"https://payupfashion.com/everything-you-need-to-know-about-californias-landmark-garment-worker-protect-act/\" target=\"_blank\" rel=\"noopener noreferrer\">California’s Garment Worker Protection Act\u003c/a>, which will hold fashion brands legally and financially accountable for what happens in their garment factories. A reminder there’s strength in numbers.\u003c/p>\n\u003cp>“This is the ultimate intersectional issue. It is the combination of race and gender and class and exploitation that [cuts] so many different ways,” Cline says.\u003c/p>\n\u003cp>But the potential for change is possible. It could lead us to a fashion future that’s better for workers, the planet, and potentially even your wardrobe.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Symphony Clarke runs her own \u003c/em>\u003ca href=\"https://www.shopthriftguru.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>revamped clothing website\u003c/em>\u003c/a>\u003cem>. You can also find her on \u003c/em>\u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.tiktok.com/@thethriftguru?lang=en&is_copy_url=1&is_from_webapp=v1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>TikTok\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://www.youtube.com/channel/UCbQuCnD-n9aNpVs4KN5V-0g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Elizabeth L. Cline is the co-founder of \u003c/em>\u003ca href=\"https://payupfashion.com/the-problem/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>PayUp Fashion\u003c/em>\u003c/a>\u003cem> and author of \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/overdressed\" target=\"_blank\" rel=\"noopener noreferrer\">Overdressed: The Shockingly High Cost of Cheap Fashion\u003c/a> \u003cem>(2012) and \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>\u003cem> (2019).\u003c/em>\u003c/p>\n\u003cp>\u003cem>The podcast version of this story was produced by Fiona Geiran.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We’d love to hear from you. Leave us a voicemail at 202-216-9823, or email us at LifeKit@npr.org.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Life Kit, \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/life-kit\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>subscribe to our newsletter\u003c/em>\u003c/a>\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=5+Tips+To+Ditch+Fast+Fashion+And+Cultivate+A+Sustainable+Closet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Mank’ Leads Oscar Nominations in a Year When it's Easy to Judge For Yourself",
"headTitle": "‘Mank’ Leads Oscar Nominations in a Year When it’s Easy to Judge For Yourself | KQED",
"content": "\u003cp>Hollywood loves a movie about Hollywood, so it’s no real surprise that the Oscar nominations on Monday morning were led by \u003cem>Mank\u003c/em>, director David Fincher’s story about the writing of \u003cem>Citizen Kane\u003c/em>. It landed 10 nominations: best picture, actor (Gary Oldman), supporting actress (Amanda Seyfried), directing, cinematography, costume design, makeup, sound, production design and score.\u003c/p>\n\u003cp>Including \u003cem>Mank\u003c/em>, there are a total of eight best picture contenders: \u003cem>The Trial of the Chicago 7\u003c/em>, \u003cem>Minari\u003c/em>, \u003cem>The Father\u003c/em>, \u003cem>Judas and the Black Messiah\u003c/em>, \u003cem>Nomadland\u003c/em> and \u003cem>Sound of Metal\u003c/em>, all of which had six nominations total; and \u003cem>Promising Young Woman\u003c/em>, which had five. (See the full \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2021\" target=\"_blank\" rel=\"noopener noreferrer\">nominations list for the 93rd Academy Awards here\u003c/a>.) [aside postid='arts_13890020']\u003c/p>\n\u003cp>And among the top films, there are certainly firsts. It’s the first year two women—Chloé Zhao for \u003cem>Nomadland\u003c/em> and Emerald Fennell for \u003cem>Promising Young Woman\u003c/em>—have been nominated for best director, and Zhao is the first woman of color nominated and the first woman to have four nominations in one year. (Her other nominations are for writing, editing and producing the film.) Steven Yeun in \u003cem>Minari\u003c/em> is the first Asian American actor, and Riz Ahmed the first actor of Pakistani heritage, to be nominated as leads.\u003c/p>\n\u003cp>Many expect the lead actor Oscar to be awarded posthumously to Chadwick Boseman, who died in August, for his final film role in \u003cem>Ma Rainey’s Black Bottom\u003c/em>; Viola Davis was also nominated for her work in that film. Rounding out the best actor category is Anthony Hopkins, who plays a man dealing with the onset of dementia in the unusually structured film \u003cem>The Father\u003c/em>. (Note: Daniel Kaluuya and LaKeith Stanfield were both nominated for \u003cem>Judas and the Black Messiah\u003c/em>, in the supporting actor category.)\u003c/p>\n\u003cp>In the lead actress race, Davis will face Andra Day in \u003cem>The United States vs. Billie Holiday\u003c/em>, Frances McDormand in \u003cem>Nomadland\u003c/em>, Vanessa Kirby in \u003cem>Pieces of a Woman\u003c/em>, and Carey Mulligan in \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other nominations are certainly more conventional, such as the recognition of the somewhat dutiful \u003cem>The Trial of the Chicago 7\u003c/em>, written and directed by Aaron Sorkin, for which Sacha Baron Cohen was nominated for his portrayal of Abbie Hoffman. (Great men, check. Historical figures, check. Courtroom drama, check.) Glenn Close was nominated for her heavily disguised work in the poorly reviewed \u003cem>Hillbilly Elegy\u003c/em>, which perhaps tellingly got its only other nomination for makeup.\u003c/p>\n\u003cp>As happens every year, this crop of nominees has a lot of delights: The strong showing for \u003cem>Minari\u003c/em>—including nominations for lead actor Steven Yeun, supporting actress Yuh-jung Youn, and director Lee Isaac Chung—follows its disappointing and somewhat baffling move to the foreign language film category at the Golden Globes. (It is an American-made and American-set film.) The academy doesn’t often recognize a purely, truly comedic performance—especially an extravagantly silly one—in the acting categories, but Maria Bakalova grabbed a nomination for \u003cem>Borat Subsequent Moviefilm\u003c/em>. And it’s lovely to see a nomination for \u003cem>Wolfwalkers\u003c/em>, an animated feature that’s nothing like the style of Pixar or Disney, and which sits over on Apple TV+, just waiting to be watched. [aside postid='arts_13893976']\u003c/p>\n\u003cp>But as always, there are nominations that were expected or hoped for that didn’t come through, probably none more noted this year than Delroy Lindo, who was absent for his work in Spike Lee’s \u003cem>Da 5 Bloods\u003c/em>. Regina King, who made her feature directing debut with \u003cem>One Night In Miami\u003c/em>, wasn’t nominated, and the film missed out on best picture, although Leslie Odom Jr. was nominated as a supporting actor for playing Sam Cooke.\u003c/p>\n\u003cp>Another first that’s likely to set the tone for the awards is directly related to the pandemic that shut down theaters in many places for much of 2020: It’s the first year most of the best picture nominees, and most of the other major nominees as well, have been widely available to watch at home for at least some period of time prior to the nominations. The one exception in the best picture category is \u003cem>The Father\u003c/em>, starring nominee Anthony Hopkins, which won’t hit streaming until March 26—which is still well before the ceremony on April 25. It’s possible that by Oscar night, a lot more people than ever before will have seen all (or nearly all) of the nominees, at least in the feature categories.\u003c/p>\n\u003cp>Whether these nods please you or not, you’re probably in a better position to have strong opinions than you’ve been in past years. How pleased you’ll be with the outcomes remains to be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Thanks to streaming services, if you want to pick your own favorites, this is the year to do it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood loves a movie about Hollywood, so it’s no real surprise that the Oscar nominations on Monday morning were led by \u003cem>Mank\u003c/em>, director David Fincher’s story about the writing of \u003cem>Citizen Kane\u003c/em>. It landed 10 nominations: best picture, actor (Gary Oldman), supporting actress (Amanda Seyfried), directing, cinematography, costume design, makeup, sound, production design and score.\u003c/p>\n\u003cp>Including \u003cem>Mank\u003c/em>, there are a total of eight best picture contenders: \u003cem>The Trial of the Chicago 7\u003c/em>, \u003cem>Minari\u003c/em>, \u003cem>The Father\u003c/em>, \u003cem>Judas and the Black Messiah\u003c/em>, \u003cem>Nomadland\u003c/em> and \u003cem>Sound of Metal\u003c/em>, all of which had six nominations total; and \u003cem>Promising Young Woman\u003c/em>, which had five. (See the full \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2021\" target=\"_blank\" rel=\"noopener noreferrer\">nominations list for the 93rd Academy Awards here\u003c/a>.