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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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"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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"title": "'Bloodlands' Police Thriller Doesn't Trivialize Northern Ireland's Troubles",
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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>\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. \u003c/p>\u003c/div>",
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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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"title": "Microtransactions are Great For Game Companies, Costly For Players",
"headTitle": "Microtransactions are Great For Game Companies, Costly For Players | KQED",
"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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"title": "Harry and Meghan: 10 Takeaways From the Big Oprah Interview",
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"content": "\u003cp>When Britain’s Prince Harry got married in May 2018 to American actress Meghan Markle—who had found success as a regular on the basic-cable series \u003cem>Suits\u003c/em>—they became the Duke and Duchess of Sussex. For a short time, they lived their lives as royals. They did events, they were affiliated with charities, and they were—she was, in particular—unceasingly, often brutally, covered by the British press. Her clothes, the way she sat, the personality she supposedly had and her general suitability were under constant scrutiny. And, of course, there was from both the press and the public an undercurrent of racism that was sometimes less “under” and more simply “current.” Black women have spoken and written about this \u003ca href=\"https://www.theguardian.com/uk-news/2021/mar/07/almost-embodies-fear-black-women-treatment-meghan\">again\u003c/a> and \u003ca href=\"https://www.teenvogue.com/story/meghan-markle-critics-are-using-internet-troll-tactics-to-perpetuate-misogynoir\">again\u003c/a>, right up until now, and Harry himself decried it in a \u003ca href=\"https://www.washingtonpost.com/news/worldviews/wp/2016/11/08/in-rare-blast-at-british-media-prince-harry-says-his-american-girlfriend-meghan-markle-faces-wave-of-abuse/\">public statement\u003c/a> well before they were married. [aside postid='arts_13866072']\u003c/p>\n\u003cp>In the spring of 2020, they stepped back from that life. They’re still officially the Duke and Duchess of Sussex, but you don’t call them “His/Her Royal Highness” anymore. The couple has relocated to southern California, where they now have deals with Netflix and Spotify and a production company called Archewell. They are pursuing a very different kind of unusual life. And they do not ask for permission to do or say things.\u003c/p>\n\u003cp>That brings us to Sunday’s two-hour interview that Meghan alone, and then the couple together, did with Oprah Winfrey, which aired on CBS in prime time. In the days leading up to it, both the couple and perhaps others as well seemed to be preparing people to receive it in opposite ways. Harry did a jovial segment with James Corden for late-night television, in which he FaceTimed with Meghan and talked warmly about Zoom calls with his grandparents, and about how his grandmother—the queen—sent a waffle maker at Christmas for their son, Archie. (Meghan is currently pregnant with their second child.) At the same time, a fresh flurry of negativity about Meghan appeared in the British press, most prominently an accusation that she “bullied” staff.\u003c/p>\n\u003cp>What wasn’t clear going into Sunday evening was how much there would be in this interview that the royal family—or more precisely the larger business enterprise around it, often called The Firm—wouldn’t want them to say. Based on the Corden interview, Harry wasn’t spoiling for a fight with his grandmother, at least. But once the flood of dirt started to flow about Meghan, it was easy to wonder whether somebody somewhere was nervous about what they might say and was trying to get out ahead of it.\u003c/p>\n\u003cp>And in the end, it was painful and personal and unsparing about the cost of all this to Meghan particularly, and it was not anything the royal family would be excited to have people hear. It wound up being a discussion more profoundly sad than juicy. [aside postid='arts_13872986']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oprah proved quite willing to press for details when an answer was a little … artificially diplomatic. This was a carefully managed backyard sunlit chat, where a pair of expectant parents faced an interviewer who was persistent but also deeply empathetic to them, and where they had two straight hours to get their side of the story on the record. Whether any other sides will emerge remains to be seen.\u003c/p>\n\u003cp>Here are the major takeaways.\u003c/p>\n\u003cp>\u003cstrong>1. Meghan says she had serious and frightening thoughts of suicide during her pregnancy with Archie as she began to understand what the life that lay ahead would really mean, but the institution around the royal family told her she could not get the help she wanted. \u003c/strong>The most revealing conversation may have been about mental health. Meghan described having serious thoughts of suicide. She approached a senior person working for the royal family, who she says forbade her from seeking treatment in the way she asked. (A friend of Diana, Harry’s mother, did offer support.)\u003c/p>\n\u003cp>\u003cstrong>2. They’re having a girl. \u003c/strong>You need at least one straight-up headline out of this, right? The headline that doesn’t require much detail is that the baby Meghan is due to deliver this summer is, they believe, a girl.