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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>\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",
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"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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"title": "'We Don't Know What's Coming': Anthony Hopkins Plays 'The Father' With Dementia",
"headTitle": "‘We Don’t Know What’s Coming’: Anthony Hopkins Plays ‘The Father’ With Dementia | KQED",
"content": "\u003cp>Writer and director Florian Zeller was very close to his grandmother. “She was like my mother in a way,” he says. “She was very important in my life.”\u003c/p>\n\u003cp>But when Zeller was 15, his grandmother started to experience dementia. It was “a painful process … to suddenly be impotent,” he says. “You know, you can love someone and you discover that love is not enough.”\u003c/p>\n\u003cp>Zeller drew on this personal experience in his 2012 play \u003cem>Le Père. \u003c/em>The new film \u003cem>The Father \u003c/em>is based on that play, and unfolds from the perspective of Anthony, who has dementia. Anthony is played by Anthony Hopkins, and Olivia Colman co-stars as his daughter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4TZb7YfK-JI\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the effort to make the film mirror the experience of dementia\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Zeller: \u003c/strong>There are so many films about dementia. … I wanted that journey [in this film] to be more uncertain, more complex. For example, the film starts as if it was like a thriller in a way. And we go through that labyrinth, you know, without being absolutely aware of where we are going. I said that the film was like a puzzle, but a piece is always missing in that puzzle, you know, and it was a way for me to play with that feeling of disorientation. Because I wanted \u003cem>The Father\u003c/em> to be not only a story, but also like an experience of what it could mean to lose everything, including your own identity.\u003c/p>\n\u003cp>\u003cstrong>On taking on the role of someone living with dementia\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hopkins: \u003c/strong>My initial reaction when I read the script was an immediate ‘Yes.’ Same reaction I had to \u003cem>Silence of the Lambs,\u003c/em> it was one of those scripts that I just thought: ‘I’m so lucky to be offered this.’ Phoned my agent immediately, said: ‘Yes, I would love to do it.’ And so here we are. And my reaction to it all from the word go was one of confidence and a sense of, I knew how to do it because I’m that old now. I’m 83 and I just had a sense of it. It was easy to play.\u003c/p>\n\u003cp>\u003cstrong>On wanting the audience to relate to Colman’s character—a daughter trying to care for her father\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13893430\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893430\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196.jpg\" alt=\"Hopkins talks with director Florian Zeller on set of 'The Father.'\" width=\"200\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196-160x102.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Hopkins talks with director Florian Zeller on set of ‘The Father.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Zeller: \u003c/strong>With someone like Olivia Colman … she has something magical; as soon as you see her, you love her and you feel empathy with her. It’s a painful situation because there is no absolute answer. You know, what do you do when the people you love start to lose their bearings? Are you allowed to live your own life? … Is it the moment to take painful decisions such as going into an institution? And there is no clear answer. … Art and especially cinema is not a place for answers, it’s just a place for questions.\u003c/p>\n\u003cp>\u003cstrong>Hopkins:\u003c/strong> There’s one moment after Olivia leaves the hospital … She says goodbye, she gets into the taxi, and she’s got to face her life now. And she’s going to face the inevitability of her own demise and her own mortality. And there’s something really heartbreaking about that.\u003c/p>\n\u003cp>\u003cstrong>On the freedom of not being in control\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hopkins: \u003c/strong>I remember standing at my father’s bedside after he died … my mother was with him, with his body. … And I remember thinking to myself, ‘Yeah, you’re not so hot either, because one day it’ll happen to you.’ This is life. And when death presents itself to you in those moments … well, we have no control and we don’t know what’s coming. We have no means of predicting anything. And there’s a great freedom in that—in realizing that we are inadequate, really. So, for me to play this—part of it was easy and in a way, yes, life-changing. It’s made me think even deeper.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Simone Popperl produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\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=%27We+Don%27t+Know+What%27s+Coming%27%3A+Anthony+Hopkins+Plays+%27The+Father%27+With+Dementia&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer and director Florian Zeller was very close to his grandmother. “She was like my mother in a way,” he says. “She was very important in my life.”\u003c/p>\n\u003cp>But when Zeller was 15, his grandmother started to experience dementia. It was “a painful process … to suddenly be impotent,” he says. “You know, you can love someone and you discover that love is not enough.”\u003c/p>\n\u003cp>Zeller drew on this personal experience in his 2012 play \u003cem>Le Père. \u003c/em>The new film \u003cem>The Father \u003c/em>is based on that play, and unfolds from the perspective of Anthony, who has dementia. Anthony is played by Anthony Hopkins, and Olivia Colman co-stars as his daughter.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4TZb7YfK-JI'\n title='//www.youtube.com/embed/4TZb7YfK-JI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the effort to make the film mirror the experience of dementia\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Zeller: \u003c/strong>There are so many films about dementia. … I wanted that journey [in this film] to be more uncertain, more complex. For example, the film starts as if it was like a thriller in a way. And we go through that labyrinth, you know, without being absolutely aware of where we are going. I said that the film was like a puzzle, but a piece is always missing in that puzzle, you know, and it was a way for me to play with that feeling of disorientation. Because I wanted \u003cem>The Father\u003c/em> to be not only a story, but also like an experience of what it could mean to lose everything, including your own identity.\u003c/p>\n\u003cp>\u003cstrong>On taking on the role of someone living with dementia\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hopkins: \u003c/strong>My initial reaction when I read the script was an immediate ‘Yes.’ Same reaction I had to \u003cem>Silence of the Lambs,\u003c/em> it was one of those scripts that I just thought: ‘I’m so lucky to be offered this.’ Phoned my agent immediately, said: ‘Yes, I would love to do it.’ And so here we are. And my reaction to it all from the word go was one of confidence and a sense of, I knew how to do it because I’m that old now. I’m 83 and I just had a sense of it. It was easy to play.\u003c/p>\n\u003cp>\u003cstrong>On wanting the audience to relate to Colman’s character—a daughter trying to care for her father\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13893430\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893430\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196.jpg\" alt=\"Hopkins talks with director Florian Zeller on set of 'The Father.'\" width=\"200\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/9_custom-b5a5f75dd4f51e3b33f3ee1c91d6002b11d07196-160x102.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Hopkins talks with director Florian Zeller on set of ‘The Father.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Zeller: \u003c/strong>With someone like Olivia Colman … she has something magical; as soon as you see her, you love her and you feel empathy with her. It’s a painful situation because there is no absolute answer. You know, what do you do when the people you love start to lose their bearings? Are you allowed to live your own life? … Is it the moment to take painful decisions such as going into an institution? And there is no clear answer. … Art and especially cinema is not a place for answers, it’s just a place for questions.\u003c/p>\n\u003cp>\u003cstrong>Hopkins:\u003c/strong> There’s one moment after Olivia leaves the hospital … She says goodbye, she gets into the taxi, and she’s got to face her life now. And she’s going to face the inevitability of her own demise and her own mortality. And there’s something really heartbreaking about that.