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And among the top films, there are certainly firsts. It’s the first year two women—Chloé Zhao for \u003cem>Nomadland\u003c/em> and Emerald Fennell for \u003cem>Promising Young Woman\u003c/em>—have been nominated for best director, and Zhao is the first woman of color nominated and the first woman to have four nominations in one year. (Her other nominations are for writing, editing and producing the film.) Steven Yeun in \u003cem>Minari\u003c/em> is the first Asian American actor, and Riz Ahmed the first actor of Pakistani heritage, to be nominated as leads.\u003c/p>\n\u003cp>Many expect the lead actor Oscar to be awarded posthumously to Chadwick Boseman, who died in August, for his final film role in \u003cem>Ma Rainey’s Black Bottom\u003c/em>; Viola Davis was also nominated for her work in that film. Rounding out the best actor category is Anthony Hopkins, who plays a man dealing with the onset of dementia in the unusually structured film \u003cem>The Father\u003c/em>. (Note: Daniel Kaluuya and LaKeith Stanfield were both nominated for \u003cem>Judas and the Black Messiah\u003c/em>, in the supporting actor category.)\u003c/p>\n\u003cp>In the lead actress race, Davis will face Andra Day in \u003cem>The United States vs. Billie Holiday\u003c/em>, Frances McDormand in \u003cem>Nomadland\u003c/em>, Vanessa Kirby in \u003cem>Pieces of a Woman\u003c/em>, and Carey Mulligan in \u003cem>Promising Young Woman\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other nominations are certainly more conventional, such as the recognition of the somewhat dutiful \u003cem>The Trial of the Chicago 7\u003c/em>, written and directed by Aaron Sorkin, for which Sacha Baron Cohen was nominated for his portrayal of Abbie Hoffman. (Great men, check. Historical figures, check. Courtroom drama, check.) Glenn Close was nominated for her heavily disguised work in the poorly reviewed \u003cem>Hillbilly Elegy\u003c/em>, which perhaps tellingly got its only other nomination for makeup.\u003c/p>\n\u003cp>As happens every year, this crop of nominees has a lot of delights: The strong showing for \u003cem>Minari\u003c/em>—including nominations for lead actor Steven Yeun, supporting actress Yuh-jung Youn, and director Lee Isaac Chung—follows its disappointing and somewhat baffling move to the foreign language film category at the Golden Globes. (It is an American-made and American-set film.) The academy doesn’t often recognize a purely, truly comedic performance—especially an extravagantly silly one—in the acting categories, but Maria Bakalova grabbed a nomination for \u003cem>Borat Subsequent Moviefilm\u003c/em>. And it’s lovely to see a nomination for \u003cem>Wolfwalkers\u003c/em>, an animated feature that’s nothing like the style of Pixar or Disney, and which sits over on Apple TV+, just waiting to be watched. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as always, there are nominations that were expected or hoped for that didn’t come through, probably none more noted this year than Delroy Lindo, who was absent for his work in Spike Lee’s \u003cem>Da 5 Bloods\u003c/em>. Regina King, who made her feature directing debut with \u003cem>One Night In Miami\u003c/em>, wasn’t nominated, and the film missed out on best picture, although Leslie Odom Jr. was nominated as a supporting actor for playing Sam Cooke.\u003c/p>\n\u003cp>Another first that’s likely to set the tone for the awards is directly related to the pandemic that shut down theaters in many places for much of 2020: It’s the first year most of the best picture nominees, and most of the other major nominees as well, have been widely available to watch at home for at least some period of time prior to the nominations. The one exception in the best picture category is \u003cem>The Father\u003c/em>, starring nominee Anthony Hopkins, which won’t hit streaming until March 26—which is still well before the ceremony on April 25. It’s possible that by Oscar night, a lot more people than ever before will have seen all (or nearly all) of the nominees, at least in the feature categories.\u003c/p>\n\u003cp>Whether these nods please you or not, you’re probably in a better position to have strong opinions than you’ve been in past years. How pleased you’ll be with the outcomes remains to be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.\u003c/p>\n\u003cp>The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced \u003cem>folklore,\u003c/em> which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.\u003c/p>\n\u003cp>Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”\u003c/p>\n\u003cp>“This is really embarrassing to me,” Eilish said. “Megan … girl, you deserve this.”\u003c/p>\n\u003cp>Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to uplift, encourage and celebrate all the beautiful Black queens and kings that continue to inspire me and inspire the whole world,” Beyoncé said after accepting the Grammy for best R&B performance for her Juneteenth surprise single “Black Parade.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QG00h0OASmw\u003c/p>\n\u003cp>The shockwaves of Summer 2020, when a nation defied lockdown to protest the killings of George Floyd and Breonna Taylor at the hands of police, were felt on the outdoor stage at Los Angeles’ Staples Center. H.E.R.’s “\u003ca href=\"https://www.npr.org/sections/we-insist-a-timeline-of-protest-music-in-2020/2020/09/02/903233585/h-e-r-questions-indifference-to-black-agony-on-i-can-t-breathe\" target=\"_blank\" rel=\"noopener noreferrer\">I Can’t Breathe\u003c/a>,” which was also released on Juneteenth, took home song of the year.\u003c/p>\n\u003cp>“You know that fight we had in Summer 2020?” H.E.R. said before she left the stage. “Keep that.”\u003c/p>\n\u003cp>Chart-topping rapper Lil Baby was even more explicit, bringing his nominated anthem “The Bigger Picture” to life in a pre-produced segment that portrayed two police officers killing a Black man after a traffic stop. The video featured Killer Mike delivering a verse from his Run The Jewels project and activist Tamika Mallory, who delivered a passionate plea directly to the White House.\u003c/p>\n\u003cp>“President Biden, we demand justice, equity, policy and everything else that freedom encompasses,” Mallory said. “And to accomplish this, we don’t need allies. We need accomplices. It’s bigger than black and white. This is not a trend, this is our plight.”\u003c/p>\n\u003cp>The ongoing pandemic forced CBS and the Recording Academy to rethink the performances that add up to “Music’s Biggest Night.” Instead of shuffling artists on and off a huge stage in front of a packed arena, host Trevor Noah ushered the cameras into a spacious room featuring a handful of nominees who performed in round robin fashion. Mostly gone were the Broadway sets and “Grammy moments” of retired producer Ken Erhlich, who helmed the broadcast from 1980 until last year. Instead, first-time executive producer Ben Winston often opted for low-key memories by cutting away from performers to capture giddy reactions from their fellow nominees.\u003c/p>\n\u003cp>Harry Styles, donning a scarf and jacket, kicked off the evening’s performances with “Watermelon Sugar,” which later was named best pop solo performance. Rising pop star Dua Lipa, who was favored by some to sweep the big three awards coming into the night, was shut out of the major awards, but did take home best pop vocal album.\u003c/p>\n\u003cp>Sunday night marked the first time the Grammys included the Latin pop album award in its primetime telecast. That prize went to \u003cem>YHLQMDLG \u003c/em>by streaming giant Bad Bunny, who gave one of the night’s most electrifying performances with his “DÁKITI” co-star Jhay Cortez.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vv-Y1Ejhk4o\u003c/p>\n\u003cp>The night’s most affecting live performance was, arguably, Mickey Guyton’s “Black Like Me,” which lost out to Vince Gill’s “When My Amy Prays” for best country solo performance earlier in the day. The song was released in the wake of George Floyd’s killing last summer and documents the marginalization that Black people can feel in everyday America.\u003c/p>\n\u003cp>Guyton’s song kicked off a segment of live performances from women nominated in country music categories, which might have featured more female voices than a week’s worth of country radio. Miranda Lambert, who earlier won the best country album award for \u003cem>Wildcard\u003c/em>, performed her nominated song “Bluebird,” while Maren Morris sang “The Bones” with help from John Mayer on guitar.\u003c/p>\n\u003cp>Earlier in the day, Fiona Apple, whose critically-acclaimed album \u003cem>Fetch the Bolt Cutters\u003c/em> received no nominations in the major categories, did win two categories that gave her a chance, capturing both best alternative music album and best rock performance for “Shameika.” The latter came up short in the best rock song category, which was won by Brittany Howard for “Stay High.” That effervescent single from Howard’s album \u003cem>Jaime\u003c/em> was the \u003ca href=\"https://www.npr.org/2019/12/11/778227298/heavy-rotation-public-radios-most-popular-songs-of-2019\" target=\"_blank\" rel=\"noopener noreferrer\">most-played song on NPR stations in 2019\u003c/a>.