\u003c/p>\n\u003cp>\u003cstrong>3. Meghan says the royal family declined to make her baby, Archie, a prince or offer him the protection that would come with that title—and expressed concern about his skin color before he was born. \u003c/strong>Meghan told Oprah that when she was pregnant, the family informed her that they would not make her first child (who turned out to be Archie) a prince or princess, and the child would not get the protection that accompanies that title. She says she received no clear reason why and stopped short, just barely, of saying it was because she’s Black. But she says there were also discussions (with Harry, not with her) in which members of the family expressed concerns over what the baby’s skin color might be. She didn’t say which family members, even when prodded, saying she thought revealing that would be “damaging” to them. Harry, too, later acknowledged that at least one such discussion had taken place, but he wouldn’t offer any specifics. Not sharing who was behind these discussions of the baby’s skin color was the firmest boundary the couple drew.\u003c/p>\n\u003cp>\u003cstrong>4. They both cite security concerns as having played a huge role in their choices. \u003c/strong>Harry and Meghan said their hands were forced with regard to moving to California because after they initially moved to Canada (a Commonwealth country), they were informed by the Firm that all their security was being taken away. This left them exposed at a time when, Harry says, the \u003cem>Daily Mail\u003c/em> had revealed where they were living. They moved to the United States and took advantage of the hospitality of Tyler Perry, who could offer them safe harbor until they got settled. Harry also says he was cut off financially by the royal family in early 2020, and that he and Meghan have been able to get by because of what his mother left him—he even speculated that in some way, she “saw this coming.” And he added that the deals he and Meghan now have with Netflix and Spotify are in part to meet their ongoing security needs.\u003c/p>\n\u003cp>\u003cstrong>5. Harry described what he called the “invisible contract” between the royal family and the tabloid press, in which currying favor with particular reporters leads to more favorable press. \u003c/strong>While this might seem self-evident, Harry used it to explain what he called “how scared they [in the family] are of the tabloids turning on them,” and said that he believes this is partially why the family and the Firm failed to offer support to him when it came to bad press. Repeatedly, they both said that the biggest issue that lead to their departure from their duties was this same lack of support from within the family and the institution. No one would stand up for them, they said—which Harry found galling especially when Meghan was suffering racist harassment that earned her the public support of more than 70 members of Parliament—but not the royal family. Meghan summed it up starkly: “They were willing to lie to protect other members of the family”—she did not say who—”but they weren’t willing to tell the truth to protect me and my husband.”\u003c/p>\n\u003cp>\u003cstrong>6. Meghan says a story about her making her sister-in-law, Kate Middleton, cry was quite the opposite.\u003c/strong> The closest thing to a refutation of specific tabloid tales—as well as the only real revelation about the behavior of the other royals—came when Oprah and Meghan spoke about reports that just before her wedding, Meghan had made Kate (her sister-in-law, Prince William’s wife) cry during an argument about flower-girl dresses. According to Meghan, the truth was quite the opposite, but the palace refused to let anyone refute it. She says Kate actually made \u003cem>her\u003c/em> cry—though she says the idea that it was over flower-girl dresses is actually accurate—and that Kate later apologized and even sent her flowers.\u003c/p>\n\u003cp>\u003cstrong>7. Harry’s relationships with his father and brother seem … complicated. \u003c/strong>Harry was quick to speak warmly about his relationship with his grandmother, even now. But long pauses when he was asked to talk about his relationships with his father and his brother William suggested more tension. Of his father’s lack of support when he and Meghan felt so miserable, he said, “I feel really let down. Because he’s been through something similar, he knows what pain feels like, and Archie’s his grandson.” At one point, he says, Prince Charles even stopped taking his calls.\u003c/p>\n\u003cp>\u003cstrong>8. They both say they did not blindside the family and never planned to quit their roles entirely; they only wanted to step back. \u003c/strong>Harry and Meghan said that they never intended to entirely leave their roles with the royal family. They say they wanted not to be \u003cem>senior \u003c/em>members, but to play the smaller roles many other less prominent royals play. They told Oprah they did not get the support they needed to make that possible.\u003c/p>\n\u003cp>9. \u003cstrong>Harry says that he was “trapped” within the system of the royal family—and that his relatives are, too. \u003c/strong>Oprah asked him about stories that present Meghan as a manipulator who coerced him into leaving the family. Would he have left if not for her? she asked. He spun this question in precisely the opposite direction. He would probably not have left if not for Meghan, he acknowledges. He says he was trapped. He says he didn’t realize how trapped he was, and it was meeting her that ultimately let him understand that he wanted something different.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>10. \u003cstrong>They got married before they got married. \u003c/strong>It may have been an early sign of what was to come that Harry and Meghan, seemingly overwhelmed by the public spectacle of their wedding, wound up getting married three days early in what Meghan said was a backyard ceremony, although who knows what that looks like for these folks? She says that those are the vows they keep framed. It seems like for them, that wasn’t just their legal wedding, but their true one as well.