\u003c/p>\n\u003cp>\u003cstrong>On the freedom of not being in control\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hopkins: \u003c/strong>I remember standing at my father’s bedside after he died … my mother was with him, with his body. … And I remember thinking to myself, ‘Yeah, you’re not so hot either, because one day it’ll happen to you.’ This is life. And when death presents itself to you in those moments … well, we have no control and we don’t know what’s coming. We have no means of predicting anything. And there’s a great freedom in that—in realizing that we are inadequate, really. So, for me to play this—part of it was easy and in a way, yes, life-changing. It’s made me think even deeper.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Simone Popperl produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\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=%27We+Don%27t+Know+What%27s+Coming%27%3A+Anthony+Hopkins+Plays+%27The+Father%27+With+Dementia&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’m obsessed with tales of obsession. Chances are, you are too, judging by the unflagging popularity of true crime stories presented in podcasts, documentaries, movies and books.\u003c/p>\n\u003cp>What sets Ellen McGarrahan’s just-published true crime book, \u003cem>Two Truths and a Lie,\u003c/em> above so many others I’ve read is the moral gravity of her presence on the page and the hollow-voiced lyricism of her writing style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893255 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-24-at-11.15.47-AM.png\" alt=\"\" width=\"299\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-24-at-11.15.47-AM.png 299w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-24-at-11.15.47-AM-160x214.png 160w\" sizes=\"(max-width: 299px) 100vw, 299px\">McGarrahan earned both qualities the hard way. Long ago, when she was a young reporter for \u003cem>The Miami Herald\u003c/em>, McGarrahan witnessed an execution gone wrong and she reported on the case and the executed man—a convicted murderer—by relying on, as she says, “the state’s version of events as the truth.” \u003cem>Two Truths and a Lie\u003c/em> delves deep into McGarrahan’s more than two-decade-long odyssey to rectify that mistake.\u003c/p>\n\u003cp>\u003cem>Two Truths and A Lie\u003c/em> opens in May of 1990 at a prison in Florida where McGarrahan has gathered with other reporters to witness the death by electrocution of Jesse Tafero for the murder of two police officers at a Florida rest stop in 1976. McGarrahan volunteered to be there because she wanted to prove herself. She was then the only woman in the \u003cem>Herald\u003c/em>‘s state capital bureau and she was young. “Five years earlier I’d been deconstructing \u003cem>The Executioner’s Song\u003c/em> in literature class at Yale,” she writes.\u003c/p>\n\u003cp>But nothing McGarrahan read could have prepared her for the grotesque reality of the execution that followed. Because of an electrical malfunction, Tafero’s head caught on fire. Months afterwards, a reporter friend advises the shaken McGarrahan to “Go see another one. … That’ll get it out of your mind.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, McGarrahan questions the point of journalism—her dream career—and takes off for California where she works on home construction sites. “In my tile work at the time,” she recalls, “I was setting a lot of limestone—countertops, walls, floors—and I kept noticing the fossils, tiny living creatures embedded in the stone, frozen forever exactly as they were when disaster hit. I thought, That’s me.”\u003c/p>\n\u003cp>Then, one evening McGarrahan returns home from work and turns on her TV to hear Barbara Walters announce that new evidence suggests that Tafero may have been innocent. Soon after, Fate intervenes to prompt McGarrahan—at the age of 32—to interview for a job as a private investigator.\u003c/p>\n\u003cp>McGarrahan doesn’t tell the head of the detective agency about the Tafero case. Nevertheless, when he hires her, the boss shrewdly says, “You are motivated by guilt, which means you will never stop till the job is done.” McGarrahan tells us her career as an investigator eventually brought her “full circle, to the mystery I’d tried so hard to leave behind.” [aside postid='arts_13884137']\u003c/p>\n\u003cp>You’ll notice I’m barely saying anything about that mystery: the question of who murdered those two police officers at that highway rest stop in 1976. Tafero was sleeping in a car at that rest stop, along with his girlfriend, her 9-year-old son, their baby daughter, and another man. One of the officers went to check on them and within minutes, both officers were shot dead.\u003c/p>\n\u003cp>Like Tafero’s execution, the murder scene—as McGarrahan imagines it—haunts her. She finally allows herself three months to work on the case full time and her investigation spans continents. That’s all I’m going to say because the experience of inhabiting that investigation with McGarrahan is so intense readers should experience it for themselves.\u003c/p>\n\u003cp>For me, the even deeper draw here is McGarrahan’s struggle to come to terms with the evil she was drawn into as a young reporter. Here she is speaking of the blur of stories which gives her book its title:\u003c/p>\n\u003cblockquote>\u003cp>“There’s an old party game called Two Truths and a Lie. Maybe you’ve played it. Someone stands up and says a few things about herself, the more outlandish the better. The trick is in guessing which parts are made up and which are true, and the goal of the game is to get you believing something that never happened. … As played among friends over a few drinks, it’s harmless fun. But add an electric chair and put that game on the internet, and there’s a price to be paid. … [By] the listeners. The families. The witnesses. I was trapped in that game for twenty-five-years. I paid the price too.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Maybe that statement sounds a little self-aggrandizing, but once you read McGarrahan’s pensive book, you’ll understand how restrained she is in assessing the damage done.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Botched+Execution+Leads+To+A+Search+For+Answers+In+%27Two+Truths+And+A+Lie%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m obsessed with tales of obsession. Chances are, you are too, judging by the unflagging popularity of true crime stories presented in podcasts, documentaries, movies and books.\u003c/p>\n\u003cp>What sets Ellen McGarrahan’s just-published true crime book, \u003cem>Two Truths and a Lie,\u003c/em> above so many others I’ve read is the moral gravity of her presence on the page and the hollow-voiced lyricism of her writing style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893255 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-24-at-11.15.47-AM.png\" alt=\"\" width=\"299\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-24-at-11.15.47-AM.png 299w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-24-at-11.15.47-AM-160x214.png 160w\" sizes=\"(max-width: 299px) 100vw, 299px\">McGarrahan earned both qualities the hard way. Long ago, when she was a young reporter for \u003cem>The Miami Herald\u003c/em>, McGarrahan witnessed an execution gone wrong and she reported on the case and the executed man—a convicted murderer—by relying on, as she says, “the state’s version of events as the truth.” \u003cem>Two Truths and a Lie\u003c/em> delves deep into McGarrahan’s more than two-decade-long odyssey to rectify that mistake.\u003c/p>\n\u003cp>\u003cem>Two Truths and A Lie\u003c/em> opens in May of 1990 at a prison in Florida where McGarrahan has gathered with other reporters to witness the death by electrocution of Jesse Tafero for the murder of two police officers at a Florida rest stop in 1976. McGarrahan volunteered to be there because she wanted to prove herself. She was then the only woman in the \u003cem>Herald\u003c/em>‘s state capital bureau and she was young. “Five years earlier I’d been deconstructing \u003cem>The Executioner’s Song\u003c/em> in literature class at Yale,” she writes.\u003c/p>\n\u003cp>But nothing McGarrahan read could have prepared her for the grotesque reality of the execution that followed. Because of an electrical malfunction, Tafero’s head caught on fire. Months afterwards, a reporter friend advises the shaken McGarrahan to “Go see another one. … That’ll get it out of your mind.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, McGarrahan questions the point of journalism—her dream career—and takes off for California where she works on home construction sites. “In my tile work at the time,” she recalls, “I was setting a lot of limestone—countertops, walls, floors—and I kept noticing the fossils, tiny living creatures embedded in the stone, frozen forever exactly as they were when disaster hit. I thought, That’s me.”