\u003c/p>\n\u003cp>Two iconic departed musicians received awards from the Academy after unexpected deaths. Chick Corea, who died suddenly in February from cancer, was named a winner for best jazz instrumental album (\u003cem>Trilogy 2\u003c/em> with Christian McBride & Brian Blade) and best improvised jazz solo (for “All Blues” from the same album). Beloved songwriter John Prine, who died last April after contracting COVID-19, was awarded two Grammys for the posthumously released “I Remember Everything,” which was named best American roots performance and best American roots song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fTJDZiW_paM\u003c/p>\n\u003cp>Brandi Carlile performed the song in tribute to Prine during the section of the telecast that paid tribute to dozens of musicians and music professionals who died since last year’s show. Earlier in the day, Carlile, Natalie Hemby and Lori McKenna won the best country song for The Highwomen’s “Crowded Table.”\u003c/p>\n\u003cp>Nas won his first career Grammy, picking up the best rap album prize for his 13th studio album, \u003cem>King’s Disease\u003c/em>. Nas edged critical favorite Freddie Gibbs and The Alchemist’s \u003cem>Alfredo\u003c/em>, but the category received more notoriety for what wasn’t nominated, namely Lil Uzi Vert’s \u003cem>Eternal Atake\u003c/em> and Lil Baby’s \u003cem>My Turn\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Montreal producer Kaytranada took home both of the dance/electronic category’s awards, winning best dance recording for “10%,” which featured Kali Uchis, and best dance/electronic album for \u003cem>Bubba\u003c/em>. The recognition was justice served for an album released in mid-December 2019, after most of the year’s “best of” lists had already been published. Kaytranada’s victory for \u003cem>Bubba\u003c/em> marked the first time a Black musician took home the dance/electronic album Grammy in the category’s 17-year history.\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=Beyonc%C3%A9+Reigns+And+Billie+Eilish+Repeats+At+2021+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.\u003c/p>\n\u003cp>The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced \u003cem>folklore,\u003c/em> which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.\u003c/p>\n\u003cp>Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”\u003c/p>\n\u003cp>“This is really embarrassing to me,” Eilish said. “Megan … girl, you deserve this.”\u003c/p>\n\u003cp>Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to uplift, encourage and celebrate all the beautiful Black queens and kings that continue to inspire me and inspire the whole world,” Beyoncé said after accepting the Grammy for best R&B performance for her Juneteenth surprise single “Black Parade.”\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/QG00h0OASmw'\n title='//www.youtube.com/embed/QG00h0OASmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The shockwaves of Summer 2020, when a nation defied lockdown to protest the killings of George Floyd and Breonna Taylor at the hands of police, were felt on the outdoor stage at Los Angeles’ Staples Center. H.E.R.’s “\u003ca href=\"https://www.npr.org/sections/we-insist-a-timeline-of-protest-music-in-2020/2020/09/02/903233585/h-e-r-questions-indifference-to-black-agony-on-i-can-t-breathe\" target=\"_blank\" rel=\"noopener noreferrer\">I Can’t Breathe\u003c/a>,” which was also released on Juneteenth, took home song of the year.\u003c/p>\n\u003cp>“You know that fight we had in Summer 2020?” H.E.R. said before she left the stage. “Keep that.”\u003c/p>\n\u003cp>Chart-topping rapper Lil Baby was even more explicit, bringing his nominated anthem “The Bigger Picture” to life in a pre-produced segment that portrayed two police officers killing a Black man after a traffic stop. The video featured Killer Mike delivering a verse from his Run The Jewels project and activist Tamika Mallory, who delivered a passionate plea directly to the White House.\u003c/p>\n\u003cp>“President Biden, we demand justice, equity, policy and everything else that freedom encompasses,” Mallory said. “And to accomplish this, we don’t need allies. We need accomplices. It’s bigger than black and white. This is not a trend, this is our plight.”\u003c/p>\n\u003cp>The ongoing pandemic forced CBS and the Recording Academy to rethink the performances that add up to “Music’s Biggest Night.” Instead of shuffling artists on and off a huge stage in front of a packed arena, host Trevor Noah ushered the cameras into a spacious room featuring a handful of nominees who performed in round robin fashion. Mostly gone were the Broadway sets and “Grammy moments” of retired producer Ken Erhlich, who helmed the broadcast from 1980 until last year. Instead, first-time executive producer Ben Winston often opted for low-key memories by cutting away from performers to capture giddy reactions from their fellow nominees.\u003c/p>\n\u003cp>Harry Styles, donning a scarf and jacket, kicked off the evening’s performances with “Watermelon Sugar,” which later was named best pop solo performance. Rising pop star Dua Lipa, who was favored by some to sweep the big three awards coming into the night, was shut out of the major awards, but did take home best pop vocal album.\u003c/p>\n\u003cp>Sunday night marked the first time the Grammys included the Latin pop album award in its primetime telecast. That prize went to \u003cem>YHLQMDLG \u003c/em>by streaming giant Bad Bunny, who gave one of the night’s most electrifying performances with his “DÁKITI” co-star Jhay Cortez.\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/vv-Y1Ejhk4o'\n title='//www.youtube.com/embed/vv-Y1Ejhk4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The night’s most affecting live performance was, arguably, Mickey Guyton’s “Black Like Me,” which lost out to Vince Gill’s “When My Amy Prays” for best country solo performance earlier in the day. The song was released in the wake of George Floyd’s killing last summer and documents the marginalization that Black people can feel in everyday America.\u003c/p>\n\u003cp>Guyton’s song kicked off a segment of live performances from women nominated in country music categories, which might have featured more female voices than a week’s worth of country radio. Miranda Lambert, who earlier won the best country album award for \u003cem>Wildcard\u003c/em>, performed her nominated song “Bluebird,” while Maren Morris sang “The Bones” with help from John Mayer on guitar.\u003c/p>\n\u003cp>Earlier in the day, Fiona Apple, whose critically-acclaimed album \u003cem>Fetch the Bolt Cutters\u003c/em> received no nominations in the major categories, did win two categories that gave her a chance, capturing both best alternative music album and best rock performance for “Shameika.” The latter came up short in the best rock song category, which was won by Brittany Howard for “Stay High.” That effervescent single from Howard’s album \u003cem>Jaime\u003c/em> was the \u003ca href=\"https://www.npr.org/2019/12/11/778227298/heavy-rotation-public-radios-most-popular-songs-of-2019\" target=\"_blank\" rel=\"noopener noreferrer\">most-played song on NPR stations in 2019\u003c/a>.\u003c/p>\n\u003cp>Two iconic departed musicians received awards from the Academy after unexpected deaths. Chick Corea, who died suddenly in February from cancer, was named a winner for best jazz instrumental album (\u003cem>Trilogy 2\u003c/em> with Christian McBride & Brian Blade) and best improvised jazz solo (for “All Blues” from the same album). Beloved songwriter John Prine, who died last April after contracting COVID-19, was awarded two Grammys for the posthumously released “I Remember Everything,” which was named best American roots performance and best American roots song.\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/fTJDZiW_paM'\n title='//www.youtube.com/embed/fTJDZiW_paM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Brandi Carlile performed the song in tribute to Prine during the section of the telecast that paid tribute to dozens of musicians and music professionals who died since last year’s show. Earlier in the day, Carlile, Natalie Hemby and Lori McKenna won the best country song for The Highwomen’s “Crowded Table.”\u003c/p>\n\u003cp>Nas won his first career Grammy, picking up the best rap album prize for his 13th studio album, \u003cem>King’s Disease\u003c/em>. Nas edged critical favorite Freddie Gibbs and The Alchemist’s \u003cem>Alfredo\u003c/em>, but the category received more notoriety for what wasn’t nominated, namely Lil Uzi Vert’s \u003cem>Eternal Atake\u003c/em> and Lil Baby’s \u003cem>My Turn\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Montreal producer Kaytranada took home both of the dance/electronic category’s awards, winning best dance recording for “10%,” which featured Kali Uchis, and best dance/electronic album for \u003cem>Bubba\u003c/em>. The recognition was justice served for an album released in mid-December 2019, after most of the year’s “best of” lists had already been published. Kaytranada’s victory for \u003cem>Bubba\u003c/em> marked the first time a Black musician took home the dance/electronic album Grammy in the category’s 17-year history.