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Britain’s Prince Harry got married in May 2018 to American actress Meghan Markle—who had found success as a regular on the basic-cable series \u003cem>Suits\u003c/em>—they became the Duke and Duchess of Sussex. For a short time, they lived their lives as royals. They did events, they were affiliated with charities, and they were—she was, in particular—unceasingly, often brutally, covered by the British press. Her clothes, the way she sat, the personality she supposedly had and her general suitability were under constant scrutiny. And, of course, there was from both the press and the public an undercurrent of racism that was sometimes less “under” and more simply “current.” Black women have spoken and written about this \u003ca href=\"https://www.theguardian.com/uk-news/2021/mar/07/almost-embodies-fear-black-women-treatment-meghan\">again\u003c/a> and \u003ca href=\"https://www.teenvogue.com/story/meghan-markle-critics-are-using-internet-troll-tactics-to-perpetuate-misogynoir\">again\u003c/a>, right up until now, and Harry himself decried it in a \u003ca href=\"https://www.washingtonpost.com/news/worldviews/wp/2016/11/08/in-rare-blast-at-british-media-prince-harry-says-his-american-girlfriend-meghan-markle-faces-wave-of-abuse/\">public statement\u003c/a> well before they were married. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the spring of 2020, they stepped back from that life. They’re still officially the Duke and Duchess of Sussex, but you don’t call them “His/Her Royal Highness” anymore. The couple has relocated to southern California, where they now have deals with Netflix and Spotify and a production company called Archewell. They are pursuing a very different kind of unusual life. And they do not ask for permission to do or say things.\u003c/p>\n\u003cp>That brings us to Sunday’s two-hour interview that Meghan alone, and then the couple together, did with Oprah Winfrey, which aired on CBS in prime time. In the days leading up to it, both the couple and perhaps others as well seemed to be preparing people to receive it in opposite ways. Harry did a jovial segment with James Corden for late-night television, in which he FaceTimed with Meghan and talked warmly about Zoom calls with his grandparents, and about how his grandmother—the queen—sent a waffle maker at Christmas for their son, Archie. (Meghan is currently pregnant with their second child.) At the same time, a fresh flurry of negativity about Meghan appeared in the British press, most prominently an accusation that she “bullied” staff.\u003c/p>\n\u003cp>What wasn’t clear going into Sunday evening was how much there would be in this interview that the royal family—or more precisely the larger business enterprise around it, often called The Firm—wouldn’t want them to say. Based on the Corden interview, Harry wasn’t spoiling for a fight with his grandmother, at least. But once the flood of dirt started to flow about Meghan, it was easy to wonder whether somebody somewhere was nervous about what they might say and was trying to get out ahead of it.\u003c/p>\n\u003cp>And in the end, it was painful and personal and unsparing about the cost of all this to Meghan particularly, and it was not anything the royal family would be excited to have people hear. It wound up being a discussion more profoundly sad than juicy. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oprah proved quite willing to press for details when an answer was a little … artificially diplomatic. This was a carefully managed backyard sunlit chat, where a pair of expectant parents faced an interviewer who was persistent but also deeply empathetic to them, and where they had two straight hours to get their side of the story on the record. Whether any other sides will emerge remains to be seen.\u003c/p>\n\u003cp>Here are the major takeaways.\u003c/p>\n\u003cp>\u003cstrong>1. Meghan says she had serious and frightening thoughts of suicide during her pregnancy with Archie as she began to understand what the life that lay ahead would really mean, but the institution around the royal family told her she could not get the help she wanted. \u003c/strong>The most revealing conversation may have been about mental health. Meghan described having serious thoughts of suicide. She approached a senior person working for the royal family, who she says forbade her from seeking treatment in the way she asked. (A friend of Diana, Harry’s mother, did offer support.)\u003c/p>\n\u003cp>\u003cstrong>2. They’re having a girl. \u003c/strong>You need at least one straight-up headline out of this, right? The headline that doesn’t require much detail is that the baby Meghan is due to deliver this summer is, they believe, a girl.\u003c/p>\n\u003cp>\u003cstrong>3. Meghan says the royal family declined to make her baby, Archie, a prince or offer him the protection that would come with that title—and expressed concern about his skin color before he was born. \u003c/strong>Meghan told Oprah that when she was pregnant, the family informed her that they would not make her first child (who turned out to be Archie) a prince or princess, and the child would not get the protection that accompanies that title. She says she received no clear reason why and stopped short, just barely, of saying it was because she’s Black. But she says there were also discussions (with Harry, not with her) in which members of the family expressed concerns over what the baby’s skin color might be. She didn’t say which family members, even when prodded, saying she thought revealing that would be “damaging” to them. Harry, too, later acknowledged that at least one such discussion had taken place, but he wouldn’t offer any specifics. Not sharing who was behind these discussions of the baby’s skin color was the firmest boundary the couple drew.\u003c/p>\n\u003cp>\u003cstrong>4. They both cite security concerns as having played a huge role in their choices. \u003c/strong>Harry and Meghan said their hands were forced with regard to moving to California because after they initially moved to Canada (a Commonwealth country), they were informed by the Firm that all their security was being taken away. This left them exposed at a time when, Harry says, the \u003cem>Daily Mail\u003c/em> had revealed where they were living. They moved to the United States and took advantage of the hospitality of Tyler Perry, who could offer them safe harbor until they got settled. Harry also says he was cut off financially by the royal family in early 2020, and that he and Meghan have been able to get by because of what his mother left him—he even speculated that in some way, she “saw this coming.” And he added that the deals he and Meghan now have with Netflix and Spotify are in part to meet their ongoing security needs.