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"content": "\u003cp>When it came time to pick the best TV shows of 2020 late last year, I and my fellow critics at NPR were all over the map. But there was one we could all agree on: Michaela Coel’s HBO drama \u003cem>I May Destroy You\u003c/em>. A masterpiece, it was the only show that landed on \u003ca href=\"https://www.npr.org/2020/12/14/945214786/npr-critics-pick-their-favorite-tv-from-a-strange-2020\" target=\"_blank\" rel=\"noopener noreferrer\">everyone’s best-of list\u003c/a>.\u003c/p>\n\u003cp>So it was a surprise to look at the roster of nominees for the Golden Globe awards in television on Wednesday and not see her name or the show listed anywhere.\u003c/p>\n\u003cp>Coel, a British-born Black woman, created, wrote, directed and starred in this searing series about a novelist who slowly comes to realize that she was drugged and raped during a night out with friends. \u003ca href=\"https://www.npr.org/2020/07/22/891856632/i-may-destroy-you-let-michaela-coel-explore-dangerous-areas-in-a-safe-place\" target=\"_blank\" rel=\"noopener noreferrer\">It was based on a horrible experience from her own life\u003c/a>—just the sort of personal and artistic courage that awards shows like the Globes are supposed to reward.\u003c/p>\n\u003cp>But they didn’t even give her a chance. [aside postid='arts_13891785']\u003c/p>\n\u003cp>Beyond her own achievements, Coel’s work was the best example of how the high-quality TV space saw some much-needed ethnic diversity last year, especially among female performers. Jurnee Smollett, Aunjanue Ellis and Wunmi Mosaku on HBO’s\u003cem> Lovecraft Country\u003c/em>. Adjoa Andoh, who played the smart, sharp-tongued Lady Danbury on Netflix’s hit drama, \u003cem>Bridgerton\u003c/em>. Emmy winner Zendaya, in the Christmas episode of HBO’s \u003cem>Euphoria\u003c/em>. Uzo Aduba as Shirley Chisholm on FX’s miniseries \u003cem>Mrs. America.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>None nominated by the Globes.\u003c/p>\n\u003cp>And there was the work from non-white males. Michael K. Williams on \u003cem>Lovecraft\u003c/em>. Colman Domingo on \u003cem>Euphoria\u003c/em>. Lamorne Morris on Hulu’s \u003cem>Woke\u003c/em>. Sterling K. Brown, who was nominated in two different Emmy categories for two different roles last year, including NBC’s \u003cem>This Is Us\u003c/em>. Joshua Caleb Johnson from Showtime’s \u003cem>The Good Lord Bird\u003c/em>. Nicco Annan as non-binary strip club owner Uncle Clifford on Starz’ \u003cem>P-Valley\u003c/em>. Chris Rock as crime boss Loy Cannon and Glynn Turman as his second-in-command on the fourth season of FX’s \u003cem>Fargo\u003c/em>.\u003c/p>\n\u003cp>All high-quality work. All snubbed by the Globes.\u003c/p>\n\u003cp>In the past, when people of color came up short in high-profile industry nominations and awards—the #OscarsSoWhite hashtag feels like it happened a century ago, doesn’t it?—the argument was that the performances weren’t there. But this year, months after a summer where the public reckoning over civil rights and police brutality got two TV shows canceled—\u003cem>Cops\u003c/em> and \u003cem>Live PD\u003c/em>—that excuse doesn’t pass muster any longer.\u003c/p>\n\u003cp>Two TV projects with predominantly Black casts were nominated in this year’s Golden Globes: \u003cem>Lovecraft Country\u003c/em> as best drama and Amazon Prime Video’s \u003cem>Small Axe\u003c/em> as best limited series. Likewise, Black male actors from those projects, Jonathan Majors from \u003cem>Lovecraft\u003c/em> and John Boyega from \u003cem>Small Axe\u003c/em>, were nominated, along with Don Cheadle from Showtime’s \u003cem>Black Monday\u003c/em> and Ramy Youssef from Hulu’s \u003cem>Ramy\u003c/em>. But that still leaves 16 other nomination slots for male performers which all went to white guys.\u003c/p>\n\u003cp>Not a single Black woman was nominated in the Globes’ 20 nomination slots for female performers. (Anya Taylor-Joy, who is of Argentine descent and self-identifies as Latina, was nominated playing a white character on Netflix’s \u003cem>The Queen’s Gambit\u003c/em>.)\u003c/p>\n\u003cp>It’s easy to blame the Hollywood Foreign Press Association, the group that chooses Golden Globes nominees and winners. Over the years, they’ve developed a well-deserved reputation for eccentric choices focused on celebrity, Europeans and those who schmooze them. And unlike the Oscars, they also hand out awards in TV, where their taste is even less predictable. [aside postid='arts_13884214']\u003c/p>\n\u003cp>But the Globes made some amazing choices in its film nominations this year. For the first time, three women were nominated for best director, including Regina King. Non-white performers like Viola Davis, Andra Day, Riz Ahmed, Chadwick Boseman, Lin-Manuel Miranda and Daniel Kaluuya all earned well-deserved nods (as did Anya Taylor-Joy, this time, for the film \u003cem>Emma\u003c/em>).\u003c/p>\n\u003cp>So this diversity problem seems uniquely confined to the Globes’ TV side. Last year was undoubtedly a challenge for the TV industry, buffeted by pandemic lockdowns, shifting release schedules, a shortage of new material and more. And as someone who has helped judge honors ranging from the George Foster Peabody Awards to the Critic’s Choice Awards, I know that someone always gets snubbed, sometime.\u003c/p>\n\u003cp>But I also know, when this many great performances surface by people of color in critically-acclaimed TV projects, there is something seriously wrong when so few non-white people are recognized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope it doesn’t take another hashtag—#GlobesTVSoWhite, perhaps?—to push the HFPA to recognize quality work in television no matter who delivers it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lack+Of+Diversity+Mars+Golden+Globe+TV+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came time to pick the best TV shows of 2020 late last year, I and my fellow critics at NPR were all over the map. But there was one we could all agree on: Michaela Coel’s HBO drama \u003cem>I May Destroy You\u003c/em>. A masterpiece, it was the only show that landed on \u003ca href=\"https://www.npr.org/2020/12/14/945214786/npr-critics-pick-their-favorite-tv-from-a-strange-2020\" target=\"_blank\" rel=\"noopener noreferrer\">everyone’s best-of list\u003c/a>.\u003c/p>\n\u003cp>So it was a surprise to look at the roster of nominees for the Golden Globe awards in television on Wednesday and not see her name or the show listed anywhere.\u003c/p>\n\u003cp>Coel, a British-born Black woman, created, wrote, directed and starred in this searing series about a novelist who slowly comes to realize that she was drugged and raped during a night out with friends. \u003ca href=\"https://www.npr.org/2020/07/22/891856632/i-may-destroy-you-let-michaela-coel-explore-dangerous-areas-in-a-safe-place\" target=\"_blank\" rel=\"noopener noreferrer\">It was based on a horrible experience from her own life\u003c/a>—just the sort of personal and artistic courage that awards shows like the Globes are supposed to reward.\u003c/p>\n\u003cp>But they didn’t even give her a chance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>None nominated by the Globes.\u003c/p>\n\u003cp>And there was the work from non-white males. Michael K. Williams on \u003cem>Lovecraft\u003c/em>. Colman Domingo on \u003cem>Euphoria\u003c/em>. Lamorne Morris on Hulu’s \u003cem>Woke\u003c/em>. Sterling K. Brown, who was nominated in two different Emmy categories for two different roles last year, including NBC’s \u003cem>This Is Us\u003c/em>. Joshua Caleb Johnson from Showtime’s \u003cem>The Good Lord Bird\u003c/em>. Nicco Annan as non-binary strip club owner Uncle Clifford on Starz’ \u003cem>P-Valley\u003c/em>. Chris Rock as crime boss Loy Cannon and Glynn Turman as his second-in-command on the fourth season of FX’s \u003cem>Fargo\u003c/em>.\u003c/p>\n\u003cp>All high-quality work. All snubbed by the Globes.\u003c/p>\n\u003cp>In the past, when people of color came up short in high-profile industry nominations and awards—the #OscarsSoWhite hashtag feels like it happened a century ago, doesn’t it?—the argument was that the performances weren’t there. But this year, months after a summer where the public reckoning over civil rights and police brutality got two TV shows canceled—\u003cem>Cops\u003c/em> and \u003cem>Live PD\u003c/em>—that excuse doesn’t pass muster any longer.\u003c/p>\n\u003cp>Two TV projects with predominantly Black casts were nominated in this year’s Golden Globes: \u003cem>Lovecraft Country\u003c/em> as best drama and Amazon Prime Video’s \u003cem>Small Axe\u003c/em> as best limited series. Likewise, Black male actors from those projects, Jonathan Majors from \u003cem>Lovecraft\u003c/em> and John Boyega from \u003cem>Small Axe\u003c/em>, were nominated, along with Don Cheadle from Showtime’s \u003cem>Black Monday\u003c/em> and Ramy Youssef from Hulu’s \u003cem>Ramy\u003c/em>. But that still leaves 16 other nomination slots for male performers which all went to white guys.\u003c/p>\n\u003cp>Not a single Black woman was nominated in the Globes’ 20 nomination slots for female performers. (Anya Taylor-Joy, who is of Argentine descent and self-identifies as Latina, was nominated playing a white character on Netflix’s \u003cem>The Queen’s Gambit\u003c/em>.)\u003c/p>\n\u003cp>It’s easy to blame the Hollywood Foreign Press Association, the group that chooses Golden Globes nominees and winners. Over the years, they’ve developed a well-deserved reputation for eccentric choices focused on celebrity, Europeans and those who schmooze them. And unlike the Oscars, they also hand out awards in TV, where their taste is even less predictable. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Globes made some amazing choices in its film nominations this year. For the first time, three women were nominated for best director, including Regina King. Non-white performers like Viola Davis, Andra Day, Riz Ahmed, Chadwick Boseman, Lin-Manuel Miranda and Daniel Kaluuya all earned well-deserved nods (as did Anya Taylor-Joy, this time, for the film \u003cem>Emma\u003c/em>).\u003c/p>\n\u003cp>So this diversity problem seems uniquely confined to the Globes’ TV side. Last year was undoubtedly a challenge for the TV industry, buffeted by pandemic lockdowns, shifting release schedules, a shortage of new material and more. And as someone who has helped judge honors ranging from the George Foster Peabody Awards to the Critic’s Choice Awards, I know that someone always gets snubbed, sometime.\u003c/p>\n\u003cp>But I also know, when this many great performances surface by people of color in critically-acclaimed TV projects, there is something seriously wrong when so few non-white people are recognized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s hope it doesn’t take another hashtag—#GlobesTVSoWhite, perhaps?—to push the HFPA to recognize quality work in television no matter who delivers it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lack+Of+Diversity+Mars+Golden+Globe+TV+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Halfway Home' Makes Case That the Formerly Incarcerated Are Never Truly Free",