\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=Beyonc%C3%A9+Reigns+And+Billie+Eilish+Repeats+At+2021+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I was maybe 12 when I first saw \u003cem>The Third Man\u003c/em>, the noir classic set in a post-World War II Vienna bursting with expressionist atmospherics and jaunty amorality. Ever since, I’ve been drawn to tales set in the wake of historical turmoil. You get juicy stories when individuals—and whole societies—must deal with the guilts, losses and compromises they’d rather not think about. [aside postid='pop_107528']\u003c/p>\n\u003cp>The ghost of violence past haunts \u003cem>Bloodlands\u003c/em>, a new thriller set in a present-day Northern Ireland still struggling to rebuild a sense of normalcy in the aftermath of what’s known as the Troubles. Written by Chris Brandon, this four-part original series from the Acorn TV streaming service was produced by Jed Mercurio, whose hugely popular shows—such as \u003ca href=\"https://www.npr.org/2018/10/22/659526648/take-thrilling-comfort-in-bodyguard-where-the-malfeasance-is-just-fiction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bodyguard\u003c/em>\u003c/a> and \u003cem>Line of Duty\u003c/em>—are notorious for having more twists than a rattlesnake farm. \u003cem>Bloodlands\u003c/em> is more restrained, but trust me, it serves up a couple of lethal doozies.\u003c/p>\n\u003cp>Although you can follow the action without knowing the historical backstory, it helps to remember the basics. Starting in the late 1960s, Northern Ireland lived through a de-facto civil war between Catholics and Protestants, and the violence killed many thousands of its citizens. The conflict ran until the \u003ca href=\"https://www.wbur.org/hereandnow/2018/04/10/good-friday-agreement-ireland-george-mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">Good Friday Agreement of 1998\u003c/a>, which brought about an uneasy peace in a small, intimate land where nobody was left untouched by bloodshed.\u003c/p>\n\u003cp>\u003cem>Bloodlands\u003c/em> begins 20 years after this truce when a car is fished from Strangford Lough with what seems to be a suicide note in it. Assigned to the case is bottled-up police detective Tom Brannick (James Nesbitt) and his partner Niamh—well-played by the sympathetically offbeat Charlene McKenna. Tom spots a connection between this note and an unsolved case—and not just \u003cem>any\u003c/em> unsolved case. This case, which dates back to the Troubles, involved an assassin nicknamed Goliath, who had ties to the police and who killed several people—including some who were close to Tom.\u003c/p>\n\u003cp>Just as Tom and Niamh begin reopening the Goliath case, they’re ordered to stop by Tom’s old friend—and police higher-up—Jackie Twomey, who’s come down from Belfast to take charge of things. Played by Lorcan Cranitch—an actor who could give seminars on seeming slippery—Jackie worries that digging into the past might shatter the precarious peace. Predictably, this doesn’t slow down Tom, who’s obsessed with burying Goliath once and for all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jiHCX98D46U\u003c/p>\n\u003cp>If \u003cem>Bloodlands\u003c/em> initially strikes you as being a tad ponderous and formulaic, do stick around. The action starts to clip along, with nifty cinematography and deft use of the locations around the lovely Strangford Lough. Though I’m no great fan of Nesbitt, who invariably overdoes the clench-faced masculinity bit, the rest of the cast is strong, be it Peter Ballance as an IRA thug turned businessman or Lisa Dwan as a doctor who teaches Tom’s beloved daughter at medical school—and who seems to fancy Tom.\u003c/p>\n\u003cp>Now, there are two big ways that today’s crime dramas tend to go badly wrong. In an attempt to keep our adrenaline pumping, they often hit you with so many twists that the plot starts feeling arbitrary and meaningless. While \u003cem>Bloodlands\u003c/em> does have a few thriller-ish implausibilities, Brandon takes care to lay the groundwork for his big surprises, and he keeps them rooted in our sense of the characters and their world. The story builds to a finale that feels apt and emotionally satisfying. [aside postid='arts_13881516']\u003c/p>\n\u003cp>This is because \u003cem>Bloodlands\u003c/em> avoids the other big mistake, which is a moral one—that of trivializing historical tragedy. At first, I feared that Brandon was exploiting Northern Ireland’s tortured past simply to create a moody backdrop for a routine cop show. But I was wrong. While the series doesn’t rival the best recent looks at Northern Ireland—Anna Burns’ brilliant novel \u003ca href=\"https://www.npr.org/2018/12/04/672956730/brutally-intelligent-milkman-depicts-lives-cramped-by-fear\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Milkman\u003c/em> \u003c/a>and Patrick Radden Keefe’s true crime masterpiece \u003ca href=\"https://www.npr.org/2019/03/04/698552913/say-nothing-murder-memory-and-a-masterful-history-of-the-troubles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Say Nothing\u003c/em>\u003c/a>—it does have something on its mind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end, we see that \u003cem>Bloodlands\u003c/em> isn’t merely unfolding a crime story. It’s offering a metaphor for the troubled soul of Northern Ireland two decades after the Troubles supposedly ended. And its characters learn a hard truth we’ve been learning here in America, too: You can bury the past as deep as you want, but when you get home, its ghost is there waiting for you.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Bloodlands%27+Police+Thriller+Doesn%27t+Trivialize+Northern+Ireland%27s+Troubles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ghost of violence past haunts \u003cem>Bloodlands\u003c/em>, a new thriller set in a present-day Northern Ireland still struggling to rebuild a sense of normalcy in the aftermath of what’s known as the Troubles. Written by Chris Brandon, this four-part original series from the Acorn TV streaming service was produced by Jed Mercurio, whose hugely popular shows—such as \u003ca href=\"https://www.npr.org/2018/10/22/659526648/take-thrilling-comfort-in-bodyguard-where-the-malfeasance-is-just-fiction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bodyguard\u003c/em>\u003c/a> and \u003cem>Line of Duty\u003c/em>—are notorious for having more twists than a rattlesnake farm. \u003cem>Bloodlands\u003c/em> is more restrained, but trust me, it serves up a couple of lethal doozies.\u003c/p>\n\u003cp>Although you can follow the action without knowing the historical backstory, it helps to remember the basics. Starting in the late 1960s, Northern Ireland lived through a de-facto civil war between Catholics and Protestants, and the violence killed many thousands of its citizens. The conflict ran until the \u003ca href=\"https://www.wbur.org/hereandnow/2018/04/10/good-friday-agreement-ireland-george-mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">Good Friday Agreement of 1998\u003c/a>, which brought about an uneasy peace in a small, intimate land where nobody was left untouched by bloodshed.\u003c/p>\n\u003cp>\u003cem>Bloodlands\u003c/em> begins 20 years after this truce when a car is fished from Strangford Lough with what seems to be a suicide note in it. Assigned to the case is bottled-up police detective Tom Brannick (James Nesbitt) and his partner Niamh—well-played by the sympathetically offbeat Charlene McKenna. Tom spots a connection between this note and an unsolved case—and not just \u003cem>any\u003c/em> unsolved case. This case, which dates back to the Troubles, involved an assassin nicknamed Goliath, who had ties to the police and who killed several people—including some who were close to Tom.\u003c/p>\n\u003cp>Just as Tom and Niamh begin reopening the Goliath case, they’re ordered to stop by Tom’s old friend—and police higher-up—Jackie Twomey, who’s come down from Belfast to take charge of things. Played by Lorcan Cranitch—an actor who could give seminars on seeming slippery—Jackie worries that digging into the past might shatter the precarious peace. Predictably, this doesn’t slow down Tom, who’s obsessed with burying Goliath once and for all.\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/jiHCX98D46U'\n title='//www.youtube.com/embed/jiHCX98D46U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If \u003cem>Bloodlands\u003c/em> initially strikes you as being a tad ponderous and formulaic, do stick around. The action starts to clip along, with nifty cinematography and deft use of the locations around the lovely Strangford Lough. Though I’m no great fan of Nesbitt, who invariably overdoes the clench-faced masculinity bit, the rest of the cast is strong, be it Peter Ballance as an IRA thug turned businessman or Lisa Dwan as a doctor who teaches Tom’s beloved daughter at medical school—and who seems to fancy Tom.\u003c/p>\n\u003cp>Now, there are two big ways that today’s crime dramas tend to go badly wrong. In an attempt to keep our adrenaline pumping, they often hit you with so many twists that the plot starts feeling arbitrary and meaningless. While \u003cem>Bloodlands\u003c/em> does have a few thriller-ish implausibilities, Brandon takes care to lay the groundwork for his big surprises, and he keeps them rooted in our sense of the characters and their world. The story builds to a finale that feels apt and emotionally satisfying. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is because \u003cem>Bloodlands\u003c/em> avoids the other big mistake, which is a moral one—that of trivializing historical tragedy. At first, I feared that Brandon was exploiting Northern Ireland’s tortured past simply to create a moody backdrop for a routine cop show. But I was wrong. While the series doesn’t rival the best recent looks at Northern Ireland—Anna Burns’ brilliant novel \u003ca href=\"https://www.npr.org/2018/12/04/672956730/brutally-intelligent-milkman-depicts-lives-cramped-by-fear\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Milkman\u003c/em> \u003c/a>and Patrick Radden Keefe’s true crime masterpiece \u003ca href=\"https://www.npr.org/2019/03/04/698552913/say-nothing-murder-memory-and-a-masterful-history-of-the-troubles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Say Nothing\u003c/em>\u003c/a>—it does have something on its mind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end, we see that \u003cem>Bloodlands\u003c/em> isn’t merely unfolding a crime story. It’s offering a metaphor for the troubled soul of Northern Ireland two decades after the Troubles supposedly ended. And its characters learn a hard truth we’ve been learning here in America, too: You can bury the past as deep as you want, but when you get home, its ghost is there waiting for you.