\u003c/p>\n\u003cp>\u003cstrong>5. Harry described what he called the “invisible contract” between the royal family and the tabloid press, in which currying favor with particular reporters leads to more favorable press. \u003c/strong>While this might seem self-evident, Harry used it to explain what he called “how scared they [in the family] are of the tabloids turning on them,” and said that he believes this is partially why the family and the Firm failed to offer support to him when it came to bad press. Repeatedly, they both said that the biggest issue that lead to their departure from their duties was this same lack of support from within the family and the institution. No one would stand up for them, they said—which Harry found galling especially when Meghan was suffering racist harassment that earned her the public support of more than 70 members of Parliament—but not the royal family. Meghan summed it up starkly: “They were willing to lie to protect other members of the family”—she did not say who—”but they weren’t willing to tell the truth to protect me and my husband.”\u003c/p>\n\u003cp>\u003cstrong>6. Meghan says a story about her making her sister-in-law, Kate Middleton, cry was quite the opposite.\u003c/strong> The closest thing to a refutation of specific tabloid tales—as well as the only real revelation about the behavior of the other royals—came when Oprah and Meghan spoke about reports that just before her wedding, Meghan had made Kate (her sister-in-law, Prince William’s wife) cry during an argument about flower-girl dresses. According to Meghan, the truth was quite the opposite, but the palace refused to let anyone refute it. She says Kate actually made \u003cem>her\u003c/em> cry—though she says the idea that it was over flower-girl dresses is actually accurate—and that Kate later apologized and even sent her flowers.\u003c/p>\n\u003cp>\u003cstrong>7. Harry’s relationships with his father and brother seem … complicated. \u003c/strong>Harry was quick to speak warmly about his relationship with his grandmother, even now. But long pauses when he was asked to talk about his relationships with his father and his brother William suggested more tension. Of his father’s lack of support when he and Meghan felt so miserable, he said, “I feel really let down. Because he’s been through something similar, he knows what pain feels like, and Archie’s his grandson.” At one point, he says, Prince Charles even stopped taking his calls.\u003c/p>\n\u003cp>\u003cstrong>8. They both say they did not blindside the family and never planned to quit their roles entirely; they only wanted to step back. \u003c/strong>Harry and Meghan said that they never intended to entirely leave their roles with the royal family. They say they wanted not to be \u003cem>senior \u003c/em>members, but to play the smaller roles many other less prominent royals play. They told Oprah they did not get the support they needed to make that possible.\u003c/p>\n\u003cp>9. \u003cstrong>Harry says that he was “trapped” within the system of the royal family—and that his relatives are, too. \u003c/strong>Oprah asked him about stories that present Meghan as a manipulator who coerced him into leaving the family. Would he have left if not for her? she asked. He spun this question in precisely the opposite direction. He would probably not have left if not for Meghan, he acknowledges. He says he was trapped. He says he didn’t realize how trapped he was, and it was meeting her that ultimately let him understand that he wanted something different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>10. \u003cstrong>They got married before they got married. \u003c/strong>It may have been an early sign of what was to come that Harry and Meghan, seemingly overwhelmed by the public spectacle of their wedding, wound up getting married three days early in what Meghan said was a backyard ceremony, although who knows what that looks like for these folks? She says that those are the vows they keep framed. It seems like for them, that wasn’t just their legal wedding, but their true one as well.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "With All the Twists and Turns 'Behind Her Eyes,' You'll Want to Watch it Twice",
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"content": "\u003cp>If you’ve read Sarah Pinborough’s 2017 novel \u003cem>Behind Her Eyes\u003c/em>, you already know what to expect from Netflix’s new miniseries adaptation. But if you don’t know what to expect, you ought to do everything you can to keep it that way, and come to this series as uninformed as possible. Just promise yourself, in advance, that you’ll stay with it, and allow its secrets to slowly reveal themselves. Get to the end—the very end—and I all but guarantee you’ll be ready to start watching the whole thing all over again. Immediately.\u003c/p>\n\u003cp>In one sense, the story is a basic romantic drama involving a divorced single mom and a couple that’s been married for 10 years. But nothing in \u003cem>Behind Her Eyes\u003c/em> is that basic, not even the geometry of its romantic triangle. And what begins almost as a romantic comedy finds itself flirting with different genres as it progresses—a bit revenge thriller here, and something else entirely a little later. Think of movies that stunned you by pulling the rug out from under you, movies with key central shocks like \u003cem>The Sixth Sense, The Usual Suspects, The Crying Game \u003c/em>and \u003cem>Se7en\u003c/em>. \u003cem>Behind Her Eyes\u003c/em> is right up there—and also connects, at one point literally, with \u003cem>Alice in Wonderland.\u003c/em>\u003c/p>\n\u003cp>And yet it starts so casually. Simona Brown plays Louise, a single mom out for a rare night at the pub. She literally bumps into a handsome stranger—David, played by Tom Bateman—and the two of them drink, joke and end the night with a kiss, before he quickly and apologetically breaks it off and leaves. A few days later, David reports for his new job as a psychiatrist—and when he enters his office, there stands Louise.