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"content": "\u003cp>To say that this nation’s criminal justice system is deeply flawed is to flirt with understatement.\u003c/p>\n\u003cp>Everything from the oversurveillance of Black and Brown communities, to police brutality, to stop and frisk policies, to a multibillion-dollar prison labor industry demonstrates how a system ostensibly designed for fairness is anything but.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892127 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM.png\" alt=\"\" width=\"275\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM.png 275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM-160x266.png 160w\" sizes=\"(max-width: 275px) 100vw, 275px\">Perhaps one of the most tragic aspects of this reality, as Reuben Jonathan Miller explores in his impressive new book \u003cem>Halfway Home: Race, Punishment, and the Afterlife of Mass Incarceration\u003c/em>, is that even those who leave incarceration are in many ways never truly free. They instead become members of the “supervised society”—and it is this uniquely disenfranchised population that is the focus of his book.\u003c/p>\n\u003cp>This indictment of the criminal justice system should trouble the soul of the nation. Miller writes in prose that is at once powerful and engaging—and combines an abundance of data with the lived experiences of the people the numbers represent. A sociologist, criminologist, social worker, and former chaplain at Chicago’s Cook County Jail, his insights are partly drawn from having spent 15 years interviewing nearly 250 people caught up in the prison industrial complex. This work included a research project during which he spent three years engaging with 60 men and 30 women after their release from incarceration in Michigan. Miller can also claim far more experiential expertise, because he was “born black and poor in the age of mass incarceration” and, like every Black person he knows, “was stopped by the police a number of times.” He is a scientist armed with statistical information, and he is the son and brother of incarcerated men.\u003c/p>\n\u003cp>Miller is thus more than adequately equipped to make the observation that “no other marginalized group—not poor black people without criminal records, not mothers on welfare, not even undocumented immigrants—experience [the] profound level of legal exclusion” that the formerly imprisoned do. The breadth of these restrictions—which can include everything from being ineligible for student loans or public housing to living in a home that has a foster child—is remarkable. As Miller notes, “Forty-five thousand federal and state laws regulate the lives of the accused…. In Illinois, there are over 1,400, including more than 1,000 employment regulations, 186 policies that limit political participation, 54 laws restricting family rights, and 21 housing statutes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the labyrinthine rules and regulations that govern the lives of the released don’t go away even when they are no longer formally under supervision. Take, for example, the story of Sabrina, told in Miller’s book. Her accomplishments post-release include working on the successful campaign to restore voting rights to people with felony convictions in Florida, an international fellowship, being featured in a documentary, and taking a tour of prisons in Norway. Nonetheless, despite being employed and having strong credit—plus a letter of recommendation from a state representative—Sabrina couldn’t find anyone to rent her an apartment. If an employer wanted to fire Sabrina because of her race or gender, they would be in violation of the law, and she could file a lawsuit. If, however, they wanted to fire her, or anyone else with a felony conviction for that reason alone, they would be completely within their rights to do so.\u003c/p>\n\u003cp>These are among the many reasons that Miller has concluded that:\u003c/p>\n\u003cblockquote>\u003cp>“…the problem of mass incarceration is really a problem of citizenship. This is because citizenship isn’t just about whether or not someone has a set of legal rights. Citizenship is something each of us practices in everyday life. It is made through everyday exchanges and people at every level, because citizenship is about belonging.”\u003c/p>\u003c/blockquote>\n\u003cp>It is long past time we reexamine who we deem as perennially other, and why. When we consider, that “of the 2.3 million people who are incarcerated, 40 percent are black, 84 percent are poor, and half have no income at all” we have to agree that it should be “clear to anyone paying attention that the legal system does not administer anything resembling justice but instead manages the nation’s problemed populations,” Miller writes. [aside postid='arts_13889157']\u003c/p>\n\u003cp>One member of that population is Miller’s older brother Jeremiah, whose present-day experiences with the carceral system are woven throughout the book. Their relationship brings the frustrations and fickleness of the system into sharp relief. It demonstrates the psychic and financial costs of loving someone who is incarcerated and shows how difficult it is to do something as essential as finding a place to lay one’s head. 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Her work has appeared in\u003c/em> Bloom, The Millions, \u003cem>and\u003c/em> Willow Springs.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Halfway+Home%27+Makes+Case+That+The+Formerly+Incarcerated+Are+Never+Truly+Free&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To say that this nation’s criminal justice system is deeply flawed is to flirt with understatement.\u003c/p>\n\u003cp>Everything from the oversurveillance of Black and Brown communities, to police brutality, to stop and frisk policies, to a multibillion-dollar prison labor industry demonstrates how a system ostensibly designed for fairness is anything but.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892127 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM.png\" alt=\"\" width=\"275\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM.png 275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Screen-Shot-2021-02-02-at-2.22.29-PM-160x266.png 160w\" sizes=\"(max-width: 275px) 100vw, 275px\">Perhaps one of the most tragic aspects of this reality, as Reuben Jonathan Miller explores in his impressive new book \u003cem>Halfway Home: Race, Punishment, and the Afterlife of Mass Incarceration\u003c/em>, is that even those who leave incarceration are in many ways never truly free. They instead become members of the “supervised society”—and it is this uniquely disenfranchised population that is the focus of his book.\u003c/p>\n\u003cp>This indictment of the criminal justice system should trouble the soul of the nation. Miller writes in prose that is at once powerful and engaging—and combines an abundance of data with the lived experiences of the people the numbers represent. A sociologist, criminologist, social worker, and former chaplain at Chicago’s Cook County Jail, his insights are partly drawn from having spent 15 years interviewing nearly 250 people caught up in the prison industrial complex. This work included a research project during which he spent three years engaging with 60 men and 30 women after their release from incarceration in Michigan. Miller can also claim far more experiential expertise, because he was “born black and poor in the age of mass incarceration” and, like every Black person he knows, “was stopped by the police a number of times.” He is a scientist armed with statistical information, and he is the son and brother of incarcerated men.\u003c/p>\n\u003cp>Miller is thus more than adequately equipped to make the observation that “no other marginalized group—not poor black people without criminal records, not mothers on welfare, not even undocumented immigrants—experience [the] profound level of legal exclusion” that the formerly imprisoned do. The breadth of these restrictions—which can include everything from being ineligible for student loans or public housing to living in a home that has a foster child—is remarkable. As Miller notes, “Forty-five thousand federal and state laws regulate the lives of the accused…. In Illinois, there are over 1,400, including more than 1,000 employment regulations, 186 policies that limit political participation, 54 laws restricting family rights, and 21 housing statutes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the labyrinthine rules and regulations that govern the lives of the released don’t go away even when they are no longer formally under supervision. Take, for example, the story of Sabrina, told in Miller’s book. Her accomplishments post-release include working on the successful campaign to restore voting rights to people with felony convictions in Florida, an international fellowship, being featured in a documentary, and taking a tour of prisons in Norway. Nonetheless, despite being employed and having strong credit—plus a letter of recommendation from a state representative—Sabrina couldn’t find anyone to rent her an apartment. If an employer wanted to fire Sabrina because of her race or gender, they would be in violation of the law, and she could file a lawsuit. If, however, they wanted to fire her, or anyone else with a felony conviction for that reason alone, they would be completely within their rights to do so.\u003c/p>\n\u003cp>These are among the many reasons that Miller has concluded that:\u003c/p>\n\u003cblockquote>\u003cp>“…the problem of mass incarceration is really a problem of citizenship. This is because citizenship isn’t just about whether or not someone has a set of legal rights. Citizenship is something each of us practices in everyday life. It is made through everyday exchanges and people at every level, because citizenship is about belonging.”\u003c/p>\u003c/blockquote>\n\u003cp>It is long past time we reexamine who we deem as perennially other, and why. When we consider, that “of the 2.3 million people who are incarcerated, 40 percent are black, 84 percent are poor, and half have no income at all” we have to agree that it should be “clear to anyone paying attention that the legal system does not administer anything resembling justice but instead manages the nation’s problemed populations,” Miller writes. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One member of that population is Miller’s older brother Jeremiah, whose present-day experiences with the carceral system are woven throughout the book. Their relationship brings the frustrations and fickleness of the system into sharp relief. It demonstrates the psychic and financial costs of loving someone who is incarcerated and shows how difficult it is to do something as essential as finding a place to lay one’s head. It’s hard not to see the restrictions on members of the supervised society as intentionally inhumane when considering that homelessness can be a violation of parole.\u003c/p>\n\u003cp>\u003cem>Halfway Home\u003c/em> shines a light on a wide range of absurdities baked into an inherently unjust system. Even though the book’s primary focus is on life after incarceration, Miller makes clear that the problems with the criminal justice system are grounded in history. He tackles everything from 15th-century racial slavery to Bacon’s Rebellion and the invention of whiteness to gentrification and the dramatically reduced life expectancy that results from incarceration.