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Bloodlands%27+Police+Thriller+Doesn%27t+Trivialize+Northern+Ireland%27s+Troubles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Assassin’s Creed Valhalla\u003c/em>, the latest installment in Ubisoft’s \u003cem>Assassin’s Creed \u003c/em>franchise, came out in November 2020. Like most \u003cem>AC \u003c/em>games, it was highly anticipated; it sold more copies in its opening week than any other game in the series. Needless to say, fans were excited.\u003c/p>\n\u003cp>And yet, just over four months after its release, fans are castigating Ubisoft for including and leveraging overpriced, in-game purchases—more commonly called microtransactions.\u003c/p>\n\u003cp>You’ve probably heard of microtransactions before, even if you’re not a hardcore gamer. Take a look at your phone’s app store, and almost all the games in there will have a little textbox that says “In-App Purchases.” [aside postid='pop_104193']\u003c/p>\n\u003cp>Microtransactions come in all shapes and sizes. Most of the time they’re simply cosmetic, like buying a swanky set of rainbow armor for your avatar. Other times they affect actual gameplay; a player might buy an upgrade that puts them in a better position to beat an opponent online.\u003c/p>\n\u003cp>When it comes to cosmetic in-game purchases, most players don’t seem to mind. Spending money simply to change how your character looks doesn’t affect gameplay itself, so why should it matter?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It matters to gamers like Filip Eriksson—one of those flabbergasted \u003cem>Assassin’s Creed \u003c/em>fans—who recently went viral on Reddit for posting about his frustration with the new \u003cem>AC \u003c/em>game.\u003c/p>\n\u003cp>“There are now 9 armor sets in the microtransaction store—just as many as in the entire base game.” Eriksson said in his \u003ca href=\"https://www.reddit.com/r/assassinscreed/comments/lbsmi8/there_are_now_9_armor_sets_in_the/\" target=\"_blank\" rel=\"noopener noreferrer\">post\u003c/a>. “Are we just gonna let this slide?”\u003c/p>\n\u003cp>Visuals are important to players. When they buy a game, they expect an escape, a journey into some unknown world filled with action and adventure. And the scenic terrains aren’t the only visuals that matter.\u003c/p>\n\u003cp>“The cosmetic part, for me, is something that’s pretty important,” Eriksson tells me. “I like customizing my character. The customization was a bit lacking [in \u003cem>Assassin’s Creed Valhalla\u003c/em>] … which made it a bit sour when there was so much available in the microtransaction store.” [aside postid='pop_30073']\u003c/p>\n\u003cp>Eriksson’s concerns come down to the price tag: Do players really want to pay more money—in this case around $20 for a set of armor—for in-game content when they’ve already spent $60 on the game itself?\u003c/p>\n\u003cp>“Generally, in the past \u003cem>Assassin’s Creed \u003c/em>games, they drop a couple of expansions, too,” says Eriksson. “The last big season pass cost about $20. It included a new map, countless quests, and it costs around the same price” as just one of the new armor sets.\u003c/p>\n\u003cp>To go by the replies on Eriksson’s original Reddit post, a lot of \u003cem>AC \u003c/em>fans feel similarly about Ubisoft’s microtransactions in the new game. One reply stuck out in particular:\u003c/p>\n\u003cp>“This is why I wait a year or so until it’s dirt cheap on Steam,” wrote /u/NoHelp_HelpDesk. “I’ll pay what I feel is an honest price if they’re going to nickel and dime me at every turn.”\u003c/p>\n\u003cp>Players just want the chance to customize the main character, Eivor, without feeling like they have to empty their wallets to do so.\u003c/p>\n\u003cp>“In \u003cem>Assassin’s Creed Valhalla\u003c/em>, we are continuing to work hard to create the best possible experience for players,” Ubisoft said in a statement. “That includes offering a wide array of both free and paid content, which is regularly updated, with the goal of enabling players to make Eivor’s story their own through personalization.”\u003c/p>\n\u003cp>Microtransactions aren’t just about the cosmetic upgrades; often, they’re important to the actual gameplay. Dr. Ellen Evers, a marketing professor at the University of California, Berkeley who researches microtransactions, says that can take away a video game’s magic.\u003c/p>\n\u003cp>“Games in general, not just video games, have their own set of norms and rules that you’re supposed to follow,” says Evers. “It’s not against the law to steal money from the bank in \u003cem>Monopoly\u003c/em>, but clearly you’re violating the spirit of the game.”\u003c/p>\n\u003cp>According to Evers, when a player spends money on in-game purchases, they stray from the game’s original purpose.\u003c/p>\n\u003cp>“The implicit assumption is that by playing the game and building up your character, you’re supposed to get better,” says Evers. “Microtransactions basically make the game easier. They violate those rules and norms that are part of the game.”\u003c/p>\n\u003cp>Some games have even become infamous for their “pay-to-win” use of microtransactions, like \u003ca href=\"https://www.businessinsider.com/star-wars-battlefront-2-microtransactions-outrage-2017-11\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars Battlefront II\u003c/em>\u003c/a> or the mobile game \u003cem>Clash of Clans\u003c/em>, where players could simply buy the most powerful upgrades and easily defeat their online opponents.\u003c/p>\n\u003cp>Certain microtransactions fall somewhere in between cosmetic enhancements and pay-to-win. The well-known mobile game \u003cem>Candy Crush Saga \u003c/em>encourages purchasing what we’ll call “status boosting” microtransactions, where your online ranking may be influenced by how much you’ve spent on the game. While these in-game purchases can’t give you an edge against an opponent (\u003cem>Candy Crush\u003c/em> is a single player game), they affect where you fall in the rankings.\u003c/p>\n\u003cp>“If you play \u003cem>Candy Crush\u003c/em>, you can compare your ranking to other people,” says Evers. “And if your money gives you an edge [on the rankings] … that seems to be a situation where people get the most upset.” [aside postid='arts_13891275']\u003c/p>\n\u003cp>But not all in-game purchases are cause for concern. Downloadable content—or DLC for short—is a type of microtransaction that adds content to an existing game. A player can purchase new DLC to access more content after the game’s main story is complete, whether that’s a new storyline, map, characters or a mixture of all of it. “When you get DLC, you get something that’s more or less worth your money,” says Eriksson.\u003c/p>\n\u003cp>And that’s perhaps the most significant part. Too often major game developers overcharge for their extra content. Whether it’s a pay-to-win purchase or a basic cosmetic upgrade, a dedicated gamer could be throwing money into microtransactions that promise little in return.\u003c/p>\n\u003cp>It would be unfair to say that all game developers are only trying to snatch our wallets; many creators offer free DLC knowing that their fans will return the favor with positive reviews and free advertising. Take games like the magnificent \u003cem>Hollow Knight\u003c/em> or \u003cem>Stardew Valley\u003c/em>: They offer their players hours of extra content for very little, even adding more free DLC after the initial purchase.\u003c/p>\n\u003cp>But for the developers that may be hesitant to give away content for cheap or even for free, prepare for some backlash from the all-powerful internet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for \u003c/em>Join The Game\u003cem>\u003cem>. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\">@kelbot_\u003c/a>\u003c/em>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Microtransactions+Are+Great+For+Game+Companies%2C+Less+Fun+For+Players&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Assassin’s Creed Valhalla\u003c/em>, the latest installment in Ubisoft’s \u003cem>Assassin’s Creed \u003c/em>franchise, came out in November 2020. Like most \u003cem>AC \u003c/em>games, it was highly anticipated; it sold more copies in its opening week than any other game in the series. Needless to say, fans were excited.\u003c/p>\n\u003cp>And yet, just over four months after its release, fans are castigating Ubisoft for including and leveraging overpriced, in-game purchases—more commonly called microtransactions.\u003c/p>\n\u003cp>You’ve probably heard of microtransactions before, even if you’re not a hardcore gamer. Take a look at your phone’s app store, and almost all the games in there will have a little textbox that says “In-App Purchases.