\u003c/p>\n\u003cp>The two of them remain intrigued by each other, but early on, there’s another complication: In another seemingly accidental meeting, Louise meets David’s wife, Adele. She’s played by Eve Hewson, who happens to be the daughter of U2 lead singer \u003ca href=\"https://www.npr.org/artists/15289501/bono\">Bono\u003c/a>. Like the other two leads, Hewson is wonderful here; Adele is totally unmannered, casual and, as it turns out, inscrutable.\u003c/p>\n\u003cp>\u003cem>Behind Her Eyes \u003c/em>explores these new relationships, and also some old ones, using a slowly revealing series of flashbacks. It ends up requiring an awful lot of these actors, and they deliver flawlessly. So does Steve Lightfoot, who created this adaptation for TV. He was a writer for NBC’s \u003ca href=\"https://www.npr.org/2014/05/23/315111503/god-the-devil-and-hannibal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hannibal\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had lots of visual flair, and created the Netflix series\u003cem> The Punisher, \u003c/em>one of the less impressive Marvel TV shows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But nothing in Lightfoot’s past resume hints at the bold vision he and Erik Richter Strand, who directed all six episodes, pull off here, consistently and brilliantly. The music choices, the color schemes, even the camera angles—everything has a purpose, even if that purpose isn’t revealed fully until the jaw-dropping conclusion.\u003c/p>\n\u003cp>The actors keep you hooked from the very start. Bateman is charming, yet potentially menacing, as David. Brown is not only instantly vulnerable as Louise, but instantly lovable. And as Adele, Hewson covers a 10-year time span so convincingly, it’s as though she’s playing two different people. Watch \u003cem>Behind Her Eyes. \u003c/em>Then watch it again. Then find someone else who has, so you can \u003cem>really \u003c/em>talk about it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c4LtoWQaLxk\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+All+The+Twists+And+Turns+%27Behind+Her+Eyes%2C%27+You%27ll+Want+To+Watch+It+Twice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve read Sarah Pinborough’s 2017 novel \u003cem>Behind Her Eyes\u003c/em>, you already know what to expect from Netflix’s new miniseries adaptation. But if you don’t know what to expect, you ought to do everything you can to keep it that way, and come to this series as uninformed as possible. Just promise yourself, in advance, that you’ll stay with it, and allow its secrets to slowly reveal themselves. Get to the end—the very end—and I all but guarantee you’ll be ready to start watching the whole thing all over again. Immediately.\u003c/p>\n\u003cp>In one sense, the story is a basic romantic drama involving a divorced single mom and a couple that’s been married for 10 years. But nothing in \u003cem>Behind Her Eyes\u003c/em> is that basic, not even the geometry of its romantic triangle. And what begins almost as a romantic comedy finds itself flirting with different genres as it progresses—a bit revenge thriller here, and something else entirely a little later. Think of movies that stunned you by pulling the rug out from under you, movies with key central shocks like \u003cem>The Sixth Sense, The Usual Suspects, The Crying Game \u003c/em>and \u003cem>Se7en\u003c/em>. \u003cem>Behind Her Eyes\u003c/em> is right up there—and also connects, at one point literally, with \u003cem>Alice in Wonderland.\u003c/em>\u003c/p>\n\u003cp>And yet it starts so casually. Simona Brown plays Louise, a single mom out for a rare night at the pub. She literally bumps into a handsome stranger—David, played by Tom Bateman—and the two of them drink, joke and end the night with a kiss, before he quickly and apologetically breaks it off and leaves. A few days later, David reports for his new job as a psychiatrist—and when he enters his office, there stands Louise.\u003c/p>\n\u003cp>The two of them remain intrigued by each other, but early on, there’s another complication: In another seemingly accidental meeting, Louise meets David’s wife, Adele. She’s played by Eve Hewson, who happens to be the daughter of U2 lead singer \u003ca href=\"https://www.npr.org/artists/15289501/bono\">Bono\u003c/a>. Like the other two leads, Hewson is wonderful here; Adele is totally unmannered, casual and, as it turns out, inscrutable.\u003c/p>\n\u003cp>\u003cem>Behind Her Eyes \u003c/em>explores these new relationships, and also some old ones, using a slowly revealing series of flashbacks. It ends up requiring an awful lot of these actors, and they deliver flawlessly. So does Steve Lightfoot, who created this adaptation for TV. He was a writer for NBC’s \u003ca href=\"https://www.npr.org/2014/05/23/315111503/god-the-devil-and-hannibal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hannibal\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had lots of visual flair, and created the Netflix series\u003cem> The Punisher, \u003c/em>one of the less impressive Marvel TV shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But nothing in Lightfoot’s past resume hints at the bold vision he and Erik Richter Strand, who directed all six episodes, pull off here, consistently and brilliantly. The music choices, the color schemes, even the camera angles—everything has a purpose, even if that purpose isn’t revealed fully until the jaw-dropping conclusion.\u003c/p>\n\u003cp>The actors keep you hooked from the very start. Bateman is charming, yet potentially menacing, as David. Brown is not only instantly vulnerable as Louise, but instantly lovable. And as Adele, Hewson covers a 10-year time span so convincingly, it’s as though she’s playing two different people. Watch \u003cem>Behind Her Eyes. \u003c/em>Then watch it again. Then find someone else who has, so you can \u003cem>really \u003c/em>talk about it.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/c4LtoWQaLxk'\n title='//www.youtube.com/embed/c4LtoWQaLxk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+All+The+Twists+And+Turns+%27Behind+Her+Eyes%2C%27+You%27ll+Want+To+Watch+It+Twice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dr. Seuss Enterprises Will Shelve Six Books, Citing 'Hurtful' Portrayals",