\u003c/p>\n\u003cp>This seminal work tracks the path of how we got here, recognizing that “to live through mass incarceration is to take part in a lineage of control that can be traced from the slave ships, through the Jim Crow South, to the ghettoes of the North, and to the many millions of almost-always-filled bunk beds in jails and prison cells that make the United States the world’s leading jailer.” If we are truly a nation that believes in democracy and freedom, it is incumbent on us to chart a better path forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ericka Taylor is the popular education manager for Take on Wall Street and a freelance writer. Her work has appeared in\u003c/em> Bloom, The Millions, \u003cem>and\u003c/em> Willow Springs.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Halfway+Home%27+Makes+Case+That+The+Formerly+Incarcerated+Are+Never+Truly+Free&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dustin Diamond, the actor known for his role as Screech in the hit sitcom \u003cem>Saved by the Bell,\u003c/em> died Monday, from cancer. According to a statement from his manager Roger Paul, “he was diagnosed with this brutal, relentless form of malignant cancer only three weeks ago. In that time, it managed to spread rapidly throughout his system; the only mercy it exhibited was its sharp and swift execution.” He was 44 years old.\u003c/p>\n\u003cp>As Samuel “Screech” Powers, Diamond played the goofy, nerdy sidekick on \u003cem>Saved by the Bell\u003c/em>. He was a foil to the troublemaking charm of Zack Morris (played by Mark-Paul Gosselaar), and an annoyance to the rich and snobby Lisa Turtle (played by Lark Voorhies). Though Diamond had been attached to the show since its precursor, \u003cem>Good Morning, Miss Bliss\u003c/em>, through to its spinoff \u003cem>Saved the Be Bell: The New Class\u003c/em>, he did not appear in the current iteration of the show that’s streaming on Peacock.\u003c/p>\n\u003cp>After \u003cem>Saved by the Bell\u003c/em>, Diamond distanced himself from the character. In 2006 he directed himself in and released a sex tape called “Screeched,” which he later told the Oprah Winfrey Network was faked using a stunt person.\u003c/p>\n\u003cp>“People, to this day, look down on me,” he said. “And I didn’t really do it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GWtctcYcDeo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Diamond also made appearances on various reality TV shows throughout the 2000s, such as \u003cem>Celebrity Fit Club\u003c/em>, \u003cem>Hulk Hogan’s Celebrity Championship Wrestling\u003c/em> and \u003cem>Celebrity Big Brother. \u003c/em>On those shows and in his 2009 book \u003cem>Behind the Bell\u003c/em>, Diamond came off as acerbic and possibly off-putting. But his manager Roger Paul said in the statement, “[Diamond]—much like the rest of those who act out and behave poorly—had undergone a great deal of turmoil and heartache. His actions, though rebukeable, stemmed from loss and the lack of knowledge on how to process that pain properly.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In actuality,” the statement continued, “Dustin was a humorous and high-spirited individual whose greatest passion was to make others laugh. He was able to sense and feel other peoples’ emotions to such a length that he was able to feel them too—a strength and a flaw, all in one.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Saved+By+The+Bell%27+Star+Dustin+Diamond+Dead+At+44&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Diamond also made appearances on various reality TV shows throughout the 2000s, such as \u003cem>Celebrity Fit Club\u003c/em>, \u003cem>Hulk Hogan’s Celebrity Championship Wrestling\u003c/em> and \u003cem>Celebrity Big Brother. \u003c/em>On those shows and in his 2009 book \u003cem>Behind the Bell\u003c/em>, Diamond came off as acerbic and possibly off-putting. But his manager Roger Paul said in the statement, “[Diamond]—much like the rest of those who act out and behave poorly—had undergone a great deal of turmoil and heartache. His actions, though rebukeable, stemmed from loss and the lack of knowledge on how to process that pain properly.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In actuality,” the statement continued, “Dustin was a humorous and high-spirited individual whose greatest passion was to make others laugh. He was able to sense and feel other peoples’ emotions to such a length that he was able to feel them too—a strength and a flaw, all in one.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Saved+By+The+Bell%27+Star+Dustin+Diamond+Dead+At+44&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The family of legendary singer Tony Bennett—a staple presence who introduced generations to the American songbook and pop standards—says he has Alzheimer’s disease.\u003c/p>\n\u003cp>The announcement was made in \u003ca href=\"https://www.aarp.org/entertainment/celebrities/info-2021/tony-bennett-alzheimers.html\" target=\"_blank\" rel=\"noopener noreferrer\">a profile of Bennett\u003c/a> published by \u003cem>AARP The Magazine\u003c/em> on Monday; his wife, Susan Benedetto, says that he was diagnosed with the debilitating disease in 2016. On Monday morning, Bennett’s Twitter account posted \u003ca href=\"https://twitter.com/itstonybennett/status/1356232201810157568?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\" target=\"_blank\" rel=\"noopener noreferrer\">a note\u003c/a> in the singer’s name, writing: “Life is a gift—even with Alzheimer’s. Thank you to Susan and my family for their support, and \u003cem>AARP The Magazine\u003c/em> for telling my story.”\u003c/p>\n\u003cp>Benedetto also gave an interview to \u003ca href=\"https://www.cbsnews.com/news/tony-bennett-alzheimers-disease/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>CBS This Morning\u003c/em>\u003c/a> on Monday, saying that Bennett is still able to rehearse twice a week at home, singing for an hour or so at a time.\u003c/p>\n\u003cp>Benedetto told \u003cem>AARP\u003c/em> that the singer is often disoriented and sometimes doesn’t recognize the utility of household objects such as forks or keys, but that he still recognizes family members.\u003c/p>\n\u003cp>Despite his battle, Bennett has recorded a new album of duets with Lady Gaga as a follow-up to their 2014 project, \u003cem>Cheek to Cheek.\u003c/em> According to\u003cem> AARP\u003c/em>, the new material was recorded “in widely spaced sessions” between 2018 and early last year and Gaga was aware of his disease while they were recording.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the \u003cem>AARP \u003c/em>journalist asked the singer in early November 2020 if he was excited about the project, however, Bennett “stared silently.”\u003c/p>\n\u003cp>The family—chiefly his wife and his son, Danny, who has managed Bennett’s career for the past 40 years (and who \u003ca href=\"https://variety.com/2019/music/news/verve-records-president-danny-bennett-steps-down-1203169829/\" target=\"_blank\" rel=\"noopener noreferrer\">led\u003c/a> the Verve record label between 2016 and 2019)—told \u003cem>AARP\u003c/em> that they felt that with this new—and perhaps final—album scheduled for release this spring, it was time to disclose his condition.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EIoyTlfUPPU\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=Tony+Bennett+Has+Alzheimer%27s+Disease&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>The country’s newest literary superstar, 22-year-old poet \u003ca href=\"https://www.theamandagorman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amanda Gorman\u003c/a>, is going to be showcased at an event more often associated with beer, chicken wings and Cheetos: Super Bowl LV.\u003c/p>\n\u003cp>Gorman, the country’s first National Youth Poet Laureate, dazzled viewers with her recitation of her poem “The Hill We Climb” at President Biden’s inauguration this month, and the video of her performance has gone viral. She will be reciting at the Super Bowl pre-show on Feb. 7, before the Kansas City Chiefs play the Tampa Bay Buccaneers.\u003c/p>\n\u003cp>Gorman could reach far more Americans through her appearance at the Super Bowl than she did during Inauguration Day: viewership for the football game in 2020 peaked at \u003ca href=\"https://www.cbssports.com/nfl/news/2020-super-bowl-ratings-revealed-chiefs-49ers-ranks-as-the-11th-most-watched-show-in-tv-history/\" target=\"_blank\" rel=\"noopener noreferrer\">99.9 million\u003c/a>—by contrast, President Biden’s inauguration—which was one of the most-watched in American history—drew \u003ca href=\"https://apnews.com/article/joe-biden-donald-trump-new-york-ronald-reagan-television-cebdb622a8d8e93fd01f4820d559c9d3\" target=\"_blank\" rel=\"noopener noreferrer\">33.8 million\u003c/a> viewers.\u003c/p>\n\u003cp>Her new poem will honor \u003ca href=\"https://www.pbs.org/newshour/arts/amanda-gorman-to-read-poem-at-super-bowl\" target=\"_blank\" rel=\"noopener noreferrer\">three Americans\u003c/a>—Los Angeles educator Trimaine Davis, Florida nurse manager Suzie Dorner and Pittsburgh-based James Martin, a Marine veteran who volunteers with the Wounded Warrior Project and who has taken in local kids facing issues at home—for their work during the coronavirus pandemic. The three have also been named honorary captains for the Super Bowl by the NFL. [aside postid='arts_13863975']\u003c/p>\n\u003cp>It’s unclear if Gorman’s invitation came directly from the NFL or from Jay-Z, whose Roc Nation entertainment company \u003ca href=\"https://www.npr.org/2019/08/22/753387025/jay-z-roc-nation-nfl-partnership-colin-kaepernick\" target=\"_blank\" rel=\"noopener noreferrer\">formed a partnership\u003c/a> with the football league last year to help amp up its social justice profile in the aftermath of the controversy surrounding former San Francisco 49ers quarterback Colin Kaepernick and his activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s been a big week for Gorman, who is the the youngest poet in presidential inauguration history. Not only did she announce her Super Bowl performance, but she also nabbed a modeling contract with one of the world’s top modeling agencies, \u003ca href=\"https://twitter.com/IMGmodels/status/1354110297678770177?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">IMG\u003c/a> (as did Vice President Harris’ stepdaughter \u003ca href=\"https://www.cnn.com/style/article/ella-emhoff-img-models/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Ella Emhoff\u003c/a>). [aside postid='arts_13891604']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gorman is also enjoying massive presales for three upcoming books being published by Penguin Random House, including a collection of her work called \u003cem>The Hill We Climb and Other Poems \u003c/em>and a children’s book entitled \u003cem>Change Sings\u003c/em>, both of which are scheduled to be published on Sept. 21. A collectible edition of her inauguration poem will be published on March 16. Penguin Random House has announced that each of the three books will have a whopping initial publishing run of 1 million copies—putting her work in the same sales league as titles in Lemony Snicket’s \u003cem>A Series of Unfortunate Events.\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=Amanda+Gorman+%E2%80%94+And+Poetry+%E2%80%94+Will+Be+Part+Of+Super+Bowl+LV&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>\u003c/p>\n\u003cp>Gorman is also enjoying massive presales for three upcoming books being published by Penguin Random House, including a collection of her work called \u003cem>The Hill We Climb and Other Poems \u003c/em>and a children’s book entitled \u003cem>Change Sings\u003c/em>, both of which are scheduled to be published on Sept. 21. A collectible edition of her inauguration poem will be published on March 16. Penguin Random House has announced that each of the three books will have a whopping initial publishing run of 1 million copies—putting her work in the same sales league as titles in Lemony Snicket’s \u003cem>A Series of Unfortunate Events.\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=Amanda+Gorman+%E2%80%94+And+Poetry+%E2%80%94+Will+Be+Part+Of+Super+Bowl+LV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Little Things' is a Star-Studded, Old-School Serial Killer Thriller",