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Microtransactions come in all shapes and sizes. Most of the time they’re simply cosmetic, like buying a swanky set of rainbow armor for your avatar. Other times they affect actual gameplay; a player might buy an upgrade that puts them in a better position to beat an opponent online.\u003c/p>\n\u003cp>When it comes to cosmetic in-game purchases, most players don’t seem to mind. Spending money simply to change how your character looks doesn’t affect gameplay itself, so why should it matter?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It matters to gamers like Filip Eriksson—one of those flabbergasted \u003cem>Assassin’s Creed \u003c/em>fans—who recently went viral on Reddit for posting about his frustration with the new \u003cem>AC \u003c/em>game.\u003c/p>\n\u003cp>“There are now 9 armor sets in the microtransaction store—just as many as in the entire base game.” Eriksson said in his \u003ca href=\"https://www.reddit.com/r/assassinscreed/comments/lbsmi8/there_are_now_9_armor_sets_in_the/\" target=\"_blank\" rel=\"noopener noreferrer\">post\u003c/a>. “Are we just gonna let this slide?”\u003c/p>\n\u003cp>Visuals are important to players. When they buy a game, they expect an escape, a journey into some unknown world filled with action and adventure. And the scenic terrains aren’t the only visuals that matter.\u003c/p>\n\u003cp>“The cosmetic part, for me, is something that’s pretty important,” Eriksson tells me. “I like customizing my character. The customization was a bit lacking [in \u003cem>Assassin’s Creed Valhalla\u003c/em>] … which made it a bit sour when there was so much available in the microtransaction store.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eriksson’s concerns come down to the price tag: Do players really want to pay more money—in this case around $20 for a set of armor—for in-game content when they’ve already spent $60 on the game itself?\u003c/p>\n\u003cp>“Generally, in the past \u003cem>Assassin’s Creed \u003c/em>games, they drop a couple of expansions, too,” says Eriksson. “The last big season pass cost about $20. It included a new map, countless quests, and it costs around the same price” as just one of the new armor sets.\u003c/p>\n\u003cp>To go by the replies on Eriksson’s original Reddit post, a lot of \u003cem>AC \u003c/em>fans feel similarly about Ubisoft’s microtransactions in the new game. One reply stuck out in particular:\u003c/p>\n\u003cp>“This is why I wait a year or so until it’s dirt cheap on Steam,” wrote /u/NoHelp_HelpDesk. “I’ll pay what I feel is an honest price if they’re going to nickel and dime me at every turn.”\u003c/p>\n\u003cp>Players just want the chance to customize the main character, Eivor, without feeling like they have to empty their wallets to do so.\u003c/p>\n\u003cp>“In \u003cem>Assassin’s Creed Valhalla\u003c/em>, we are continuing to work hard to create the best possible experience for players,” Ubisoft said in a statement. “That includes offering a wide array of both free and paid content, which is regularly updated, with the goal of enabling players to make Eivor’s story their own through personalization.”\u003c/p>\n\u003cp>Microtransactions aren’t just about the cosmetic upgrades; often, they’re important to the actual gameplay. Dr. Ellen Evers, a marketing professor at the University of California, Berkeley who researches microtransactions, says that can take away a video game’s magic.\u003c/p>\n\u003cp>“Games in general, not just video games, have their own set of norms and rules that you’re supposed to follow,” says Evers. “It’s not against the law to steal money from the bank in \u003cem>Monopoly\u003c/em>, but clearly you’re violating the spirit of the game.”\u003c/p>\n\u003cp>According to Evers, when a player spends money on in-game purchases, they stray from the game’s original purpose.\u003c/p>\n\u003cp>“The implicit assumption is that by playing the game and building up your character, you’re supposed to get better,” says Evers. “Microtransactions basically make the game easier. They violate those rules and norms that are part of the game.”\u003c/p>\n\u003cp>Some games have even become infamous for their “pay-to-win” use of microtransactions, like \u003ca href=\"https://www.businessinsider.com/star-wars-battlefront-2-microtransactions-outrage-2017-11\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars Battlefront II\u003c/em>\u003c/a> or the mobile game \u003cem>Clash of Clans\u003c/em>, where players could simply buy the most powerful upgrades and easily defeat their online opponents.\u003c/p>\n\u003cp>Certain microtransactions fall somewhere in between cosmetic enhancements and pay-to-win. The well-known mobile game \u003cem>Candy Crush Saga \u003c/em>encourages purchasing what we’ll call “status boosting” microtransactions, where your online ranking may be influenced by how much you’ve spent on the game. While these in-game purchases can’t give you an edge against an opponent (\u003cem>Candy Crush\u003c/em> is a single player game), they affect where you fall in the rankings.\u003c/p>\n\u003cp>“If you play \u003cem>Candy Crush\u003c/em>, you can compare your ranking to other people,” says Evers. “And if your money gives you an edge [on the rankings] … that seems to be a situation where people get the most upset.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But not all in-game purchases are cause for concern. Downloadable content—or DLC for short—is a type of microtransaction that adds content to an existing game. A player can purchase new DLC to access more content after the game’s main story is complete, whether that’s a new storyline, map, characters or a mixture of all of it. “When you get DLC, you get something that’s more or less worth your money,” says Eriksson.\u003c/p>\n\u003cp>And that’s perhaps the most significant part. Too often major game developers overcharge for their extra content. Whether it’s a pay-to-win purchase or a basic cosmetic upgrade, a dedicated gamer could be throwing money into microtransactions that promise little in return.\u003c/p>\n\u003cp>It would be unfair to say that all game developers are only trying to snatch our wallets; many creators offer free DLC knowing that their fans will return the favor with positive reviews and free advertising. Take games like the magnificent \u003cem>Hollow Knight\u003c/em> or \u003cem>Stardew Valley\u003c/em>: They offer their players hours of extra content for very little, even adding more free DLC after the initial purchase.\u003c/p>\n\u003cp>But for the developers that may be hesitant to give away content for cheap or even for free, prepare for some backlash from the all-powerful internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for \u003c/em>Join The Game\u003cem>\u003cem>. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\">@kelbot_\u003c/a>\u003c/em>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Microtransactions+Are+Great+For+Game+Companies%2C+Less+Fun+For+Players&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Books Hold the Key to Gripping Mystery, 'The Postscript Murders'",
"headTitle": "Books Hold the Key to Gripping Mystery, ‘The Postscript Murders’ | KQED",
"content": "\u003cp>Ready for a good mystery to distract you from the news cycle? Us too!\u003c/p>\n\u003cp>Enter \u003cem>The Postscript Murders\u003c/em>, which opens with a 90-year-old woman—with a heart condition—found dead.\u003c/p>\n\u003cp>Sad for her friends and loved ones, but hardly newsworthy. Except that it turns out her bookshelves were stuffed with a remarkable number of crime novels, each of which includes a postscript, “PS: For PS.” (The dead woman’s name was Peggy.)\u003c/p>\n\u003cp>Then, the authors of\u003cem> those\u003c/em> novels start dying too. And author Elly Griffiths says the mysterious postscripts point Peggy’s connection to those authors: They hired her to think up murders. “I slightly got the inspiration from my own aunt,” Griffiths says. “She would ring me up and say, ‘Oh Ellen, love, I’ve thought of another good murder for you,’ and I started to think, what if there was such a thing as a murder consultant?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893799 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-800x1209.jpg\" alt=\"\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23.jpg 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her aunt’s best murder\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She came up with a very good plot twist for one of my Dr. Ruth Galloway books that involved a stair-lift. And I do remember the book was reviewed in the Financial Times in a really nice review, but they also said “it contains one of the nastiest uses of a stair-lift that I’ve ever heard of.” And I cut that little article out for my aunt, and she was so happy that she framed it. She was so proud of her stair-lift murder.\u003c/p>\n\u003cp>\u003cstrong>On the appeal of a murder mystery\u003c/strong>\u003c/p>\n\u003cp>It is a strange thing, isn’t it? It is a strange thing that lots of people—and me absolutely included—do find reading about these murders quite comforting, really. And of course, there’s absolutely nothing cozy about murder, but I think we do like that sort of puzzle, and unlocking the puzzle. And in this book, the answer to the puzzle lies in books, it lies in golden age mysteries, it lies in readers and in writers. So I hope that will make it, sort of, I don’t know, a comforting and intriguing book to read.