\u003c/p>\n\u003cp>Then, one evening McGarrahan returns home from work and turns on her TV to hear Barbara Walters announce that new evidence suggests that Tafero may have been innocent. Soon after, Fate intervenes to prompt McGarrahan—at the age of 32—to interview for a job as a private investigator.\u003c/p>\n\u003cp>McGarrahan doesn’t tell the head of the detective agency about the Tafero case. Nevertheless, when he hires her, the boss shrewdly says, “You are motivated by guilt, which means you will never stop till the job is done.” McGarrahan tells us her career as an investigator eventually brought her “full circle, to the mystery I’d tried so hard to leave behind.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You’ll notice I’m barely saying anything about that mystery: the question of who murdered those two police officers at that highway rest stop in 1976. Tafero was sleeping in a car at that rest stop, along with his girlfriend, her 9-year-old son, their baby daughter, and another man. One of the officers went to check on them and within minutes, both officers were shot dead.\u003c/p>\n\u003cp>Like Tafero’s execution, the murder scene—as McGarrahan imagines it—haunts her. She finally allows herself three months to work on the case full time and her investigation spans continents. That’s all I’m going to say because the experience of inhabiting that investigation with McGarrahan is so intense readers should experience it for themselves.\u003c/p>\n\u003cp>For me, the even deeper draw here is McGarrahan’s struggle to come to terms with the evil she was drawn into as a young reporter. Here she is speaking of the blur of stories which gives her book its title:\u003c/p>\n\u003cblockquote>\u003cp>“There’s an old party game called Two Truths and a Lie. Maybe you’ve played it. Someone stands up and says a few things about herself, the more outlandish the better. The trick is in guessing which parts are made up and which are true, and the goal of the game is to get you believing something that never happened. … As played among friends over a few drinks, it’s harmless fun. But add an electric chair and put that game on the internet, and there’s a price to be paid. … [By] the listeners. The families. The witnesses. I was trapped in that game for twenty-five-years. I paid the price too.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Maybe that statement sounds a little self-aggrandizing, but once you read McGarrahan’s pensive book, you’ll understand how restrained she is in assessing the damage done.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Botched+Execution+Leads+To+A+Search+For+Answers+In+%27Two+Truths+And+A+Lie%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Superman & Lois,' The Man Of Steel Faces His Biggest Challenge Yet: Fatherhood",
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"content": "\u003cp>For comic book fans like me, Superman is the ultimate superhero—able to leap tall buildings in a single bound and stop a nuclear reactor from exploding by dumping a huge, melting block of ice on top of it.\u003c/p>\n\u003cp>But on The CW’s new series \u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em>, our hero’s alter ego Clark Kent is no match for his mopey teenage son, Jordan, struggling with social anxiety disorder and angry that his dad always seems to be elsewhere, chasing a story for \u003cem data-stringify-type=\"italic\">The Daily Planet\u003c/em>. [aside postid='pop_4778']\u003c/p>\n\u003cp>In one exchange, Jordan is playing a video game as a character who is beating up Superman—talk about repressed, unconscious rage—when Clark tries to apologize for missing yet another therapy appointment.\u003c/p>\n\u003cp>“High school starts tomorrow,” Clark says, trying to commiserate. “I know freshman year was pretty tough for me. Did I ever tell you about the time I was the team manager of the football …?”\u003c/p>\n\u003cp>“Yeah, everyone duct taped you to a tractor,” Jordan sniffs. “Life’s a little different in Smallville than it is in Metropolis.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ouch. Felled by Rude Teenager Syndrome.\u003c/p>\n\u003cp>This update of the Superman legend features characters from The CW’s superhero universe of shows spun off from \u003cem data-stringify-type=\"italic\">Arrow—\u003c/em>like \u003cem data-stringify-type=\"italic\">The Flash\u003c/em> and \u003cem data-stringify-type=\"italic\">Supergirl\u003c/em>—called the “Arrowverse” in fanspeak. Here, Clark is married to Lois Lane and has twin teenage sons, named Jordan and Jonathan.\u003c/p>\n\u003cp>But the kids don’t know their dad is the world’s most powerful superhero. And even though Lois thinks fessing up may help Jordan with his anxiety issues, Clark doesn’t want to tell them—a position echoed by Lois’ dad, hard-charging Army general Sam Lane.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7xKLq97H-5A\u003c/p>\n\u003cp>To some Superman fans, this may sound like a trap worthy of Lex Luthor; the most legendary superhero in comics stuck with an overbearing father-in-law and a son who embodies every bratty teenager trope on television.\u003c/p>\n\u003cp>But \u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em> actually weaves a compelling story from the efforts of the character to balance his responsibility to the world with the time and attention he owes his family.\u003c/p>\n\u003cp>Many years ago, I read a quote from a science fiction writer who said that watching a superhuman man confront a problem is boring; he’s going to win. But watching a regular man confront a superhuman problem is where great drama lies.\u003c/p>\n\u003cp>\u003cem data-stringify-type=\"italic\">Superman & Lois\u003c/em> has it both ways—contrasting Superman’s struggle to beat a surprisingly powerful mystery villain with Clark Kent’s effort to connect with his family and handle a series of surprising losses.\u003c/p>\n\u003cp>After one such challenge—I won’t spoil exactly what—Superman prepares to fly off, once again, to catch the guy who is sabotaging nuclear power plants. Lois puts her foot down and tells him to stay for his family, only to get a lecture from Sam Lane.\u003c/p>\n\u003cp>“When you wanted to get married … I tried warning you,” says Lane, played with appropriate gruffness by \u003cem data-stringify-type=\"italic\">Nip/Tuck\u003c/em> alum Dylan Walsh. “You may have fallen in love with Clark Kent, but you married Superman. And Superman doesn’t get to have a normal life, no matter how much you want one for him.”\u003c/p>\n\u003cp>Okay, it sounds a little soap opera-ish. But The CW and executive producer Greg Berlanti have excelled in bringing characters from the DC Comics universe to TV by playing up their humanity through family drama and focusing a little less on how well they punch out bad guys.\u003c/p>\n\u003cp>That doesn’t mean they don’t make Superman look supercool in this series. In the show’s two-hour pilot, producers do an amazing job of depicting Superman’s powers, with special effects worthy of any big budget movie. [aside postid='pop_101544']\u003c/p>\n\u003cp>The show snatches bits of inspiration from several iterations of the character, from Zack Snyder’s \u003cem data-stringify-type=\"italic\">Man of Steel\u003c/em> to Bryan Singer’s \u003cem data-stringify-type=\"italic\">Superman Returns\u003c/em> and, of course, Christopher Reeve’s classic performance in Richard Donner’s 1978 film, \u003cem data-stringify-type=\"italic\">Superman\u003c/em>.\u003c/p>\n\u003cp>Tyler Hoechlin is particularly impressive as Clark/Superman, nailing the physicality of the Man of Steel while showing a geeky, good-humored appeal as Clark Kent. But the show’s writers will have to be careful about making sure Elizabeth Tulloch’s Lois Lane is more than the smart alecky wife who keeps spoiling Superman’s fun when he wants to go take on the bad guy.\u003c/p>\n\u003cp>Hoechlin and Tulloch have an easy chemistry honed by years of playing these characters on The CW’s other superhero shows; a little reminiscent of Dean Cain and Teri Hatcher on the mid-1990s series \u003cem data-stringify-type=\"italic\">Lois and Clark: The New Adventures of Superman\u003c/em>.\u003c/p>\n\u003cp>It’s tough to detail more about the plot without revealing key spoilers. But enough characters show up from the Superman universe that I’m eager to see the next episode—where learning to get along with his kids may be even more challenging for our hero than outracing a speeding bullet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio 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=In+%27Superman+%26+Lois%2C%27+The+Man+Of+Steel+Faces+His+Biggest+Challenge+Yet%3A+Fatherhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show snatches bits of inspiration from several iterations of the character, from Zack Snyder’s \u003cem data-stringify-type=\"italic\">Man of Steel\u003c/em> to Bryan Singer’s \u003cem data-stringify-type=\"italic\">Superman Returns\u003c/em> and, of course, Christopher Reeve’s classic performance in Richard Donner’s 1978 film, \u003cem data-stringify-type=\"italic\">Superman\u003c/em>.