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"content": "\u003cp>It’s been a while since I’ve seen a new studio picture like \u003cem>The Little Things—\u003c/em>a big, meaty, slickly made crime drama featuring a trio of Academy Award winners. That’s partly due to COVID-19, which caused theaters to close 10 months ago and led the studios to postpone some of their biggest titles. But even if there weren’t a pandemic and \u003cem>The Little Things \u003c/em>had been widely released in theaters as planned, it might still have played like a relic from an earlier moviemaking decade.\u003c/p>\n\u003cp>That’s exactly what it is. The ’90s were something of a renaissance era for serial-killer movies, and the director, John Lee Hancock, wrote this script back in 1993, two years after \u003ca href=\"https://www.npr.org/2017/04/26/525716786/jonathan-demme-and-the-simple-power-of-the-close-up\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Silence of the Lambs\u003c/em>\u003c/a> and two years before \u003ca href=\"https://www.npr.org/2014/10/02/353017242/david-fincher-talks-gone-girl-avoids-spoilers-hooray\" target=\"_blank\" rel=\"noopener noreferrer\">David Fincher\u003c/a>‘s notorious shocker \u003cem>Se7en\u003c/em>.\u003c/p>\n\u003cp>It’s interesting to think how \u003cem>The Little Things\u003c/em> might have fit into the genre if it had been made back then. But for various reasons, even though Steven Spielberg and Clint Eastwood both considered directing it, the movie never got off the ground. It was revived only a few years ago, now with Hancock in the director’s chair. He appears to have made few changes to his script, which is still set in the ’90s, probably because so much of the story depends on pay phones.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=17780245\" target=\"_blank\" rel=\"noopener noreferrer\">Denzel Washington\u003c/a> plays Joe Deacon, also known as Deke, a former Los Angeles detective who now works as a sheriff’s deputy in Bakersfield. But on a work-related trip down to L.A., he meets up with his old friends on the force and gets pulled into a major case. His unlikely partner is a young hotshot named Jim Baxter, played by \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener noreferrer\">Rami Malek\u003c/a>. In typical buddy-cop fashion, they get off on the wrong foot but soon settle into a comfortable groove, with Deke playing the grizzled mentor to Baxter’s ambitious up-and-comer. [aside postid='arts_13865555']\u003c/p>\n\u003cp>They’re trying to solve the murders of several young women, the latest of whom has been found in a run-down flophouse—one of many reminders here of an older, less gentrified Los Angeles. The police make a thorough sweep of the scene, but it’s Deke who finds the evidence that leads them to a repairman, Albert Sparma, who becomes their prime suspect. He’s played by \u003ca href=\"https://www.npr.org/2013/10/31/241428346/jared-leto-was-seduced-by-role-of-rayon-in-buyers-club\" target=\"_blank\" rel=\"noopener noreferrer\">Jared Leto\u003c/a>, who sports long, stringy hair and a prosthetic nose, and who gives a performance of such calculated creepiness, he might as well be wearing an “Arrest Me” sign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1HZAnkxdYuA\u003c/p>\n\u003cp>But while Sparma may look like their man, Deke and Baxter have a hard time finding the evidence that would prove it. It’s never clear if Sparma is the culprit or just a true-crime buff who enjoys toying with the police. Over time, the uncertainty begins to eat away at Baxter—in much the same way it once ate away at Deke, who left the LAPD years ago after another unsolved case nearly drove him mad. If \u003cem>The Little Things\u003c/em> has an obvious kinship with \u003cem>Se7en\u003c/em>, it also seems to anticipate another David Fincher triumph, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7687059\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zodiac\u003c/em>\u003c/a>, in which a criminal investigation becomes a corrosive personal obsession.\u003c/p>\n\u003cp>The script has its creaky, tin-eared moments. I could have done with fewer of Deke and Baxter’s strained wisecracks, and there’s something a little obvious about their gradual realization of how similar they are under the skin. The forensic details are as familiar as they are gruesome: You’ve seen it all before, from the blood-spattered crime scenes and nude corpses on autopsy tables to the wall of evidence covered with maps and photos.\u003c/p>\n\u003cp>But it’s worth remembering that Hancock conceived this story nearly 30 years ago, when these images weren’t the clichés they are now. \u003cem>The Little Things\u003c/em> may look like a retread, but it feels more like a time capsule, a weirdly enveloping trip down memory lane. I got wrapped up in its slowly unraveling twists, and in the rapport between the two leads; Washington is all too convincing as a dogged crime solver who isn’t afraid to go rogue when needed. He’s also one of the few movie stars, of course, who’s as popular now as he was in the ’90s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hancock himself has come a long way since then; he has a sturdy command of craft, as he’s demonstrated in the other movies he’s directed, like \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=120456017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Blind Side\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2013/12/12/249779989/making-mary-poppins-with-more-than-a-spoonful-of-sugar\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Saving Mr. Banks\u003c/em>\u003c/a>. \u003cem>The Little Things\u003c/em> tells a much darker story, but Hancock proves a better fit than you might think. He’s good at quickening your pulse, and his attention to details—the “little things” of the title—slowly draws you in. There’s nothing comforting about this grim, existentially unsettling movie, but its patient, old-school pleasures provide their own kind of satisfaction.\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=%27The+Little+Things%27+Is+A+Star-Studded%2C+Old-School+Serial+Killer+Thriller+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a while since I’ve seen a new studio picture like \u003cem>The Little Things—\u003c/em>a big, meaty, slickly made crime drama featuring a trio of Academy Award winners. That’s partly due to COVID-19, which caused theaters to close 10 months ago and led the studios to postpone some of their biggest titles. But even if there weren’t a pandemic and \u003cem>The Little Things \u003c/em>had been widely released in theaters as planned, it might still have played like a relic from an earlier moviemaking decade.\u003c/p>\n\u003cp>That’s exactly what it is. The ’90s were something of a renaissance era for serial-killer movies, and the director, John Lee Hancock, wrote this script back in 1993, two years after \u003ca href=\"https://www.npr.org/2017/04/26/525716786/jonathan-demme-and-the-simple-power-of-the-close-up\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Silence of the Lambs\u003c/em>\u003c/a> and two years before \u003ca href=\"https://www.npr.org/2014/10/02/353017242/david-fincher-talks-gone-girl-avoids-spoilers-hooray\" target=\"_blank\" rel=\"noopener noreferrer\">David Fincher\u003c/a>‘s notorious shocker \u003cem>Se7en\u003c/em>.\u003c/p>\n\u003cp>It’s interesting to think how \u003cem>The Little Things\u003c/em> might have fit into the genre if it had been made back then. But for various reasons, even though Steven Spielberg and Clint Eastwood both considered directing it, the movie never got off the ground. It was revived only a few years ago, now with Hancock in the director’s chair. He appears to have made few changes to his script, which is still set in the ’90s, probably because so much of the story depends on pay phones.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=17780245\" target=\"_blank\" rel=\"noopener noreferrer\">Denzel Washington\u003c/a> plays Joe Deacon, also known as Deke, a former Los Angeles detective who now works as a sheriff’s deputy in Bakersfield. But on a work-related trip down to L.A., he meets up with his old friends on the force and gets pulled into a major case. His unlikely partner is a young hotshot named Jim Baxter, played by \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener noreferrer\">Rami Malek\u003c/a>. In typical buddy-cop fashion, they get off on the wrong foot but soon settle into a comfortable groove, with Deke playing the grizzled mentor to Baxter’s ambitious up-and-comer. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re trying to solve the murders of several young women, the latest of whom has been found in a run-down flophouse—one of many reminders here of an older, less gentrified Los Angeles. The police make a thorough sweep of the scene, but it’s Deke who finds the evidence that leads them to a repairman, Albert Sparma, who becomes their prime suspect. He’s played by \u003ca href=\"https://www.npr.org/2013/10/31/241428346/jared-leto-was-seduced-by-role-of-rayon-in-buyers-club\" target=\"_blank\" rel=\"noopener noreferrer\">Jared Leto\u003c/a>, who sports long, stringy hair and a prosthetic nose, and who gives a performance of such calculated creepiness, he might as well be wearing an “Arrest Me” sign.\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/1HZAnkxdYuA'\n title='//www.youtube.com/embed/1HZAnkxdYuA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But while Sparma may look like their man, Deke and Baxter have a hard time finding the evidence that would prove it. It’s never clear if Sparma is the culprit or just a true-crime buff who enjoys toying with the police. Over time, the uncertainty begins to eat away at Baxter—in much the same way it once ate away at Deke, who left the LAPD years ago after another unsolved case nearly drove him mad. If \u003cem>The Little Things\u003c/em> has an obvious kinship with \u003cem>Se7en\u003c/em>, it also seems to anticipate another David Fincher triumph, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7687059\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zodiac\u003c/em>\u003c/a>, in which a criminal investigation becomes a corrosive personal obsession.