\u003c/p>\n\u003cp>\u003cstrong>On our detectives—official and unofficial—taking a road trip to Aberdeen, and whether there’s something about Scotland’s climate and scenery that lends itself to crime fiction\u003c/strong>\u003c/p>\n\u003cp>I think there might well be. You think of those wonderful Scottish crime writers like Ian Rankin and Val McDermid and Denise Mina, and also, you know, Scandinavian noir. So I think there might be something about the cold; about the light. But Aberdeen is a wonderful city, actually, because it’s known as the Granite City, but it’s also called the Silver City, and you can see both sides of it. You know, it’s granite, it’s hard, it’s tough, it’s uncompromising, but in a certain light it’s silvery and beautiful and the coast is just lovely. And the characters do find themselves in a very unsafe safe house on the coast there.\u003c/p>\n\u003cp>\u003cstrong>On how her aunt feels about having inspired a character who gets murdered\u003c/strong>\u003c/p>\n\u003cp>I think she’s okay about it. And I think she likes the whole idea of a murder consultant … Peggy might have been dispatched in the early stages, but she does kind of loom over all the book, and they talk about her a lot. And I think I did draw upon not only my Aunt Marge, but also my mum as well, those characters that seem to know everything. People in the book ask themselves, “How did Peggy know that? How could she have known that? She didn’t travel to those places.” But she knew it all through reading. Both of them were great readers and seemed to acquire all this knowledge through reading, so I think it’s also a book about reading, really, and the power it gives you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Justine Kenin, produced by Mia Venkat and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Books+Hold+The+Key+To+%27The+Postscript+Murders%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ready for a good mystery to distract you from the news cycle? Us too!\u003c/p>\n\u003cp>Enter \u003cem>The Postscript Murders\u003c/em>, which opens with a 90-year-old woman—with a heart condition—found dead.\u003c/p>\n\u003cp>Sad for her friends and loved ones, but hardly newsworthy. Except that it turns out her bookshelves were stuffed with a remarkable number of crime novels, each of which includes a postscript, “PS: For PS.” (The dead woman’s name was Peggy.)\u003c/p>\n\u003cp>Then, the authors of\u003cem> those\u003c/em> novels start dying too. And author Elly Griffiths says the mysterious postscripts point Peggy’s connection to those authors: They hired her to think up murders. “I slightly got the inspiration from my own aunt,” Griffiths says. “She would ring me up and say, ‘Oh Ellen, love, I’ve thought of another good murder for you,’ and I started to think, what if there was such a thing as a murder consultant?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893799 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-800x1209.jpg\" alt=\"\" width=\"800\" height=\"1209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-768x1161.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23-1355x2048.jpg 1355w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/81-xplkkrsl_custom-1a10df72fe149dc3c692dfb38c102b63ad401e23.jpg 1694w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her aunt’s best murder\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She came up with a very good plot twist for one of my Dr. Ruth Galloway books that involved a stair-lift. And I do remember the book was reviewed in the Financial Times in a really nice review, but they also said “it contains one of the nastiest uses of a stair-lift that I’ve ever heard of.” And I cut that little article out for my aunt, and she was so happy that she framed it. She was so proud of her stair-lift murder.\u003c/p>\n\u003cp>\u003cstrong>On the appeal of a murder mystery\u003c/strong>\u003c/p>\n\u003cp>It is a strange thing, isn’t it? It is a strange thing that lots of people—and me absolutely included—do find reading about these murders quite comforting, really. And of course, there’s absolutely nothing cozy about murder, but I think we do like that sort of puzzle, and unlocking the puzzle. And in this book, the answer to the puzzle lies in books, it lies in golden age mysteries, it lies in readers and in writers. So I hope that will make it, sort of, I don’t know, a comforting and intriguing book to read.\u003c/p>\n\u003cp>\u003cstrong>On our detectives—official and unofficial—taking a road trip to Aberdeen, and whether there’s something about Scotland’s climate and scenery that lends itself to crime fiction\u003c/strong>\u003c/p>\n\u003cp>I think there might well be. You think of those wonderful Scottish crime writers like Ian Rankin and Val McDermid and Denise Mina, and also, you know, Scandinavian noir. So I think there might be something about the cold; about the light. But Aberdeen is a wonderful city, actually, because it’s known as the Granite City, but it’s also called the Silver City, and you can see both sides of it. You know, it’s granite, it’s hard, it’s tough, it’s uncompromising, but in a certain light it’s silvery and beautiful and the coast is just lovely. And the characters do find themselves in a very unsafe safe house on the coast there.\u003c/p>\n\u003cp>\u003cstrong>On how her aunt feels about having inspired a character who gets murdered\u003c/strong>\u003c/p>\n\u003cp>I think she’s okay about it. And I think she likes the whole idea of a murder consultant … Peggy might have been dispatched in the early stages, but she does kind of loom over all the book, and they talk about her a lot. And I think I did draw upon not only my Aunt Marge, but also my mum as well, those characters that seem to know everything. People in the book ask themselves, “How did Peggy know that? How could she have known that? She didn’t travel to those places.” But she knew it all through reading. Both of them were great readers and seemed to acquire all this knowledge through reading, so I think it’s also a book about reading, really, and the power it gives you.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Justine Kenin, produced by Mia Venkat and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Books+Hold+The+Key+To+%27The+Postscript+Murders%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Raya and the Last Dragon\u003c/em> is a lovely, moving surprise. Its big selling point is that it’s the first Disney animated film to feature Southeast Asian characters, but like so many movies that break ground in terms of representation, it tells a story that’s actually woven from reassuringly familiar parts. I didn’t mind that in the slightest.\u003c/p>\n\u003cp>The movie, directed by the Disney veteran Don Hall and the animation newcomer Carlos López Estrada, brings us into a fantasy world that’s been beautifully visualized and populated with engaging characters, and it builds to an emotional climax that I’m still thinking about days later.\u003c/p>\n\u003cp>The story is a little complicated, as these stories tend to be. It takes place in Kumandra, an enchanted realm inspired by various Southeast Asian cultures and divided into five kingdoms named after a dragon’s body parts: Heart, Fang, Spine, Talon and Tail.\u003c/p>\n\u003cp>Before they became extinct centuries ago, dragons once roamed the land and served as friendly guardians to humanity. Their magic lives on in a jewel called the Dragon Gem, which is kept in a cave in Heart, but the other four kingdoms covet its mighty powers. One day, all five factions come together and try to reach a peace agreement, but tensions erupt, a fight breaks out and the Gem shatters into five pieces that are scattered across Kumandra. This opens the doorway to an ancient enemy called the Druun, a terrible plague that turns people to stone.\u003c/p>\n\u003cp>Naturally, a hero must rise and save the day. Her name is Raya, and she’s a young warrior princess from Heart, voiced by the excellent Kelly Marie Tran from \u003ca href=\"https://www.npr.org/2017/12/12/569085092/rollicking-star-wars-the-last-jedi-finds-nuance-in-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars: The Last Jedi\u003c/em>\u003c/a>. Raya manages to escape the Druun, though her father, her \u003cem>ba\u003c/em>, who’s the leader of Heart, isn’t so lucky. Now Raya must recover the pieces of the Dragon Gem, reverse the damage and banish the Druun for good.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1VIZ89FEjYI\u003c/p>\n\u003cp>This isn’t the first time we’ve seen a brave young character embark on a quest for magical baubles, and \u003cem>Raya and the Last Dragon\u003c/em> is rooted in traditional fantasy lore, with \u003cem>The Lord of the Rings\u003c/em> and \u003cem>Game of Thrones\u003c/em> being just the most obvious influences. The movie’s intense scenes of swordplay and hand-to-hand combat give it a tougher, more grown-up feel than most Disney animated fantasies—my own young daughter had to cover her eyes a few times. Like some other recent Disney princesses, including \u003ca href=\"https://www.npr.org/2016/11/23/503039259/disneys-moana-needs-no-prince-just-the-land-and-sea\" target=\"_blank\" rel=\"noopener noreferrer\">Moana \u003c/a>and \u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\" target=\"_blank\" rel=\"noopener noreferrer\">Elsa\u003c/a>, Raya has a bold, adventurous streak and isn’t all that interested in romance. Unlike them, she doesn’t even have time to sing a song.