\u003c/p>\n\u003cp>Tyler Hoechlin is particularly impressive as Clark/Superman, nailing the physicality of the Man of Steel while showing a geeky, good-humored appeal as Clark Kent. But the show’s writers will have to be careful about making sure Elizabeth Tulloch’s Lois Lane is more than the smart alecky wife who keeps spoiling Superman’s fun when he wants to go take on the bad guy.\u003c/p>\n\u003cp>Hoechlin and Tulloch have an easy chemistry honed by years of playing these characters on The CW’s other superhero shows; a little reminiscent of Dean Cain and Teri Hatcher on the mid-1990s series \u003cem data-stringify-type=\"italic\">Lois and Clark: The New Adventures of Superman\u003c/em>.\u003c/p>\n\u003cp>It’s tough to detail more about the plot without revealing key spoilers. But enough characters show up from the Superman universe that I’m eager to see the next episode—where learning to get along with his kids may be even more challenging for our hero than outracing a speeding bullet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio 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=In+%27Superman+%26+Lois%2C%27+The+Man+Of+Steel+Faces+His+Biggest+Challenge+Yet%3A+Fatherhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The history of film is inseparable from immigration. Newcomers to America didn’t merely pack the nickelodeons and movie palaces, they invented Hollywood. Ever since silent film days, filmmakers have sought to chronicle our vast immigrant experience—from the Sicilian Corleones gaining power through crime in \u003ca href=\"https://www.npr.org/2016/11/15/502250244/to-make-the-godfather-his-way-francis-ford-coppola-waged-a-studio-battle\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Godfather\u003c/em>\u003c/a> to Pakistani-born \u003ca href=\"https://www.npr.org/2017/07/12/536822055/how-a-medically-induced-coma-led-to-love-marriage-and-the-big-sick\" target=\"_blank\" rel=\"noopener noreferrer\">Kumail Nanjiani\u003c/a> alienating his Muslim parents by falling for a white American girl in \u003ca href=\"https://www.npr.org/2017/06/22/533639952/the-big-sick-is-a-tonic-for-what-ails-you\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Big Sick\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The travails of immigrant life take a quietly beguiling form in \u003cem>Minari\u003c/em>, a semi-autobiographical film by Lee Isaac Chung that brims with humor, humanity and hope. Showing us characters new to American screens, the story centers on a South Korean family named Yi who hope to make a go of farming in rural Arkansas during the Reagan years. \u003cem>Minari\u003c/em> takes its title from the name of a spicy Asian plant that’s known for its hardiness and ability to grow seemingly anywhere. The question is, will the same prove true of the Yi family?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KQ0gFidlro8\u003c/p>\n\u003cp>The action begins with the four of them arriving in the Ozarks from California. The new farm’s dark soil thrills the father, Jacob (\u003ca href=\"https://www.npr.org/2018/11/14/667811926/steven-yeun-wont-say-whether-or-not-his-burning-character-is-a-psychopath\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Yeun\u003c/a>) who plans to grow Korean vegetables to sell in the city. In contrast, his wife Monica (Yeri Han) is aghast to be living in an unalluring mobile home out in the boonies. Somewhere in the middle are their kids—impish 7-year David (Alan Kim), who suffers from a heart condition, and his older sister, Anne (Noel Kate Cho), who’s stuck being the responsible one.\u003c/p>\n\u003cp>Farming proves tricky for Jacob who takes on a friendly, war-damaged farmhand (Will Patton), yet makes a mess of the irrigation system. Sensing Monica’s loneliness, he sends to Korea for her mother, played by the fantastically good Yuh-jung Youn, whose sly, foul-mouthed brio gives the house—and the whole movie—a happy boost, even if young David thinks she smells. Watching this freewheeling grandma win over her equally unruly grandson is one of the film’s many pleasures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lee fills \u003cem>Minari\u003c/em> with countless details that shimmer with the specificity of the authentically lived: the huge bottles of Mountain Dew that are guzzled like water; grandma’s delight in playing cards and watching TV wrestling; the kids writing “Don’t fight” on paper-airplanes as their folks shout at each other; Monica and Jacob spending their days sorting chickens by sex at a local poultry farm. (The male chicks are destroyed—they don’t lay eggs.)\u003c/p>\n\u003cp>Although Chung doesn’t ignore life’s catastrophes, he spares us the grinding misery that’s a staple of so many immigrant tales. The Yis \u003cem>do\u003c/em> struggle financially, but only like millions of others in this country. And even when they encounter racism it seems to resolve benignly, as when a local kid asks David why his face is “so flat” and the two soon become friends. The Yis are Christians and the local church welcomes its Korean-speaking new parishioners with a warmth that is genuinely Christian. [aside postid='arts_13304169']\u003c/p>\n\u003cp>The more painful troubles lie at home where Monica and Jacob engage in a battle about how to live. Fearing that her husband cares more about the farm than his family, she yearns to return to an orderly sort of life back in California where she can be close to her culture, attend her familiar Korean church, and they can find secure, steady work sorting chickens. Jacob has lived that life and doesn’t want it. At once proud and ambitious, dreamy and angry—all this percolates beneath Yeun’s good looks—he’s prepared to take big risks to be his own boss, even if he makes mistakes doing it. He’s becoming more American.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I promise that if you see \u003cem>Minari\u003c/em>, you’ll be happy you did. Yet I don’t want to oversell it. It’s too gentle, conventional and modest for that. Yet shining through the film’s modesty is Chung’s faith that what appears to be a small story can, in human terms, be bigger than a blockbuster. He reminds us that the deepest truths of immigration are found, not in statistics or abstractions, but in the countless small stories of individuals and families fighting to find a new place to call home.\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=%27Minari%27+Follows+A+Family%27s+Immigration+With+Humor%2C+Humanity+And+Hope&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The history of film is inseparable from immigration. Newcomers to America didn’t merely pack the nickelodeons and movie palaces, they invented Hollywood. Ever since silent film days, filmmakers have sought to chronicle our vast immigrant experience—from the Sicilian Corleones gaining power through crime in \u003ca href=\"https://www.npr.org/2016/11/15/502250244/to-make-the-godfather-his-way-francis-ford-coppola-waged-a-studio-battle\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Godfather\u003c/em>\u003c/a> to Pakistani-born \u003ca href=\"https://www.npr.org/2017/07/12/536822055/how-a-medically-induced-coma-led-to-love-marriage-and-the-big-sick\" target=\"_blank\" rel=\"noopener noreferrer\">Kumail Nanjiani\u003c/a> alienating his Muslim parents by falling for a white American girl in \u003ca href=\"https://www.npr.org/2017/06/22/533639952/the-big-sick-is-a-tonic-for-what-ails-you\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Big Sick\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The travails of immigrant life take a quietly beguiling form in \u003cem>Minari\u003c/em>, a semi-autobiographical film by Lee Isaac Chung that brims with humor, humanity and hope. Showing us characters new to American screens, the story centers on a South Korean family named Yi who hope to make a go of farming in rural Arkansas during the Reagan years. \u003cem>Minari\u003c/em> takes its title from the name of a spicy Asian plant that’s known for its hardiness and ability to grow seemingly anywhere. The question is, will the same prove true of the Yi family?