\u003c/p>\n\u003cp>The script has its creaky, tin-eared moments. I could have done with fewer of Deke and Baxter’s strained wisecracks, and there’s something a little obvious about their gradual realization of how similar they are under the skin. The forensic details are as familiar as they are gruesome: You’ve seen it all before, from the blood-spattered crime scenes and nude corpses on autopsy tables to the wall of evidence covered with maps and photos.\u003c/p>\n\u003cp>But it’s worth remembering that Hancock conceived this story nearly 30 years ago, when these images weren’t the clichés they are now. \u003cem>The Little Things\u003c/em> may look like a retread, but it feels more like a time capsule, a weirdly enveloping trip down memory lane. I got wrapped up in its slowly unraveling twists, and in the rapport between the two leads; Washington is all too convincing as a dogged crime solver who isn’t afraid to go rogue when needed. He’s also one of the few movie stars, of course, who’s as popular now as he was in the ’90s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hancock himself has come a long way since then; he has a sturdy command of craft, as he’s demonstrated in the other movies he’s directed, like \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=120456017\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Blind Side\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2013/12/12/249779989/making-mary-poppins-with-more-than-a-spoonful-of-sugar\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Saving Mr. Banks\u003c/em>\u003c/a>. \u003cem>The Little Things\u003c/em> tells a much darker story, but Hancock proves a better fit than you might think. He’s good at quickening your pulse, and his attention to details—the “little things” of the title—slowly draws you in. There’s nothing comforting about this grim, existentially unsettling movie, but its patient, old-school pleasures provide their own kind of satisfaction.\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=%27The+Little+Things%27+Is+A+Star-Studded%2C+Old-School+Serial+Killer+Thriller+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Robin Hood' Groups Win New Fans, Thanks to GameStop Controversy",
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"content": "\u003cp>The Robinhood stock-trading app sparked outrage after it halted trading on GameStop and other companies at the center of a battle between small investors and hedge funds.\u003c/p>\n\u003cp>Suddenly, the World Wide Robin Hood Society noticed a flood of interest online—and the U.K. group politely clarified that it isn’t the Robin Hood some commenters were looking for. It gained tens of thousands of new followers anyway.\u003c/p>\n\u003cp>“We started with 350 yesterday and we now have over 50k” followers on Twitter, the group said on Friday in a message to NPR.\u003c/p>\n\u003cp>“Lovely to have all these new followers,” the Society tweeted, “can we just check that you know that you’re following The World Wide Robin Hood Society in Nottingham and not the Robin Hood App .. if so .. a big welcome from Sherwood.”\u003c/p>\n\u003cp>For the record, the World Wide Robin Hood Society is not a cosplay group for enthusiasts who want to don a pair of green tights or an embroidered bodice. It’s devoted to promoting the legend of the hero who famously stole from the rich and gave to the poor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But on Twitter, people flocked to the society’s account—\u003ca href=\"https://twitter.com/robinhood\" target=\"_blank\" rel=\"noopener noreferrer\">@robinhood\u003c/a>—after the Robinhood stock-trading app became embroiled in the controversy on Wall Street. The app blocked trading on several stocks that hedge funds had shorted but that were seeing huge gains, driven by small investors in Reddit’s \u003ca href=\"https://www.npr.org/2021/01/28/961722406/the-latest-on-the-gamestop-stock-market-debacle\" target=\"_blank\" rel=\"noopener noreferrer\">r/wallstreetbets community\u003c/a>.\u003c/p>\n\u003cp>The move triggered a class action lawsuit and allegations that the app was essentially manipulating the market to protect wealthy hedge funds at the expense of regular people.\u003c/p>\n\u003cp>“Pro tip,” tweeted Charles Payne, of the Fox Business Network. “Don’t call yourself Robin Hood if you are going to turn your back on the folks in Sherwood forest after one phone call from the Sheriff of Nottingham.”\u003c/p>\n\u003cp>https://twitter.com/cvpayne/status/1354820428217212934\u003c/p>\n\u003cp>The company has \u003ca href=\"https://twitter.com/vladtenev/status/1354900958942175233\" target=\"_blank\" rel=\"noopener noreferrer\">denied those accusations\u003c/a>, and it said it would allow limited trading on the volatile stocks to resume on Friday.\u003c/p>\n\u003cp>As people sought ways to vent anger and skepticism online, the World Wide Robin Hood Society cleared the air about its mission. In the spirit of Sherwood Forest’s famous renegade, it welcomed new followers: “You can now consider yourself to be a fully fledged member of our band of outlaws, so put a feather in your cap and shout ‘Huzzah!’ ”\u003c/p>\n\u003cp>A similar clarification came in the U.S., where Robin Hood is also the name of a nonprofit in New York City that has been fighting poverty since 1988, providing millions of dollars in aid to families.\u003c/p>\n\u003cp>Noting its status as a charitable organization, \u003ca href=\"https://twitter.com/RobinHoodNYC/status/1354804513190764554\" target=\"_blank\" rel=\"noopener noreferrer\">the group said\u003c/a>, “We are not affiliated with any for-profit businesses that use a similar name.”\u003c/p>\n\u003cp>Rather than simply turning away, Robin Hood communications director Kevin Thompson said, people seemed to appreciate the way the non-profit introduced itself.\u003c/p>\n\u003cp>“We’ve gotten a pickup in small-dollar contributions,” he said in a phone call Friday.\u003c/p>\n\u003cp>In some cases, Thompson said, people told the charity that the money they were donating came from profits they made off of their GameStop stock.\u003c/p>\n\u003cp>Like the eponymous archer, Thompson said of the New York charity, “Our mission is about increasing economic mobility.”\u003c/p>\n\u003cp>With the Wall Street controversy putting new attention on their namesake, the two groups even connected.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Hope your day is going as well as ours,” the U.K. Robin Hood said in a tweet to the New York Robin Hood, adding a “Huzzah!!” for good measure.\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=%27Robin+Hood%27+Groups+Win+New+Fans%2C+Thanks+To+GameStop+Controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Robinhood stock-trading app sparked outrage after it halted trading on GameStop and other companies at the center of a battle between small investors and hedge funds.\u003c/p>\n\u003cp>Suddenly, the World Wide Robin Hood Society noticed a flood of interest online—and the U.K. group politely clarified that it isn’t the Robin Hood some commenters were looking for. It gained tens of thousands of new followers anyway.\u003c/p>\n\u003cp>“We started with 350 yesterday and we now have over 50k” followers on Twitter, the group said on Friday in a message to NPR.\u003c/p>\n\u003cp>“Lovely to have all these new followers,” the Society tweeted, “can we just check that you know that you’re following The World Wide Robin Hood Society in Nottingham and not the Robin Hood App .. if so .. a big welcome from Sherwood.”\u003c/p>\n\u003cp>For the record, the World Wide Robin Hood Society is not a cosplay group for enthusiasts who want to don a pair of green tights or an embroidered bodice. It’s devoted to promoting the legend of the hero who famously stole from the rich and gave to the poor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But on Twitter, people flocked to the society’s account—\u003ca href=\"https://twitter.com/robinhood\" target=\"_blank\" rel=\"noopener noreferrer\">@robinhood\u003c/a>—after the Robinhood stock-trading app became embroiled in the controversy on Wall Street. The app blocked trading on several stocks that hedge funds had shorted but that were seeing huge gains, driven by small investors in Reddit’s \u003ca href=\"https://www.npr.org/2021/01/28/961722406/the-latest-on-the-gamestop-stock-market-debacle\" target=\"_blank\" rel=\"noopener noreferrer\">r/wallstreetbets community\u003c/a>.\u003c/p>\n\u003cp>The move triggered a class action lawsuit and allegations that the app was essentially manipulating the market to protect wealthy hedge funds at the expense of regular people.\u003c/p>\n\u003cp>“Pro tip,” tweeted Charles Payne, of the Fox Business Network. “Don’t call yourself Robin Hood if you are going to turn your back on the folks in Sherwood forest after one phone call from the Sheriff of Nottingham.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The company has \u003ca href=\"https://twitter.com/vladtenev/status/1354900958942175233\" target=\"_blank\" rel=\"noopener noreferrer\">denied those accusations\u003c/a>, and it said it would allow limited trading on the volatile stocks to resume on Friday.\u003c/p>\n\u003cp>As people sought ways to vent anger and skepticism online, the World Wide Robin Hood Society cleared the air about its mission. In the spirit of Sherwood Forest’s famous renegade, it welcomed new followers: “You can now consider yourself to be a fully fledged member of our band of outlaws, so put a feather in your cap and shout ‘Huzzah!’ ”\u003c/p>\n\u003cp>A similar clarification came in the U.S., where Robin Hood is also the name of a nonprofit in New York City that has been fighting poverty since 1988, providing millions of dollars in aid to families.\u003c/p>\n\u003cp>Noting its status as a charitable organization, \u003ca href=\"https://twitter.com/RobinHoodNYC/status/1354804513190764554\" target=\"_blank\" rel=\"noopener noreferrer\">the group said\u003c/a>, “We are not affiliated with any for-profit businesses that use a similar name.”\u003c/p>\n\u003cp>Rather than simply turning away, Robin Hood communications director Kevin Thompson said, people seemed to appreciate the way the non-profit introduced itself.\u003c/p>\n\u003cp>“We’ve gotten a pickup in small-dollar contributions,” he said in a phone call Friday.\u003c/p>\n\u003cp>In some cases, Thompson said, people told the charity that the money they were donating came from profits they made off of their GameStop stock.\u003c/p>\n\u003cp>Like the eponymous archer, Thompson said of the New York charity, “Our mission is about increasing economic mobility.”\u003c/p>\n\u003cp>With the Wall Street controversy putting new attention on their namesake, the two groups even connected.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Hope your day is going as well as ours,” the U.K. Robin Hood said in a tweet to the New York Robin Hood, adding a “Huzzah!!” for good measure.\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=%27Robin+Hood%27+Groups+Win+New+Fans%2C+Thanks+To+GameStop+Controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Joan Didion's 'Let Me Tell You What I Mean' Offers Plenty of 'Journalistic Gold'",