\u003c/p>\n\u003cp>That said, the movie still has plenty of lightness and humor. The screenwriters, Qui Nguyen and Adele Lim, have provided the usual Disney array of cute critters and lively supporting characters. None of them is more colorful than Sisu, a friendly water dragon who is magically resurrected during Raya’s journey. She’s the last of her kind, and she has a crucial role to play in the story. She’s voiced delightfully by \u003ca href=\"https://www.npr.org/2018/08/17/639670914/crazy-rich-asians-star-awkwafina-has-always-aggressively-been-myself\" target=\"_blank\" rel=\"noopener noreferrer\">Awkwafina\u003c/a>, doing one of her signature chatterbox comedy routines and selling every one of Sisu’s anachronistic wisecracks.\u003c/p>\n\u003cp>Raya and Sisu’s journey takes them to all five kingdoms of Kumandra, all of which are so vivid and transporting I found myself wishing they really existed—or that I could have at least seen them on a proper movie screen. There’s the town of Talon, which is built at the edge of a river, and the desert wasteland of Tail, where Raya and Sisu must enter a cave of obstacles straight out of an Indiana Jones adventure.\u003c/p>\n\u003cp>As the two of them search for more Dragon Gem pieces, they of course pick up a few friends along the way. There’s a street-smart boy who cooks a mean shrimp congee and a toddler pickpocket whom I found more creepy than cute. But the movie’s most intriguing character is Namaari, a rival princess from Fang who’s voiced by Gemma Chan. (As a side note, Chan and Awkwafina both appeared in \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>, which, like this movie, was co-written by Lim.) Namaari and Raya used to be friends until the fight over the Dragon Gem ripped them apart. Now they’re bitter enemies, and their emotional dynamic is fierce and complicated in ways that relationships are rarely allowed to be in children’s animated films, especially between women.\u003c/p>\n\u003cp>By contrast, Sisu is all feel-good vibes; she’s a dragon, after all, with little understanding of how treacherous humans can be. She doesn’t get why Raya and Namaari distrust each other so, why they can’t just set their differences aside and defeat the Druun together. It’s Sisu’s sincerity and purity of heart that makes the story’s finale so unexpectedly stirring, especially now. Our fates are closely bound together, it reminds us, as it builds a case for forgiveness, reconciliation and mutual sacrifice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The emotional power of \u003cem>Raya and the Last Dragon\u003c/em> sneaks up on you. Its lessons aren’t new, exactly, but it makes you feel like you’re learning them for the first time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Raya+And+The+Last+Dragon%27+Is+Not+Entirely+New%2C+But+It%27s+Refreshing+Nonetheless&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Raya and the Last Dragon\u003c/em> is a lovely, moving surprise. Its big selling point is that it’s the first Disney animated film to feature Southeast Asian characters, but like so many movies that break ground in terms of representation, it tells a story that’s actually woven from reassuringly familiar parts. I didn’t mind that in the slightest.\u003c/p>\n\u003cp>The movie, directed by the Disney veteran Don Hall and the animation newcomer Carlos López Estrada, brings us into a fantasy world that’s been beautifully visualized and populated with engaging characters, and it builds to an emotional climax that I’m still thinking about days later.\u003c/p>\n\u003cp>The story is a little complicated, as these stories tend to be. It takes place in Kumandra, an enchanted realm inspired by various Southeast Asian cultures and divided into five kingdoms named after a dragon’s body parts: Heart, Fang, Spine, Talon and Tail.\u003c/p>\n\u003cp>Before they became extinct centuries ago, dragons once roamed the land and served as friendly guardians to humanity. Their magic lives on in a jewel called the Dragon Gem, which is kept in a cave in Heart, but the other four kingdoms covet its mighty powers. One day, all five factions come together and try to reach a peace agreement, but tensions erupt, a fight breaks out and the Gem shatters into five pieces that are scattered across Kumandra. This opens the doorway to an ancient enemy called the Druun, a terrible plague that turns people to stone.\u003c/p>\n\u003cp>Naturally, a hero must rise and save the day. Her name is Raya, and she’s a young warrior princess from Heart, voiced by the excellent Kelly Marie Tran from \u003ca href=\"https://www.npr.org/2017/12/12/569085092/rollicking-star-wars-the-last-jedi-finds-nuance-in-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars: The Last Jedi\u003c/em>\u003c/a>. Raya manages to escape the Druun, though her father, her \u003cem>ba\u003c/em>, who’s the leader of Heart, isn’t so lucky. Now Raya must recover the pieces of the Dragon Gem, reverse the damage and banish the Druun for good.\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/1VIZ89FEjYI'\n title='//www.youtube.com/embed/1VIZ89FEjYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This isn’t the first time we’ve seen a brave young character embark on a quest for magical baubles, and \u003cem>Raya and the Last Dragon\u003c/em> is rooted in traditional fantasy lore, with \u003cem>The Lord of the Rings\u003c/em> and \u003cem>Game of Thrones\u003c/em> being just the most obvious influences. The movie’s intense scenes of swordplay and hand-to-hand combat give it a tougher, more grown-up feel than most Disney animated fantasies—my own young daughter had to cover her eyes a few times. Like some other recent Disney princesses, including \u003ca href=\"https://www.npr.org/2016/11/23/503039259/disneys-moana-needs-no-prince-just-the-land-and-sea\" target=\"_blank\" rel=\"noopener noreferrer\">Moana \u003c/a>and \u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\" target=\"_blank\" rel=\"noopener noreferrer\">Elsa\u003c/a>, Raya has a bold, adventurous streak and isn’t all that interested in romance. Unlike them, she doesn’t even have time to sing a song.\u003c/p>\n\u003cp>That said, the movie still has plenty of lightness and humor. The screenwriters, Qui Nguyen and Adele Lim, have provided the usual Disney array of cute critters and lively supporting characters. None of them is more colorful than Sisu, a friendly water dragon who is magically resurrected during Raya’s journey. She’s the last of her kind, and she has a crucial role to play in the story. She’s voiced delightfully by \u003ca href=\"https://www.npr.org/2018/08/17/639670914/crazy-rich-asians-star-awkwafina-has-always-aggressively-been-myself\" target=\"_blank\" rel=\"noopener noreferrer\">Awkwafina\u003c/a>, doing one of her signature chatterbox comedy routines and selling every one of Sisu’s anachronistic wisecracks.\u003c/p>\n\u003cp>Raya and Sisu’s journey takes them to all five kingdoms of Kumandra, all of which are so vivid and transporting I found myself wishing they really existed—or that I could have at least seen them on a proper movie screen. There’s the town of Talon, which is built at the edge of a river, and the desert wasteland of Tail, where Raya and Sisu must enter a cave of obstacles straight out of an Indiana Jones adventure.\u003c/p>\n\u003cp>As the two of them search for more Dragon Gem pieces, they of course pick up a few friends along the way. There’s a street-smart boy who cooks a mean shrimp congee and a toddler pickpocket whom I found more creepy than cute. But the movie’s most intriguing character is Namaari, a rival princess from Fang who’s voiced by Gemma Chan. (As a side note, Chan and Awkwafina both appeared in \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>, which, like this movie, was co-written by Lim.) Namaari and Raya used to be friends until the fight over the Dragon Gem ripped them apart. Now they’re bitter enemies, and their emotional dynamic is fierce and complicated in ways that relationships are rarely allowed to be in children’s animated films, especially between women.\u003c/p>\n\u003cp>By contrast, Sisu is all feel-good vibes; she’s a dragon, after all, with little understanding of how treacherous humans can be. She doesn’t get why Raya and Namaari distrust each other so, why they can’t just set their differences aside and defeat the Druun together. It’s Sisu’s sincerity and purity of heart that makes the story’s finale so unexpectedly stirring, especially now. Our fates are closely bound together, it reminds us, as it builds a case for forgiveness, reconciliation and mutual sacrifice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The emotional power of \u003cem>Raya and the Last Dragon\u003c/em> sneaks up on you. Its lessons aren’t new, exactly, but it makes you feel like you’re learning them for the first time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Raya+And+The+Last+Dragon%27+Is+Not+Entirely+New%2C+But+It%27s+Refreshing+Nonetheless&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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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",
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"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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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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