"headTitle": "Dr. Seuss Enterprises Will Shelve Six Books, Citing ‘Hurtful’ Portrayals | KQED",
"content": "\u003cp>Dr. Seuss Enterprises will cease publishing six of the author’s books — including \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em> and \u003cem>If I Ran the Zoo\u003c/em> — saying they “portray people in ways that are hurtful and wrong.” The books have been criticized for how they depict Asian and Black people.\u003c/p>\n\u003cp>The decision to stop publishing and licensing the books follows a review by a panel of educators and other experts, \u003ca href=\"https://www.seussville.com/statement-from-dr-seuss-enterprises/\">according to Dr. Seuss Enterprises\u003c/a>, the company that controls the author’s books and characters. The other four titles that will be permanently shelved are \u003cem>McElligot’s Pool\u003c/em>,\u003cem> On Beyond Zebra!\u003c/em>,\u003cem> Scrambled Eggs Super!\u003c/em> and \u003cem>The Cat’s Quizzer\u003c/em>.\u003c/p>\n\u003cp>The company says the decision was made last year, in an effort to support “all children and families with messages of hope, inspiration, inclusion, and friendship.”\u003c/p>\n\u003cp>First published in 1937, \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em> is the book that propelled Theodor Seuss Geisel’s career to new heights, as he pivoted from working in advertising to writing children’s books as Dr. Seuss. \u003c/p>\n\u003cp>Several of Geisel’s later books overshadowed \u003cem>Mulberry Street\u003c/em>. But over the years, critics and readers have struggled to reconcile the open-hearted and clever tone of it and other Seuss classics with the small-minded caricatures of minorities they also contain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As NPR’s \u003ca href=\"https://www.npr.org/sections/codeswitch/2019/02/26/695966537/classic-books-are-full-of-problems-why-cant-we-put-them-down\">Code Switch team\u003c/a> has reported:\u003c/p>\n\u003cblockquote>\n\u003cp>“In \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em>, for example, a character described as Chinese has two lines for eyes, carries chopsticks and a bowl of rice, and wears traditional Japanese-style shoes. In \u003cem>If I Ran the Zoo\u003c/em>, two men said to be from Africa are shown shirtless, shoeless and wearing grass skirts as they carry an exotic animal. Outside of his books, the author’s personal legacy has come into question, too — Seuss wrote an entire minstrel show in college and performed as the main character in full blackface.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13893469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-800x600.jpg\" alt=\"Dr. Seuss is seen here in his La Jolla, Calif., home in 1957.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13893469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Seuss is seen here in his La Jolla, Calif., home in 1957. \u003ccite>(Gene Lester/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Seuss Enterprises announced the plan to halt publishing and licensing the six books on Read Across America Day, a celebration of children’s books that has long been linked to Dr. Seuss — the March 2 date is also Geisel’s birthday. But the \u003ca href=\"https://www.nea.org/resource-library/read-across-america-frequently-asked-questions\">National Education Association says\u003c/a> it no longer partners with the Dr. Seuss company for Read Across America, its year-round push for parents and families to read.\u003c/p>\n\u003cp>Discussing Read Across America and the Dr. Seuss books \u003ca href=\"https://www.nea.org/resource-library/read-across-america-frequently-asked-questions\">on its website\u003c/a>, the NEA says, “Students need books that provide both windows and mirrors if we are going to create more readers, writers, and people who feel included and recognized, and who understand that the world is far richer than just their experiences alone.”\u003c/p>\n\u003cp>Beyond today’s announcement, Dr. Seuss Enterprises says, it will do more to promote diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Ceasing sales of these books is only part of our commitment and our broader plan to ensure Dr. Seuss Enterprises’s catalog represents and supports all communities and families,” the company says. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dr.+Seuss+Enterprises+Will+Shelve+6+Books%2C+Citing+%27Hurtful%27+Portrayals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The decision includes books such as 'And to Think That I Saw It on Mulberry Street' and 'If I Ran the Zoo,' which have been criticized for how they depict Asian and Black people.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dr. Seuss Enterprises will cease publishing six of the author’s books — including \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em> and \u003cem>If I Ran the Zoo\u003c/em> — saying they “portray people in ways that are hurtful and wrong.” The books have been criticized for how they depict Asian and Black people.\u003c/p>\n\u003cp>The decision to stop publishing and licensing the books follows a review by a panel of educators and other experts, \u003ca href=\"https://www.seussville.com/statement-from-dr-seuss-enterprises/\">according to Dr. Seuss Enterprises\u003c/a>, the company that controls the author’s books and characters. The other four titles that will be permanently shelved are \u003cem>McElligot’s Pool\u003c/em>,\u003cem> On Beyond Zebra!\u003c/em>,\u003cem> Scrambled Eggs Super!\u003c/em> and \u003cem>The Cat’s Quizzer\u003c/em>.\u003c/p>\n\u003cp>The company says the decision was made last year, in an effort to support “all children and families with messages of hope, inspiration, inclusion, and friendship.”