"headTitle": "Joan Didion’s ‘Let Me Tell You What I Mean’ Offers Plenty of ‘Journalistic Gold’ | KQED",
"content": "\u003cp>In \u003cem>The Center Will Not Hold\u003c/em>, the 2017 documentary about Joan Didion directed by her nephew Griffin Dunne, he asks what she felt when she saw a 5-year-old tripping on LSD while reporting from Haight-Ashbury for her 1967 essay, “Slouching Towards Bethlehem.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891890 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc.jpg\" alt=\"\" width=\"200\" height=\"321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc-160x257.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">The automatic response from most people might be, “I was horrified.” But Didion, of course, is not most people. Her answer is chilling: “Well, let me tell you, it was gold…You live for moments like that if you’re doing a piece, good or bad.”\u003c/p>\n\u003cp>There’s plenty of journalistic gold in \u003cem>Let Me Tell You What I Mean,\u003c/em> Didion’s new book of 12 previously uncollected essays. What’s particularly salient is her trademark farsightedness, which is especially striking decades later. Half the pieces date from 1968 and first appeared in the \u003cem>Saturday Evening Post\u003c/em>. The most recent was written in 2000.\u003c/p>\n\u003cp>The opening essay, “Alicia and the Underground Press,” flags “the inability of all of us to speak to one another in any direct way, the failure of American newspapers to ‘get through.'” One of the things Didion appreciates about papers like the \u003cem>East Village Other\u003c/em> and the Los Angeles \u003cem>Free Press\u003c/em> is that they don’t even make a pretense of objectivity: “When a writer for an underground paper approves or disapproves of something, he says so, quite often in lieu of who, what, where, when, how,” she writes. She points out that these publications are often “strident and brash,” and then adds, “But to think that these papers are read for ‘facts’ is to misapprehend their appeal. It is the genius of these papers that they talk directly to their readers.” More than 50 years after she wrote these words, the relevance of her observations in today’s fractured world of fringe media is uncannily prescient.\u003c/p>\n\u003cp>Another bravura performance is Didion’s profile of Martha Stewart, “Everywoman.com,” first published in \u003cem>The New Yorker\u003c/em> in 2000. As as she sees it, Stewart’s genius was in branding herself “not as a Superwoman but as Everywoman,” playing into women’s dreams and fantasies of “getting out of the house with a vengeance, and on your own terms.” On the eve of the IPO of Martha Stewart Living Omnimedia LLC, Didion quotes from the Risk Factors section of its prospectus, which is even more devastating in hindsight:\u003c/p>\n\u003cblockquote>\u003cp>“Our business would be adversely affected if Martha Stewart’s public image or reputation were to be tarnished…Our continued success and the value of our brand name therefore depends, to a large degree, on the reputation of Martha Stewart.”\u003c/p>\u003c/blockquote>\n\u003cp>Didion’s profile was published four years before Stewart was sent to prison after being found guilty of felony charges of conspiracy, perjury and obstruction of justice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, “Everywoman.com,” like the other essays collected in \u003cem>Let Me Tell You What I Mean, \u003c/em>is not accompanied by an update or further comment from Didion\u003cem>. \u003c/em>You could argue that the pieces speak for themselves. Hilton Als’ smart foreword offers a welcome overview, though readers who want to encounter her writing fresh, without an intermediary, might want to read it after the essays.\u003c/p>\n\u003cp>Several of the pieces, including “Why I Write” and “Telling Stories,” address Didion’s development as a writer, from honing her craft by turning out crisp copy for \u003cem>Vogue \u003c/em>in the 1950s (“not unlike training with the Rockettes”) to learning to use the first person. “I wanted not a window on the world but the world itself,” she writes of her preference for novels over short stories, and explains, “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear.”\u003c/p>\n\u003cp>Readers, and especially aspiring writers, will find the rejection letters garnered by Didion’s last stab at short fiction fascinating, while college applicants should find consolation in “On Being Unchosen by the College of One’s Choice.” In revisiting her rejection for admission to Stanford back in 1952, Didion notes that Berkeley “worked out all right” in the end. Her essay ought to be reprinted yearly for each fresh crop of college aspirants and their over-eager parents. Writing in 1968, Didion observes—long before the recent scandalous cases of parents caught willing to do anything to game the system—that compared to when she received her rejection, “Getting into college has become an ugly business.”\u003c/p>\n\u003cp>“Last Words,” Didion’s tribute to Ernest Hemingway, which first appeared in \u003cem>The New Yorker\u003c/em> in 1998, is another standout. Her careful analysis of the “liturgical cadence” and “tension of withheld information” in the 126-word first paragraph of \u003cem>A Farewell to Arms\u003c/em> is a marvel of close reading. Her appreciation says as much about her own work as about Hemingway’s: “The very grammar of a Hemingway sentence dictated, or was dictated by, a certain way of looking at the world, a way of looking but not joining, a way of moving through but not attaching,” she writes with palpable admiration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As these essays demonstrate, Didion, even with her famous detachment, is no slouch at showing us what she means. But however welcome, there’s a wistfulness to this book, for it is impossible to read without wishing Didion were weighing in on how the center still cannot hold and things continue to fall apart in the 21st century.\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=Joan+Didion%27s+%27Let+Me+Tell+You+What+I+Mean%27+Offers+Plenty+Of+%27Journalistic+Gold%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>The Center Will Not Hold\u003c/em>, the 2017 documentary about Joan Didion directed by her nephew Griffin Dunne, he asks what she felt when she saw a 5-year-old tripping on LSD while reporting from Haight-Ashbury for her 1967 essay, “Slouching Towards Bethlehem.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891890 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc.jpg\" alt=\"\" width=\"200\" height=\"321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/didion_custom-579cedfad87e5f6545ad82503007ef8d3298cddc-160x257.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">The automatic response from most people might be, “I was horrified.” But Didion, of course, is not most people. Her answer is chilling: “Well, let me tell you, it was gold…You live for moments like that if you’re doing a piece, good or bad.”\u003c/p>\n\u003cp>There’s plenty of journalistic gold in \u003cem>Let Me Tell You What I Mean,\u003c/em> Didion’s new book of 12 previously uncollected essays. What’s particularly salient is her trademark farsightedness, which is especially striking decades later. Half the pieces date from 1968 and first appeared in the \u003cem>Saturday Evening Post\u003c/em>. The most recent was written in 2000.\u003c/p>\n\u003cp>The opening essay, “Alicia and the Underground Press,” flags “the inability of all of us to speak to one another in any direct way, the failure of American newspapers to ‘get through.'” One of the things Didion appreciates about papers like the \u003cem>East Village Other\u003c/em> and the Los Angeles \u003cem>Free Press\u003c/em> is that they don’t even make a pretense of objectivity: “When a writer for an underground paper approves or disapproves of something, he says so, quite often in lieu of who, what, where, when, how,” she writes. She points out that these publications are often “strident and brash,” and then adds, “But to think that these papers are read for ‘facts’ is to misapprehend their appeal. It is the genius of these papers that they talk directly to their readers.” More than 50 years after she wrote these words, the relevance of her observations in today’s fractured world of fringe media is uncannily prescient.\u003c/p>\n\u003cp>Another bravura performance is Didion’s profile of Martha Stewart, “Everywoman.com,” first published in \u003cem>The New Yorker\u003c/em> in 2000. As as she sees it, Stewart’s genius was in branding herself “not as a Superwoman but as Everywoman,” playing into women’s dreams and fantasies of “getting out of the house with a vengeance, and on your own terms.” On the eve of the IPO of Martha Stewart Living Omnimedia LLC, Didion quotes from the Risk Factors section of its prospectus, which is even more devastating in hindsight:\u003c/p>\n\u003cblockquote>\u003cp>“Our business would be adversely affected if Martha Stewart’s public image or reputation were to be tarnished…Our continued success and the value of our brand name therefore depends, to a large degree, on the reputation of Martha Stewart.”\u003c/p>\u003c/blockquote>\n\u003cp>Didion’s profile was published four years before Stewart was sent to prison after being found guilty of felony charges of conspiracy, perjury and obstruction of justice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, “Everywoman.com,” like the other essays collected in \u003cem>Let Me Tell You What I Mean, \u003c/em>is not accompanied by an update or further comment from Didion\u003cem>. \u003c/em>You could argue that the pieces speak for themselves. Hilton Als’ smart foreword offers a welcome overview, though readers who want to encounter her writing fresh, without an intermediary, might want to read it after the essays.\u003c/p>\n\u003cp>Several of the pieces, including “Why I Write” and “Telling Stories,” address Didion’s development as a writer, from honing her craft by turning out crisp copy for \u003cem>Vogue \u003c/em>in the 1950s (“not unlike training with the Rockettes”) to learning to use the first person. “I wanted not a window on the world but the world itself,” she writes of her preference for novels over short stories, and explains, “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear.”\u003c/p>\n\u003cp>Readers, and especially aspiring writers, will find the rejection letters garnered by Didion’s last stab at short fiction fascinating, while college applicants should find consolation in “On Being Unchosen by the College of One’s Choice.” In revisiting her rejection for admission to Stanford back in 1952, Didion notes that Berkeley “worked out all right” in the end. Her essay ought to be reprinted yearly for each fresh crop of college aspirants and their over-eager parents. Writing in 1968, Didion observes—long before the recent scandalous cases of parents caught willing to do anything to game the system—that compared to when she received her rejection, “Getting into college has become an ugly business.”\u003c/p>\n\u003cp>“Last Words,” Didion’s tribute to Ernest Hemingway, which first appeared in \u003cem>The New Yorker\u003c/em> in 1998, is another standout. Her careful analysis of the “liturgical cadence” and “tension of withheld information” in the 126-word first paragraph of \u003cem>A Farewell to Arms\u003c/em> is a marvel of close reading. Her appreciation says as much about her own work as about Hemingway’s: “The very grammar of a Hemingway sentence dictated, or was dictated by, a certain way of looking at the world, a way of looking but not joining, a way of moving through but not attaching,” she writes with palpable admiration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As these essays demonstrate, Didion, even with her famous detachment, is no slouch at showing us what she means. But however welcome, there’s a wistfulness to this book, for it is impossible to read without wishing Didion were weighing in on how the center still cannot hold and things continue to fall apart in the 21st century.\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=Joan+Didion%27s+%27Let+Me+Tell+You+What+I+Mean%27+Offers+Plenty+Of+%27Journalistic+Gold%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Lady and the Dale,' a 4-Part Series About a 3-Wheeled Car, is a Wild Ride",