\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/KQ0gFidlro8'\n title='//www.youtube.com/embed/KQ0gFidlro8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The action begins with the four of them arriving in the Ozarks from California. The new farm’s dark soil thrills the father, Jacob (\u003ca href=\"https://www.npr.org/2018/11/14/667811926/steven-yeun-wont-say-whether-or-not-his-burning-character-is-a-psychopath\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Yeun\u003c/a>) who plans to grow Korean vegetables to sell in the city. In contrast, his wife Monica (Yeri Han) is aghast to be living in an unalluring mobile home out in the boonies. Somewhere in the middle are their kids—impish 7-year David (Alan Kim), who suffers from a heart condition, and his older sister, Anne (Noel Kate Cho), who’s stuck being the responsible one.\u003c/p>\n\u003cp>Farming proves tricky for Jacob who takes on a friendly, war-damaged farmhand (Will Patton), yet makes a mess of the irrigation system. Sensing Monica’s loneliness, he sends to Korea for her mother, played by the fantastically good Yuh-jung Youn, whose sly, foul-mouthed brio gives the house—and the whole movie—a happy boost, even if young David thinks she smells. Watching this freewheeling grandma win over her equally unruly grandson is one of the film’s many pleasures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The more painful troubles lie at home where Monica and Jacob engage in a battle about how to live. Fearing that her husband cares more about the farm than his family, she yearns to return to an orderly sort of life back in California where she can be close to her culture, attend her familiar Korean church, and they can find secure, steady work sorting chickens. Jacob has lived that life and doesn’t want it. At once proud and ambitious, dreamy and angry—all this percolates beneath Yeun’s good looks—he’s prepared to take big risks to be his own boss, even if he makes mistakes doing it. He’s becoming more American.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I promise that if you see \u003cem>Minari\u003c/em>, you’ll be happy you did. Yet I don’t want to oversell it. It’s too gentle, conventional and modest for that. Yet shining through the film’s modesty is Chung’s faith that what appears to be a small story can, in human terms, be bigger than a blockbuster. He reminds us that the deepest truths of immigration are found, not in statistics or abstractions, but in the countless small stories of individuals and families fighting to find a new place to call home.\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=%27Minari%27+Follows+A+Family%27s+Immigration+With+Humor%2C+Humanity+And+Hope&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "In a Season Highlighting Diversity, ‘The Bachelor’ Lands in Controversy Around Race | KQED",
"content": "\u003cp>Controversy has once again come to \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>For almost 20 years, the franchise’s producers have churned out love stories at a nearly break-neck pace on the show and its spinoffs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise\u003c/em>. The franchise’s record on diversity, however, has been notably slow. In 2012, two Black men who had auditioned for the show \u003ca href=\"https://www.npr.org/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener noreferrer\">filed an unsuccessful class-action lawsuit\u003c/a> against it for racial discrimination. It took 15 years for the franchise to announce a Black lead, Bachelorette Rachel Lindsay in 2017.\u003c/p>\n\u003cp>Fans and contestants alike hoped that the casting of Matt James last year as the first black man to star in \u003cem>The Bachelor \u003c/em>would represent a shift for the show. However, despite starting this season with the most diverse cast in the franchise’s history, the show is again facing criticism around race. [aside postid='pop_27797']\u003c/p>\n\u003cp>Earlier this month, photos emerged of contestant Rachael Kirkconnell wearing an antebellum-style plantation dress at an “Old-South” party in 2018. Other photos allegedly show her wearing Native American clothing as a costume.\u003c/p>\n\u003cp>Kirckconnell issued \u003ca href=\"https://www.instagram.com/p/CLK5YDHHDQT/\" target=\"_blank\" rel=\"noopener noreferrer\">an apology\u003c/a>, saying “my ignorance was racist,” but the controversy was further exacerbated when host Chris Harrison sat down with Lindsay for an interview with \u003cem>Extra\u003c/em>. During the interview, Harrison condemned the “woke police” and defended Kirkconnell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These girls got dressed up and went to a party and had a great time; they were 18 years old. Now, does that make it okay? I don’t know, Rachael, you tell me,” Harrison said. His remarks were met with condemnation from many former contestants. He has since apologized and \u003ca href=\"https://www.instagram.com/p/CLPmjrFgEv8/\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> that he will temporarily be stepping away from the show.\u003c/p>\n\u003cp>To Brandy Monk-Payton, a media and Black cultural studies scholar at Fordham University, the show’s most recent controversy is anything but surprising.\u003c/p>\n\u003cp>“The franchise has been critiqued at the level of diversity, equity and inclusion for at least a decade,” she tells Michel Martin in \u003ca href=\"https://www.npr.org/2021/02/20/969800203/racism-controversy-rocks-bachelor-nation\" target=\"_blank\" rel=\"noopener noreferrer\">an interview on \u003cem>All Things Considered\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>According to Monk-Payton—who previously wrote about Lindsay’s role as the first Black \u003cem>Bachelorette—\u003c/em>the franchise’s problem with diversity is tied to a reluctance to make substantial production changes.\u003c/p>\n\u003cp>“I think that the franchise in general courts diversity. It goes to great lengths to promote itself as being more inclusive and equitable. They hire consultants, for example, but it does not fundamentally commit to a kind of long standing change in front of and behind the camera,” she says.\u003c/p>\n\u003cp>When asked about diversity on \u003cem>The Bachelor \u003c/em>in 2011, series creator Mike Fleiss\u003ca href=\"https://ew.com/article/2011/03/15/the-bachelor-creator-ashley-h/\" target=\"_blank\" rel=\"noopener noreferrer\"> said \u003c/a>in an interview with \u003cem>Entertainment Weekly \u003c/em>that people of color simply didn’t audition for the show.\u003c/p>\n\u003cp>“We really tried, but sometimes we feel guilty of tokenism. Oh, we have to wedge African-American chicks in there! We always want to cast for ethnic diversity, it’s just that for whatever reason, they don’t come forward. I wish they would,” Fleiss said.\u003c/p>\n\u003cp>Monk-Payton argues that the franchise’s penchant for drama helps lay the groundwork for continuous controversy. [aside postid='pop_104953']\u003c/p>\n\u003cp>“I also think that there is a little bit of a sense that there will be controversial characters and these cast members will express themselves or have behavior that will be on camera. And you can get a money shot. Like you can get, you know, a sort of dramatic scene. You can get a reveal or an exposure that is highly lucrative for the entire franchise in terms of audience attention,” she says.\u003c/p>\n\u003cp>On the question of whether the show exploits stereotypes, Monk-Payton believes that \u003cem>The\u003c/em> \u003cem>Bachelor\u003c/em>‘s traditional goal of engagement inhibits its ability to challenge negative attitudes or views.\u003c/p>\n\u003cp>“I want to put it into the context of it being a reality show. It attempts to have claims on certain forms of authenticity and truth that other fictional shows don’t. And so I think that it has tried to critique various stereotypical ideas around Black womanhood, femininity and masculinity. But there’s a way in which when it’s placed in this very conventional, traditional, hetero-normative idea of marriage, that it becomes incredibly hard to get out of those frameworks that are really constricting.” she says.\u003c/p>\n\u003cp>Monk-Payton, like many fans of color, has watched the show for years, despite the fact that she doesn’t see herself represented in its content. But she knows why she’ll continue to tune in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, as a Black woman who considers herself to be part of \u003cem>The Bachelor\u003c/em> Nation fandom, I’ve actually always had an ambivalent relationship to the franchise and its overwhelming whiteness. It is historically never spoken to me in terms of its representation of romance. And not only that, but also who gets to be an object of desire. And there is still something, however contrived, about the kind of fantasy of being romanced in a spectacular way that allures and also endures.