\u003c/p>\n\u003cp>First published in 1937, \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em> is the book that propelled Theodor Seuss Geisel’s career to new heights, as he pivoted from working in advertising to writing children’s books as Dr. Seuss. \u003c/p>\n\u003cp>Several of Geisel’s later books overshadowed \u003cem>Mulberry Street\u003c/em>. But over the years, critics and readers have struggled to reconcile the open-hearted and clever tone of it and other Seuss classics with the small-minded caricatures of minorities they also contain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As NPR’s \u003ca href=\"https://www.npr.org/sections/codeswitch/2019/02/26/695966537/classic-books-are-full-of-problems-why-cant-we-put-them-down\">Code Switch team\u003c/a> has reported:\u003c/p>\n\u003cblockquote>\n\u003cp>“In \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em>, for example, a character described as Chinese has two lines for eyes, carries chopsticks and a bowl of rice, and wears traditional Japanese-style shoes. In \u003cem>If I Ran the Zoo\u003c/em>, two men said to be from Africa are shown shirtless, shoeless and wearing grass skirts as they carry an exotic animal. Outside of his books, the author’s personal legacy has come into question, too — Seuss wrote an entire minstrel show in college and performed as the main character in full blackface.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13893469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-800x600.jpg\" alt=\"Dr. Seuss is seen here in his La Jolla, Calif., home in 1957.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13893469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Seuss is seen here in his La Jolla, Calif., home in 1957. \u003ccite>(Gene Lester/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Seuss Enterprises announced the plan to halt publishing and licensing the six books on Read Across America Day, a celebration of children’s books that has long been linked to Dr. Seuss — the March 2 date is also Geisel’s birthday. But the \u003ca href=\"https://www.nea.org/resource-library/read-across-america-frequently-asked-questions\">National Education Association says\u003c/a> it no longer partners with the Dr. Seuss company for Read Across America, its year-round push for parents and families to read.\u003c/p>\n\u003cp>Discussing Read Across America and the Dr. Seuss books \u003ca href=\"https://www.nea.org/resource-library/read-across-america-frequently-asked-questions\">on its website\u003c/a>, the NEA says, “Students need books that provide both windows and mirrors if we are going to create more readers, writers, and people who feel included and recognized, and who understand that the world is far richer than just their experiences alone.”\u003c/p>\n\u003cp>Beyond today’s announcement, Dr. Seuss Enterprises says, it will do more to promote diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Ceasing sales of these books is only part of our commitment and our broader plan to ensure Dr. Seuss Enterprises’s catalog represents and supports all communities and families,” the company says. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dr.+Seuss+Enterprises+Will+Shelve+6+Books%2C+Citing+%27Hurtful%27+Portrayals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Brooklyn Librarian Becomes Unlikely Star With Her Online Bilingual Story Time",
"headTitle": "Brooklyn Librarian Becomes Unlikely Star With Her Online Bilingual Story Time | KQED",
"content": "\u003cp>When Brooklyn librarian Tenzin Kalsang’s story time for kids—in which she reads in both Tibetan and English—moved online last year, she was so nervous she couldn’t sleep the night before.\u003c/p>\n\u003cp>“I was like, oh, my goodness, how am I going to do this?” she said. “When I get shy, my face turns really red.”\u003c/p>\n\u003cp>Kalsang was used to reading stories in person at the Brooklyn Public Library.\u003c/p>\n\u003cp>But she did it. Kalsang set up a colorful corner of her apartment complete with potted plants and kid’s books like \u003cem>Llama Llama Red Pajama\u003c/em> open and on display. Just like they would be on library shelves. She then turned the camera on herself and streamed her stories live on Facebook.\u003c/p>\n\u003cp>“Hello, good morning everyone!” she greeted viewers as they logged on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her story times soon attracted viewers from around the world, from countries as far away as Australia and Switzerland.\u003c/p>\n\u003cp>Like almost everything these days, libraries are having to move their services online. Books can be reserved and picked up in person, movies streamed and other offerings like career counseling and ESL classes attended virtually.\u003c/p>\n\u003cp>Since the pandemic hit, the Brooklyn Public Library has been offering a number of bilingual story times online including ones in Russian, Spanish and Chinese.\u003c/p>\n\u003cp>But Kalsang’s have been a huge hit. One has been viewed twenty thousand times. That’s like selling out Madison Square Garden. For a library story time, that’s fall off your chair success.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lhUkPGFMJjE\u003c/p>\n\u003cp>Still, Kalsang was right to be nervous the first time. She had a pretty tough audience to impress. Like Tsojung Yerutsang, a precocious 9-year-old with shoulder-length hair, a pink t-shirt with a heart and one dimple.\u003c/p>\n\u003cp>“Well, first I honestly thought it was for babies,” she said. And even if not, she worried it would be below her level, she said, “because you know, in like American reading levels, I’m very high. Like above my class, like not to brag or anything.”\u003c/p>\n\u003cp>Kalsang’s bilingual story time has appealed especially to families like Tsojung’s, among the tens of thousands of refugees from Tibet who scattered around the globe following the 1950 Chinese invasion of Tibet.\u003c/p>\n\u003cp>Activists say China is trying to destroy Tibetan culture and fear their language will be lost.\u003c/p>\n\u003cp>“Without language, culture cannot survive. I’m worried she will lose our culture,” Tsojung’s mother Tsering, a traditional Tibetan herbal healer, said about her daughter.\u003c/p>\n\u003cp>“I want to teach her, but it’s not easy. She has to go to school. Everything is English, and her friends and everyone speak English.” Tibetans are a minority, her mother explains. She says even at the library, finding a book in Tibetan isn’t possible.\u003c/p>\n\u003cp>As for Tsojung—she says Kalsang’s story time has made her feel closer to Tibetan culture.\u003c/p>\n\u003cp>“I really like to watch her now. It’s very educational. She does, like one page in English. And then she reads the page again, in Tibetan. It’s really nice.”