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"content": "\u003cp>\u003cem>The Lady and the Dale\u003c/em>, a new HBO documentary miniseries co-directed by Nick Cammilleri and Zackary Drucker, has been promoted by the network with most of its secrets held in check. Tune in to this nonfiction biography series, the promos suggest, and learn the tale of a female automobile executive who took on the Detroit automakers and tried to market a gas-efficient car in the 1970s, at the height of the oil crisis.\u003c/p>\n\u003cp>But \u003cem>The Lady and the Dale\u003c/em> is so much more than that. Yes, the second installment of this four-part series is mostly about the weird three-wheeled car called the Dale. But the first hour of this miniseries is mostly about a small-time but enterprising con artist. The third hour is about a trial for grand larceny, with the defendant doing double duty as her own defense attorney. And the fourth hour is so full of surprises and revelations that I’m not even going to go there.\u003c/p>\n\u003cp>The promos held their cards close to the vest, but the opening minutes of \u003cem>The Lady and the Dale\u003c/em> hint at some of the intrigue to come. It starts with a vintage 1970s clip from \u003cem>The Price Is Right,\u003c/em> where one of the prizes being offered is a brand new Dale automobile, and works quickly through some other period TV footage that adds many layers of mystery to the story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FOZWutV0jwU\u003c/p>\n\u003cp>And what a story it tells! It begins as the story of Jerry Dean Michael, who grew up in small-town Indiana and eventually became a con artist, working every scheme from counterfeiting money and checks to selling bogus get-rich-quick schemes door-to-door. Jerry married and had five kids, but kept grifting—and every time the law got close, he’d pick up the family and move. Over one stretch, according to the documentary, the family moved 21 times in three years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Up to this point, \u003cem>The Lady and the Dale \u003c/em>has the flavor and momentum of \u003cem>Catch Me if You Can, \u003c/em>that Steven Spielberg movie with \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Hanks\u003c/a> on the trail of a teenage con man played by Leonardo DiCaprio. But before the first episode is over, Jerry comes out as a trans woman and changes her name to Elizabeth Carmichael. The kids are raised to call Liz mom and the series goes on from there, with Liz starting the 20th Century Motor Company and introducing the Dale. [aside postid='arts_13891785']\u003c/p>\n\u003cp>Eventually, Liz is arrested for fraud, and goes on trial to defend the lack of production of the Dale. But in the ’70s, with transgender issues so relatively unfamiliar and widely misunderstood, she goes on trial in other ways, too—especially in the media.\u003c/p>\n\u003cp>Thanks to lots of old clips and some shockingly candid interviews, this close look at the media treatment of her is one of the most valuable aspects of \u003cem>The Lady and the Dale. \u003c/em>The narrative manages to name-drop such pioneering transgender public figures as Christine Jorgensen and Renée Richards—but they’re far more than footnotes and become part of this story. By part four, when the NBC series \u003cem>Unsolved Mysteries\u003c/em> gets into the act, you not only feel for Liz, but get a strong sense of unfair media bias in some very palpable specific examples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One more thing about \u003cem>The Lady and the Dale. \u003c/em>It uses animation more—and more imaginatively—than almost any documentary I’ve ever seen. When the filmmakers have family members and friends and enemies all talking about Liz, but don’t have footage other than those talking heads, stiff but lively animation is used. And while the \u003ca href=\"https://www.npr.org/2018/05/08/609349238/duplass-brothers-on-working-together-and-growing-apart-we-are-ex-soulmates\" target=\"_blank\" rel=\"noopener noreferrer\">Duplass Brothers\u003c/a>, Mark and Jay, are among this show’s executive producers, special credit should be given to the director of animation, Sean Donnelly. Watch \u003cem>The Lady and the Dale, \u003c/em>and you’ll see why he deserves mention—and why the program itself deserves attention.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Lady+And+The+Dale%2C%27+A+4-Part+Series+About+A+3-Wheeled+Car%2C+Is+A+Wild+Ride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Lady and the Dale\u003c/em>, a new HBO documentary miniseries co-directed by Nick Cammilleri and Zackary Drucker, has been promoted by the network with most of its secrets held in check. Tune in to this nonfiction biography series, the promos suggest, and learn the tale of a female automobile executive who took on the Detroit automakers and tried to market a gas-efficient car in the 1970s, at the height of the oil crisis.\u003c/p>\n\u003cp>But \u003cem>The Lady and the Dale\u003c/em> is so much more than that. Yes, the second installment of this four-part series is mostly about the weird three-wheeled car called the Dale. But the first hour of this miniseries is mostly about a small-time but enterprising con artist. The third hour is about a trial for grand larceny, with the defendant doing double duty as her own defense attorney. And the fourth hour is so full of surprises and revelations that I’m not even going to go there.\u003c/p>\n\u003cp>The promos held their cards close to the vest, but the opening minutes of \u003cem>The Lady and the Dale\u003c/em> hint at some of the intrigue to come. It starts with a vintage 1970s clip from \u003cem>The Price Is Right,\u003c/em> where one of the prizes being offered is a brand new Dale automobile, and works quickly through some other period TV footage that adds many layers of mystery to the story.\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/FOZWutV0jwU'\n title='//www.youtube.com/embed/FOZWutV0jwU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And what a story it tells! It begins as the story of Jerry Dean Michael, who grew up in small-town Indiana and eventually became a con artist, working every scheme from counterfeiting money and checks to selling bogus get-rich-quick schemes door-to-door. Jerry married and had five kids, but kept grifting—and every time the law got close, he’d pick up the family and move. Over one stretch, according to the documentary, the family moved 21 times in three years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Up to this point, \u003cem>The Lady and the Dale \u003c/em>has the flavor and momentum of \u003cem>Catch Me if You Can, \u003c/em>that Steven Spielberg movie with \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Hanks\u003c/a> on the trail of a teenage con man played by Leonardo DiCaprio. But before the first episode is over, Jerry comes out as a trans woman and changes her name to Elizabeth Carmichael. The kids are raised to call Liz mom and the series goes on from there, with Liz starting the 20th Century Motor Company and introducing the Dale. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, Liz is arrested for fraud, and goes on trial to defend the lack of production of the Dale. But in the ’70s, with transgender issues so relatively unfamiliar and widely misunderstood, she goes on trial in other ways, too—especially in the media.\u003c/p>\n\u003cp>Thanks to lots of old clips and some shockingly candid interviews, this close look at the media treatment of her is one of the most valuable aspects of \u003cem>The Lady and the Dale. \u003c/em>The narrative manages to name-drop such pioneering transgender public figures as Christine Jorgensen and Renée Richards—but they’re far more than footnotes and become part of this story. By part four, when the NBC series \u003cem>Unsolved Mysteries\u003c/em> gets into the act, you not only feel for Liz, but get a strong sense of unfair media bias in some very palpable specific examples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One more thing about \u003cem>The Lady and the Dale. \u003c/em>It uses animation more—and more imaginatively—than almost any documentary I’ve ever seen. When the filmmakers have family members and friends and enemies all talking about Liz, but don’t have footage other than those talking heads, stiff but lively animation is used. And while the \u003ca href=\"https://www.npr.org/2018/05/08/609349238/duplass-brothers-on-working-together-and-growing-apart-we-are-ex-soulmates\" target=\"_blank\" rel=\"noopener noreferrer\">Duplass Brothers\u003c/a>, Mark and Jay, are among this show’s executive producers, special credit should be given to the director of animation, Sean Donnelly. Watch \u003cem>The Lady and the Dale, \u003c/em>and you’ll see why he deserves mention—and why the program itself deserves attention.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Lady+And+The+Dale%2C%27+A+4-Part+Series+About+A+3-Wheeled+Car%2C+Is+A+Wild+Ride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Resident Alien': The Truth is Way, Way Out There",
"headTitle": "‘Resident Alien’: The Truth is Way, Way Out There | KQED",