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+A+Season+Highlighting+Diversity%2C+%27The+Bachelor%27+Lands+In+Controversy+Around+Race&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Controversy has once again come to \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>For almost 20 years, the franchise’s producers have churned out love stories at a nearly break-neck pace on the show and its spinoffs, \u003cem>The Bachelorette\u003c/em> and \u003cem>Bachelor in Paradise\u003c/em>. The franchise’s record on diversity, however, has been notably slow. In 2012, two Black men who had auditioned for the show \u003ca href=\"https://www.npr.org/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener noreferrer\">filed an unsuccessful class-action lawsuit\u003c/a> against it for racial discrimination. It took 15 years for the franchise to announce a Black lead, Bachelorette Rachel Lindsay in 2017.\u003c/p>\n\u003cp>Fans and contestants alike hoped that the casting of Matt James last year as the first black man to star in \u003cem>The Bachelor \u003c/em>would represent a shift for the show. However, despite starting this season with the most diverse cast in the franchise’s history, the show is again facing criticism around race. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, photos emerged of contestant Rachael Kirkconnell wearing an antebellum-style plantation dress at an “Old-South” party in 2018. Other photos allegedly show her wearing Native American clothing as a costume.\u003c/p>\n\u003cp>Kirckconnell issued \u003ca href=\"https://www.instagram.com/p/CLK5YDHHDQT/\" target=\"_blank\" rel=\"noopener noreferrer\">an apology\u003c/a>, saying “my ignorance was racist,” but the controversy was further exacerbated when host Chris Harrison sat down with Lindsay for an interview with \u003cem>Extra\u003c/em>. During the interview, Harrison condemned the “woke police” and defended Kirkconnell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These girls got dressed up and went to a party and had a great time; they were 18 years old. Now, does that make it okay? I don’t know, Rachael, you tell me,” Harrison said. His remarks were met with condemnation from many former contestants. He has since apologized and \u003ca href=\"https://www.instagram.com/p/CLPmjrFgEv8/\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> that he will temporarily be stepping away from the show.\u003c/p>\n\u003cp>To Brandy Monk-Payton, a media and Black cultural studies scholar at Fordham University, the show’s most recent controversy is anything but surprising.\u003c/p>\n\u003cp>“The franchise has been critiqued at the level of diversity, equity and inclusion for at least a decade,” she tells Michel Martin in \u003ca href=\"https://www.npr.org/2021/02/20/969800203/racism-controversy-rocks-bachelor-nation\" target=\"_blank\" rel=\"noopener noreferrer\">an interview on \u003cem>All Things Considered\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>According to Monk-Payton—who previously wrote about Lindsay’s role as the first Black \u003cem>Bachelorette—\u003c/em>the franchise’s problem with diversity is tied to a reluctance to make substantial production changes.\u003c/p>\n\u003cp>“I think that the franchise in general courts diversity. It goes to great lengths to promote itself as being more inclusive and equitable. They hire consultants, for example, but it does not fundamentally commit to a kind of long standing change in front of and behind the camera,” she says.\u003c/p>\n\u003cp>When asked about diversity on \u003cem>The Bachelor \u003c/em>in 2011, series creator Mike Fleiss\u003ca href=\"https://ew.com/article/2011/03/15/the-bachelor-creator-ashley-h/\" target=\"_blank\" rel=\"noopener noreferrer\"> said \u003c/a>in an interview with \u003cem>Entertainment Weekly \u003c/em>that people of color simply didn’t audition for the show.\u003c/p>\n\u003cp>“We really tried, but sometimes we feel guilty of tokenism. Oh, we have to wedge African-American chicks in there! We always want to cast for ethnic diversity, it’s just that for whatever reason, they don’t come forward. I wish they would,” Fleiss said.\u003c/p>\n\u003cp>Monk-Payton argues that the franchise’s penchant for drama helps lay the groundwork for continuous controversy. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I also think that there is a little bit of a sense that there will be controversial characters and these cast members will express themselves or have behavior that will be on camera. And you can get a money shot. Like you can get, you know, a sort of dramatic scene. You can get a reveal or an exposure that is highly lucrative for the entire franchise in terms of audience attention,” she says.\u003c/p>\n\u003cp>On the question of whether the show exploits stereotypes, Monk-Payton believes that \u003cem>The\u003c/em> \u003cem>Bachelor\u003c/em>‘s traditional goal of engagement inhibits its ability to challenge negative attitudes or views.\u003c/p>\n\u003cp>“I want to put it into the context of it being a reality show. It attempts to have claims on certain forms of authenticity and truth that other fictional shows don’t. And so I think that it has tried to critique various stereotypical ideas around Black womanhood, femininity and masculinity. But there’s a way in which when it’s placed in this very conventional, traditional, hetero-normative idea of marriage, that it becomes incredibly hard to get out of those frameworks that are really constricting.” she says.\u003c/p>\n\u003cp>Monk-Payton, like many fans of color, has watched the show for years, despite the fact that she doesn’t see herself represented in its content. But she knows why she’ll continue to tune in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I mean, as a Black woman who considers herself to be part of \u003cem>The Bachelor\u003c/em> Nation fandom, I’ve actually always had an ambivalent relationship to the franchise and its overwhelming whiteness. It is historically never spoken to me in terms of its representation of romance. And not only that, but also who gets to be an object of desire. And there is still something, however contrived, about the kind of fantasy of being romanced in a spectacular way that allures and also endures.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+A+Season+Highlighting+Diversity%2C+%27The+Bachelor%27+Lands+In+Controversy+Around+Race&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "You Actually Will Be Talking About 'No One is Talking About This'",
"headTitle": "You Actually Will Be Talking About ‘No One is Talking About This’ | KQED",
"content": "\u003cp>Writing is a calling for Patricia Lockwood, as she made clear in her sacred and profane, lyrical and bawdy 2017 memoir,\u003cem> Priestdaddy. \u003c/em>While still in her teens, she took the vows of literature and became “a person who almost never left the house.” Art became her emissary. She confessed: “This is the secret: when I encounter myself on the page, I am shocked at how forceful I seem. On the page I am strong, because that is where I put my strength.”\u003c/p>\n\u003cp>Now Lockwood has put that strength into her first novel, \u003cem>No One is Talking About This, \u003c/em>which leaves no doubt that she still takes her literary vocation seriously. It’s another attention-grabbing mind-blower which toggles between irony and sincerity, sweetness and blight.\u003c/p>\n\u003cp>Her unnamed narrator is a social media star who achieved prominence when her post, “Can a dog be twins?” went viral. This led to speaking engagements around the world, at one of which a man asks, “This is your contribution to society?”\u003c/p>\n\u003cp>Even as Lockwood’s narrator acknowledges the difficulty of writing about what she calls “the portal”—especially without “a strong whiff of old white individuals being weird about the blues”—she attempts just that in the first half of this novel. In the second half, the portal’s hold on her vaporizes when real life intrudes urgently, in terrible but also surprisingly beautiful ways. Important lessons ensue.\u003c/p>\n\u003cp>Lockwood deftly captures a life lived predominantly online in the “blizzard of everything,” this “place of the great melting,” with its vapid, mind-numbing, addictive culture. Her insider tour carefully showcases the “new shared sense of humor” and “elastic and snappable verbal play” that so insidiously morphs into jargon, dogma, and doctrine. This portrait of a disturbing world where the center will not hold is a tour de force that recalls Joan Didion’s portrait of the dissolute 1960s drug culture of Haight-Ashbury in her seminal essay, “Slouching Towards Bethlehem.