\u003c/p>\n\u003cp>Kalsang says bilingual story times signal to people that libraries celebrate diversity. And fourth-grader Tsojung agrees that’s an important goal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think everyone’s country should be remembered and shared to everyone, because then we can all be remembered,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13893457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-800x600.png\" alt=\"Tibetan-American Tsojung Yerutsang, 9, celebrating Tibetan New Year.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-1536x1152.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4.png 1836w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tibetan-American Tsojung Yerutsang, 9, celebrating Tibetan New Year. \u003ccite>(Tsering Yerutsang)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Brooklyn+Librarian+Becomes+Unlikely+Star+With+Her+Bilingual+Story+Time+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Brooklyn librarian Tenzin Kalsang’s story time for kids—in which she reads in both Tibetan and English—moved online last year, she was so nervous she couldn’t sleep the night before.\u003c/p>\n\u003cp>“I was like, oh, my goodness, how am I going to do this?” she said. “When I get shy, my face turns really red.”\u003c/p>\n\u003cp>Kalsang was used to reading stories in person at the Brooklyn Public Library.\u003c/p>\n\u003cp>But she did it. Kalsang set up a colorful corner of her apartment complete with potted plants and kid’s books like \u003cem>Llama Llama Red Pajama\u003c/em> open and on display. Just like they would be on library shelves. She then turned the camera on herself and streamed her stories live on Facebook.\u003c/p>\n\u003cp>“Hello, good morning everyone!” she greeted viewers as they logged on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her story times soon attracted viewers from around the world, from countries as far away as Australia and Switzerland.\u003c/p>\n\u003cp>Like almost everything these days, libraries are having to move their services online. Books can be reserved and picked up in person, movies streamed and other offerings like career counseling and ESL classes attended virtually.\u003c/p>\n\u003cp>Since the pandemic hit, the Brooklyn Public Library has been offering a number of bilingual story times online including ones in Russian, Spanish and Chinese.\u003c/p>\n\u003cp>But Kalsang’s have been a huge hit. One has been viewed twenty thousand times. That’s like selling out Madison Square Garden. For a library story time, that’s fall off your chair success.\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/lhUkPGFMJjE'\n title='//www.youtube.com/embed/lhUkPGFMJjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, Kalsang was right to be nervous the first time. She had a pretty tough audience to impress. Like Tsojung Yerutsang, a precocious 9-year-old with shoulder-length hair, a pink t-shirt with a heart and one dimple.\u003c/p>\n\u003cp>“Well, first I honestly thought it was for babies,” she said. And even if not, she worried it would be below her level, she said, “because you know, in like American reading levels, I’m very high. Like above my class, like not to brag or anything.”\u003c/p>\n\u003cp>Kalsang’s bilingual story time has appealed especially to families like Tsojung’s, among the tens of thousands of refugees from Tibet who scattered around the globe following the 1950 Chinese invasion of Tibet.\u003c/p>\n\u003cp>Activists say China is trying to destroy Tibetan culture and fear their language will be lost.\u003c/p>\n\u003cp>“Without language, culture cannot survive. I’m worried she will lose our culture,” Tsojung’s mother Tsering, a traditional Tibetan herbal healer, said about her daughter.\u003c/p>\n\u003cp>“I want to teach her, but it’s not easy. She has to go to school. Everything is English, and her friends and everyone speak English.” Tibetans are a minority, her mother explains. She says even at the library, finding a book in Tibetan isn’t possible.\u003c/p>\n\u003cp>As for Tsojung—she says Kalsang’s story time has made her feel closer to Tibetan culture.\u003c/p>\n\u003cp>“I really like to watch her now. It’s very educational. She does, like one page in English. And then she reads the page again, in Tibetan. It’s really nice.”\u003c/p>\n\u003cp>Kalsang says bilingual story times signal to people that libraries celebrate diversity. And fourth-grader Tsojung agrees that’s an important goal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think everyone’s country should be remembered and shared to everyone, because then we can all be remembered,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13893457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-800x600.png\" alt=\"Tibetan-American Tsojung Yerutsang, 9, celebrating Tibetan New Year.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4-1536x1152.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/image-e6249f3f5632ec026005fd53a103351561acaed4.png 1836w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tibetan-American Tsojung Yerutsang, 9, celebrating Tibetan New Year. \u003ccite>(Tsering Yerutsang)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Brooklyn+Librarian+Becomes+Unlikely+Star+With+Her+Bilingual+Story+Time+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes",
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"content": "\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4FgS6q-xSoY\u003c/p>\n\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VG58uqZPWsU\u003c/p>\n\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\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=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\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/4FgS6q-xSoY'\n title='//www.youtube.com/embed/4FgS6q-xSoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VG58uqZPWsU'\n title='//www.youtube.com/embed/VG58uqZPWsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\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=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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