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Didion—and Nora Ephron—Lockwood is a master of sweeping, eminently quotable proclamations that fearlessly aim to encapsulate whole movements and eras: “White people, who had the political educations of potatoes—lumpy, unseasoned, and biased toward the Irish—were suddenly feeling compelled to speak out about injustice. This happened once every 40 years on average, usually after a period when folk music became popular again,” she writes. Unfortunately, much of her humor is too raunchy to be quoted here. [aside postid='arts_13891014']\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Although written before the January 6th attack on the Capitol by Trump supporters, there’s an eerie timeliness to Lockwood’s observations about the dark side of social media. She addresses many of the issues raised by \u003cem>New York Times \u003c/em>media columnist and former \u003cem>BuzzFeed\u003c/em> editor-in-chief Ben Smith in \u003ca href=\"https://www.nytimes.com/2021/01/10/business/media/capitol\" target=\"_blank\" rel=\"noopener noreferrer\">a piece written after the siege\u003c/a>, in which he reminds us that “evil can just start with bad jokes and nihilistic behavior that is fueled by positive reinforcement on various platforms” and the “almost irresistible gravitational pull” of “getting more attention from more people than you ever have.”\u003c/p>\n\u003cp>Lockwood’s media maven laments how a shared sense of irony and mockery turned on itself, and what was meant to be a source of connection and individuality became instead a disturbing source of disconnection, derision, and worse. She writes of a generation that “had spent most of its time online making incredibly bigoted jokes in order to laugh at the idiots who were stupid enough to think they meant it. Except after a while they did mean it, and then somehow at the end of it they were Nazis.”\u003c/p>\n\u003cp>Readers may well wonder where Lockwood is going with this. Some will be less charmed by the subversive humor than others. But hang in there. The novel shifts into another realm after the narrator receives a text from her mother about dire problems with her younger sister’s pregnancy.\u003c/p>\n\u003cp>In response to this wakeup call, Lockwood’s narrator becomes “a citizen of necessity.” She moves into the world of NICUs, a place where urgency is real, and wonders, “Why had she entered the portal in the first place? Because she wanted to be a creature of pure call and response: she wanted to delight and to be delighted.” [aside postid='arts_13167368']\u003c/p>\n\u003cp>Instead, she finds something far more affecting, and what results is a sort of conversion story in which sincerity supersedes irony. “It was a marvel how cleanly and completely this lifted her out of the stream of regular life,” Lockwood writes. “She wanted to stop people on the street and say, ‘Do you know about this? You should know about this. No one is talking about this!'”\u003c/p>\n\u003cp>Lockwood acknowledges that her novel is based on her niece’s heartbreaking case—the first person ever to be diagnosed in utero with Proteus Syndrome, a one-in-a-billion disorder whose most famous sufferer was the Elephant Man. It’s a testament to her skills as a rare writer who can navigate both sleaze and cheese, jokey tweets and surprising earnestness, that we not only buy her character’s emotional epiphany but are moved by it.\u003c/p>\n\u003cp>Of course, people \u003cem>will\u003c/em> be talking about this meaty book, and about the questions Lockwood raises about what a human being is, what a brain is, and most important, what really matters. “What did we have the right to expect from this life?” her narrator asks. “What were the terms of the contract? … Could we … could we \u003cem>post \u003c/em>about it?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892955 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-18-at-1.42.19-PM-800x1254.png\" alt=\"\" width=\"800\" height=\"1254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-18-at-1.42.19-PM-800x1254.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-18-at-1.42.19-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-18-at-1.42.19-PM-768x1204.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-18-at-1.42.19-PM.png 832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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=You+Actually+Will+Be+Talking+About+%27No+One+Is+Talking+About+This%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writing is a calling for Patricia Lockwood, as she made clear in her sacred and profane, lyrical and bawdy 2017 memoir,\u003cem> Priestdaddy. \u003c/em>While still in her teens, she took the vows of literature and became “a person who almost never left the house.” Art became her emissary. She confessed: “This is the secret: when I encounter myself on the page, I am shocked at how forceful I seem. On the page I am strong, because that is where I put my strength.”\u003c/p>\n\u003cp>Now Lockwood has put that strength into her first novel, \u003cem>No One is Talking About This, \u003c/em>which leaves no doubt that she still takes her literary vocation seriously. It’s another attention-grabbing mind-blower which toggles between irony and sincerity, sweetness and blight.\u003c/p>\n\u003cp>Her unnamed narrator is a social media star who achieved prominence when her post, “Can a dog be twins?” went viral. This led to speaking engagements around the world, at one of which a man asks, “This is your contribution to society?”\u003c/p>\n\u003cp>Even as Lockwood’s narrator acknowledges the difficulty of writing about what she calls “the portal”—especially without “a strong whiff of old white individuals being weird about the blues”—she attempts just that in the first half of this novel. In the second half, the portal’s hold on her vaporizes when real life intrudes urgently, in terrible but also surprisingly beautiful ways. Important lessons ensue.\u003c/p>\n\u003cp>Lockwood deftly captures a life lived predominantly online in the “blizzard of everything,” this “place of the great melting,” with its vapid, mind-numbing, addictive culture. Her insider tour carefully showcases the “new shared sense of humor” and “elastic and snappable verbal play” that so insidiously morphs into jargon, dogma, and doctrine. This portrait of a disturbing world where the center will not hold is a tour de force that recalls Joan Didion’s portrait of the dissolute 1960s drug culture of Haight-Ashbury in her seminal essay, “Slouching Towards Bethlehem.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Didion—and Nora Ephron—Lockwood is a master of sweeping, eminently quotable proclamations that fearlessly aim to encapsulate whole movements and eras: “White people, who had the political educations of potatoes—lumpy, unseasoned, and biased toward the Irish—were suddenly feeling compelled to speak out about injustice. This happened once every 40 years on average, usually after a period when folk music became popular again,” she writes. Unfortunately, much of her humor is too raunchy to be quoted here. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Although written before the January 6th attack on the Capitol by Trump supporters, there’s an eerie timeliness to Lockwood’s observations about the dark side of social media. She addresses many of the issues raised by \u003cem>New York Times \u003c/em>media columnist and former \u003cem>BuzzFeed\u003c/em> editor-in-chief Ben Smith in \u003ca href=\"https://www.nytimes.com/2021/01/10/business/media/capitol\" target=\"_blank\" rel=\"noopener noreferrer\">a piece written after the siege\u003c/a>, in which he reminds us that “evil can just start with bad jokes and nihilistic behavior that is fueled by positive reinforcement on various platforms” and the “almost irresistible gravitational pull” of “getting more attention from more people than you ever have.”\u003c/p>\n\u003cp>Lockwood’s media maven laments how a shared sense of irony and mockery turned on itself, and what was meant to be a source of connection and individuality became instead a disturbing source of disconnection, derision, and worse. She writes of a generation that “had spent most of its time online making incredibly bigoted jokes in order to laugh at the idiots who were stupid enough to think they meant it. Except after a while they did mean it, and then somehow at the end of it they were Nazis.”\u003c/p>\n\u003cp>Readers may well wonder where Lockwood is going with this. Some will be less charmed by the subversive humor than others. But hang in there. The novel shifts into another realm after the narrator receives a text from her mother about dire problems with her younger sister’s pregnancy.\u003c/p>\n\u003cp>In response to this wakeup call, Lockwood’s narrator becomes “a citizen of necessity.” She moves into the world of NICUs, a place where urgency is real, and wonders, “Why had she entered the portal in the first place? Because she wanted to be a creature of pure call and response: she wanted to delight and to be delighted.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, she finds something far more affecting, and what results is a sort of conversion story in which sincerity supersedes irony. “It was a marvel how cleanly and completely this lifted her out of the stream of regular life,” Lockwood writes. “She wanted to stop people on the street and say, ‘Do you know about this? You should know about this. No one is talking about this!'”\u003c/p>\n\u003cp>Lockwood acknowledges that her novel is based on her niece’s heartbreaking case—the first person ever to be diagnosed in utero with Proteus Syndrome, a one-in-a-billion disorder whose most famous sufferer was the Elephant Man. It’s a testament to her skills as a rare writer who can navigate both sleaze and cheese, jokey tweets and surprising earnestness, that we not only buy her character’s emotional epiphany but are moved by it.\u003c/p>\n\u003cp>Of course, people \u003cem>will\u003c/em> be talking about this meaty book, and about the questions Lockwood raises about what a human being is, what a brain is, and most important, what really matters. “What did we have the right to expect from this life?” her narrator asks. “What were the terms of the contract? … Could we … could we \u003cem>post \u003c/em>about it?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892955 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-18-at-1.42.19-PM-800x1254.png\" alt=\"\" width=\"800\" height=\"1254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-18-at-1.42.19-PM-800x1254.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-18-at-1.42.19-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-18-at-1.42.19-PM-768x1204.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-18-at-1.42.19-PM.png 832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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=You+Actually+Will+Be+Talking+About+%27No+One+Is+Talking+About+This%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'It's a Sin' Series, Set During AIDS Epidemic, Resonates During COVID-19",
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"content": "\u003cp>Pop culture has a genius for transforming painful history into enjoyable entertainment. It can turn Nazi POW camps into the sitcom \u003cem>Hogan’s Heroes\u003c/em>. It can spin the murder of Israeli athletes into the thriller \u003cem>Munich\u003c/em>. It can use the 1921 race massacre in Tulsa to kickstart the superhero saga \u003cem>Watchmen\u003c/em>.\u003c/p>\n\u003cp>The emergence of AIDS provides the impetus for \u003cem>It’s a Sin\u003c/em>, a hit British series about five young people who share a London apartment over the years from 1981 to ’91. The show is the semi-autobiographical brainchild of Russell T. Davies, a writer best known for creating \u003cem>Queer as Folk\u003c/em> and resurrecting \u003cem>Doctor Who\u003c/em>. With his gimlet eye for the pop jugular, Davies turns the story of that deadly pandemic into a soapy drama that, like many dance songs from that era, is equal parts bounciness and woe. [aside postid='arts_13858699']\u003c/p>\n\u003cp>The series begins with the coming together of five gay—or gay friendly—characters. There’s cocky, self-involved Ritchie (played by pop star Olly Alexander) who wants to be an actor. There’s campy Roscoe, who’s been booted from his home by his Nigerian Christian family and hooks up with a Conservative MP (Stephen Fry). There’s sturdy Ash Mukherjee, an attractive teacher, and the touchingly naive Colin, a young Welshman who works for a Savile Row tailor. Holding the house all together is Jill (Lydia West), another aspiring actor based on Davies’ real-life best friend.\u003c/p>\n\u003cp>By day, the five try to make their careers. By night, they party—laughing and dancing and shagging like sex is going out of style. Ritchie, the group’s showman, gives blithe speeches mocking rumors of a disease that attacks gay people. “How do I know it’s not true?” he asks. “Because I’m not stupid.” But he \u003cem>is\u003c/em> wrong. The first real inkling comes from Colin’s gay mentor at the tailor shop, played by \u003ca href=\"https://www.npr.org/2014/10/13/354997298/whats-it-like-to-be-neil-patrick-harris-he-gives-you-options\" target=\"_blank\" rel=\"noopener noreferrer\">Neil Patrick Harris\u003c/a>, when his longtime boyfriend is put in the hospital.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnR5DxP2e2g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Davies’ shows have always known how to grab you, but even his admirers would never fault him for subtlety. Not overly concerned with getting things absolutely right, he largely ignores the lives of middle-aged gays and lesbians; he makes the gay clubs sleeker and less grungy than they actually were. If you want a deep and nuanced portrait of HIV hitting London during the Thatcher Era, you’ll do far better reading \u003ca href=\"https://www.npr.org/2018/03/13/593216611/author-alan-hollinghurst-on-secret-affairs-narrative-gaps-and-writing-gay-sex\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Hollinghurst\u003c/a>‘s novel \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5337693\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Line of Beauty\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The show’s aim is to make us feel both sides of gay life in those years. He celebrates its hedonistic freedom and sheer fun—the show’s fueled by songs from \u003ca href=\"https://www.npr.org/artists/512831993/blondie\" target=\"_blank\" rel=\"noopener noreferrer\">Blondie\u003c/a>, Erasure, and the \u003ca href=\"https://www.npr.org/artists/15827120/pet-shop-boys\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Shop Boys\u003c/a>, one of whose anthems gives this series its title.\u003c/p>\n\u003cp>But he also wants us to feel the tragedy. And we do. The show is unexpectedly moving, especially Colin’s thread. Characters we like die miserable deaths, and those who don’t struggle against both a profound sense of loss \u003cem>and\u003c/em> a society that seemingly doesn’t care. Everyone is deepened, even the narcissistic Ritchie. [aside postid='arts_13881934']\u003c/p>\n\u003cp>\u003cem>It’s a Sin\u003c/em> is far from perfect. Davies originally wrote the show to be eight episodes but could only get funding for five, so the action feels rushed. More space might have let him give his female characters more dimension. While West makes a wonderful Jill, her character is so busy being saintly she has no inner complexity or even sexuality. At the other end, Ritchie’s mum—ferociously played by Keeley Hawes—displays such villainous rigidity that the role verges on misogyny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet for all that, \u003cem>It’s a Sin\u003c/em> resonates emotionally—especially during the pandemic. As with COVID-19, AIDS had its deniers and its conspiracy theorists. It had government heads who didn’t take it seriously and scads of ordinary people who, feeling unthreatened themselves, believed the victims were dispensable. And just like COVID-19, AIDS led to hundreds of thousands of people dying largely out of sight and often alone, cut off from those who knew them best and loved them most. Watching this series, you may think that the \u003cem>real\u003c/em> sin is how we turn viruses into moral and political battles.\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=%27It%27s+A+Sin%27+Series%2C+Set+During+AIDS+Epidemic%2C+Resonates+During+COVID-19&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Davies’ shows have always known how to grab you, but even his admirers would never fault him for subtlety. Not overly concerned with getting things absolutely right, he largely ignores the lives of middle-aged gays and lesbians; he makes the gay clubs sleeker and less grungy than they actually were. If you want a deep and nuanced portrait of HIV hitting London during the Thatcher Era, you’ll do far better reading \u003ca href=\"https://www.npr.org/2018/03/13/593216611/author-alan-hollinghurst-on-secret-affairs-narrative-gaps-and-writing-gay-sex\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Hollinghurst\u003c/a>‘s novel \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5337693\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Line of Beauty\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The show’s aim is to make us feel both sides of gay life in those years. He celebrates its hedonistic freedom and sheer fun—the show’s fueled by songs from \u003ca href=\"https://www.npr.org/artists/512831993/blondie\" target=\"_blank\" rel=\"noopener noreferrer\">Blondie\u003c/a>, Erasure, and the \u003ca href=\"https://www.npr.org/artists/15827120/pet-shop-boys\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Shop Boys\u003c/a>, one of whose anthems gives this series its title.\u003c/p>\n\u003cp>But he also wants us to feel the tragedy. And we do. The show is unexpectedly moving, especially Colin’s thread. Characters we like die miserable deaths, and those who don’t struggle against both a profound sense of loss \u003cem>and\u003c/em> a society that seemingly doesn’t care. Everyone is deepened, even the narcissistic Ritchie. \u003c/p>\u003c/div>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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