"content": "\u003cp>\u003cstrong>Things \u003c/strong>\u003cem>\u003cstrong>Resident Alien\u003c/strong>\u003c/em>\u003cstrong> has in common with previous television series like \u003c/strong>\u003cem>\u003cstrong>My Favorite Martian, Mork & Mindy, ALF \u003c/strong>\u003c/em>\u003cstrong>and \u003c/strong>\u003cem>\u003cstrong>3rd Rock from the Sun\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong>\u003c/p>\n\u003cp>1. Main Character: An alien (or aliens).\u003c/p>\n\u003cp>2. Premise: The alien/s in question is/are on Earth, attempting to pass as human.\u003c/p>\n\u003cp>3. Reasons Hijinks Ensue: See 2., above.\u003c/p>\n\u003cp>\u003cstrong>Things That Set \u003c/strong>\u003cem>\u003cstrong>Resident Alien\u003c/strong>\u003c/em>\u003cstrong> far, far apart from previous television series like \u003c/strong>\u003cem>\u003cstrong>My Favorite Martian, Mork & Mindy, ALF \u003c/strong>\u003c/em>\u003cstrong>and \u003c/strong>\u003cem>\u003cstrong>3rd Rock from the Sun\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>1. Darker Take On The Main Character: This alien is assigned with destroying the human race.\u003c/p>\n\u003cp>2. Darker Premise: The alien in question has crash-landed near the tiny Colorado town of Patience, where he has secretly murdered and assumed the form of a reclusive doctor. He soon gets dragged into the town’s business, however, when its local physician is found murdered. (Not the doctor whom the alien murdered, you follow? Entirely different doctor.)\u003c/p>\n\u003cp>3. Format: SYFY’s \u003cem>Resident Alien\u003c/em>, based on a Dark Horse Comics series by writer Peter Hogan and artist Steve Parkhouse, is not a classic sitcom, but an hourlong comedy/drama. (This first season is made up of ten episodes, the first seven of which were made available to press.)\u003c/p>\n\u003cp>4. Episodic Narrative Structure: Over the course of the season, the alien attempts to: avoid detection by assuming the role of town doctor; secretly search for his missing ship and its doomsday device (which is lost somewhere under the snow of a glacier near his cabin); deal with a young moppet (Judah Prehn) who can see his true form; ingratiate himself with the locals and, grudgingly; investigate the murder of the previous town doctor. As all this happens, the relationships of those around him deepen, and complicate, because …\u003c/p>\n\u003cp>5. A Robust Ensemble Cast: Writer Chris Sheridan, who adapted the comic, has taken steps to ensure that \u003cem>Resident Alien\u003c/em> will not fall into the familiar alien-on-Earth sitcom trap wherein the supporting cast exists solely to stand passively by, grinning, alternately amused and bemused by the central alien’s antics. Instead, the residents of Patience prove a tight-knit community of women and men whose existing interpersonal histories, relationships and emotional layers gradually reveal themselves. Thus we get scenes between clinic nurse Asta (Sara Tomko) and local bartender D’Arcy (an effortlessly funny Alice Wetterlund) that have little to do with the show’s A-plot, but feel warm and sharp and utterly natural. An abrasive local sheriff (Corey Reynolds) snipes at his long-suffering deputy (Elizabeth Bowen, whose slow-burn exasperation is a weapon the show employs deftly, to great effect). And Levi Fiehler, as the town’s young, idealistic mayor, makes a meal out of nervously questioning, in muttered asides, nearly everything that is said and done to him.\u003c/p>\n\u003cp>But whom are we kidding, here. While all the above aspects help distinguish the show from the many similar series that have gone before, the thing that makes \u003cem>Resident Alien\u003c/em> worth almost ten hours of your hard-earned time is …\u003c/p>\n\u003cp>6. Alan Tudyk: The guy’s IMDB page is less a page and more an entire wing of an IMDB library—from his beloved breakout role as pilot Wash in Joss Whedon’s \u003cem>Firefly/Serenity\u003c/em>, to memorable voice-acting stints on both the big screen (\u003cem>I, Robot, Rogue One: A Star Wars Story\u003c/em>) and the small (\u003cem>Harley Quinn, \u003c/em>and much of \u003cem>Doom Patrol)\u003c/em>, to out-there character choices in beloved cult films like \u003cem>Dodgeball \u003c/em>and \u003cem>Tucker and Dale vs. Evil\u003c/em>, let’s just go ahead and call it: Alan Tudyk is, officially, Good In Everything\u003csup>TM\u003c/sup>.\u003c/p>\n\u003cp>And in \u003cem>Resident Alien\u003c/em>, he’s great.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4J7QjGNTs4\u003c/p>\n\u003cp>Make no mistake: He didn’t need to be. On paper, his role as the alien who has assumed the role of Dr. Harry Vanderspeigle calls for him to do the Vincent-D’Onofrio-in-\u003cem>Men-in-Black\u003c/em> deal: Lumbering around, making big—nay, operatic—choices.\u003c/p>\n\u003cp>But Tudyk is smart enough to know that we’ve seen the alien-in-a-skinsuit thing done before (and not only in \u003cem>Men in Black\u003c/em>; I still maintain it’s the only way D’Onofrio’s performance in \u003cem>Law & Order: Criminal Intent\u003c/em> makes any sense at all). So his choices are smaller, more precise. His expressive face locks itself into a forced, heavy-lidded, faux-human passivity that threatens to break at the slightest stimulus. His human laugh is a more of a strangled dog-bark. And though we are privy to his character’s thoughts (always a comedic red flag), Tudyk’s such a consummate vocal pro that the series manages to use his voiceover to make the jokes land harder, instead of sucking all life from them.\u003c/p>\n\u003cp>Quibbles? Well, the show’s comedy/drama ratio feels a bit off, occasionally. One downside to creating a town full of characters with nuanced, interwoven backstories is the tendency to tell those stories by defaulting to soapy, hand-wringing plotting. One such storyline gives Sara Tomko a chance to show her acting chops, and she’s certainly up for it—but it forces the show’s tone to go a bit too lachrymose to easily recover from.\u003c/p>\n\u003cp>Comparisons to \u003cem>Northern Exposure\u003c/em> have already begun to crop up, and on the surface, they’re fair: A remote, snowy small town filled with quirky characters opens its heart to an arrogant doctor from far away—a doctor who grudgingly treats the locals, and even comes to feel some affection for them, though he’s desperate to escape.\u003c/p>\n\u003cp>Two small but telling differences must be noted, however:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Northern Exposure\u003c/em>‘s Joel Fleischmann wasn’t bent on vaporizing humanity, as far as I recall, nor (check me on this, it’s been decades since I’ve seen it) did his large, black, reptilian eyes feature nictitating membranes.\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=%27Resident+Alien%27%3A+The+Truth+Is+Way%2C+Way+Out+There+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Things \u003c/strong>\u003cem>\u003cstrong>Resident Alien\u003c/strong>\u003c/em>\u003cstrong> has in common with previous television series like \u003c/strong>\u003cem>\u003cstrong>My Favorite Martian, Mork & Mindy, ALF \u003c/strong>\u003c/em>\u003cstrong>and \u003c/strong>\u003cem>\u003cstrong>3rd Rock from the Sun\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong>\u003c/p>\n\u003cp>1. Main Character: An alien (or aliens).\u003c/p>\n\u003cp>2. Premise: The alien/s in question is/are on Earth, attempting to pass as human.\u003c/p>\n\u003cp>3. Reasons Hijinks Ensue: See 2., above.\u003c/p>\n\u003cp>\u003cstrong>Things That Set \u003c/strong>\u003cem>\u003cstrong>Resident Alien\u003c/strong>\u003c/em>\u003cstrong> far, far apart from previous television series like \u003c/strong>\u003cem>\u003cstrong>My Favorite Martian, Mork & Mindy, ALF \u003c/strong>\u003c/em>\u003cstrong>and \u003c/strong>\u003cem>\u003cstrong>3rd Rock from the Sun\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1. Darker Take On The Main Character: This alien is assigned with destroying the human race.\u003c/p>\n\u003cp>2. Darker Premise: The alien in question has crash-landed near the tiny Colorado town of Patience, where he has secretly murdered and assumed the form of a reclusive doctor. He soon gets dragged into the town’s business, however, when its local physician is found murdered. (Not the doctor whom the alien murdered, you follow? Entirely different doctor.)\u003c/p>\n\u003cp>3. Format: SYFY’s \u003cem>Resident Alien\u003c/em>, based on a Dark Horse Comics series by writer Peter Hogan and artist Steve Parkhouse, is not a classic sitcom, but an hourlong comedy/drama. (This first season is made up of ten episodes, the first seven of which were made available to press.)\u003c/p>\n\u003cp>4. Episodic Narrative Structure: Over the course of the season, the alien attempts to: avoid detection by assuming the role of town doctor; secretly search for his missing ship and its doomsday device (which is lost somewhere under the snow of a glacier near his cabin); deal with a young moppet (Judah Prehn) who can see his true form; ingratiate himself with the locals and, grudgingly; investigate the murder of the previous town doctor. As all this happens, the relationships of those around him deepen, and complicate, because …\u003c/p>\n\u003cp>5. A Robust Ensemble Cast: Writer Chris Sheridan, who adapted the comic, has taken steps to ensure that \u003cem>Resident Alien\u003c/em> will not fall into the familiar alien-on-Earth sitcom trap wherein the supporting cast exists solely to stand passively by, grinning, alternately amused and bemused by the central alien’s antics. Instead, the residents of Patience prove a tight-knit community of women and men whose existing interpersonal histories, relationships and emotional layers gradually reveal themselves. Thus we get scenes between clinic nurse Asta (Sara Tomko) and local bartender D’Arcy (an effortlessly funny Alice Wetterlund) that have little to do with the show’s A-plot, but feel warm and sharp and utterly natural. An abrasive local sheriff (Corey Reynolds) snipes at his long-suffering deputy (Elizabeth Bowen, whose slow-burn exasperation is a weapon the show employs deftly, to great effect). And Levi Fiehler, as the town’s young, idealistic mayor, makes a meal out of nervously questioning, in muttered asides, nearly everything that is said and done to him.\u003c/p>\n\u003cp>But whom are we kidding, here. While all the above aspects help distinguish the show from the many similar series that have gone before, the thing that makes \u003cem>Resident Alien\u003c/em> worth almost ten hours of your hard-earned time is …\u003c/p>\n\u003cp>6. Alan Tudyk: The guy’s IMDB page is less a page and more an entire wing of an IMDB library—from his beloved breakout role as pilot Wash in Joss Whedon’s \u003cem>Firefly/Serenity\u003c/em>, to memorable voice-acting stints on both the big screen (\u003cem>I, Robot, Rogue One: A Star Wars Story\u003c/em>) and the small (\u003cem>Harley Quinn, \u003c/em>and much of \u003cem>Doom Patrol)\u003c/em>, to out-there character choices in beloved cult films like \u003cem>Dodgeball \u003c/em>and \u003cem>Tucker and Dale vs. Evil\u003c/em>, let’s just go ahead and call it: Alan Tudyk is, officially, Good In Everything\u003csup>TM\u003c/sup>.\u003c/p>\n\u003cp>And in \u003cem>Resident Alien\u003c/em>, he’s great.\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/T4J7QjGNTs4'\n title='//www.youtube.com/embed/T4J7QjGNTs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Make no mistake: He didn’t need to be. On paper, his role as the alien who has assumed the role of Dr. Harry Vanderspeigle calls for him to do the Vincent-D’Onofrio-in-\u003cem>Men-in-Black\u003c/em> deal: Lumbering around, making big—nay, operatic—choices.\u003c/p>\n\u003cp>But Tudyk is smart enough to know that we’ve seen the alien-in-a-skinsuit thing done before (and not only in \u003cem>Men in Black\u003c/em>; I still maintain it’s the only way D’Onofrio’s performance in \u003cem>Law & Order: Criminal Intent\u003c/em> makes any sense at all). So his choices are smaller, more precise. His expressive face locks itself into a forced, heavy-lidded, faux-human passivity that threatens to break at the slightest stimulus. His human laugh is a more of a strangled dog-bark. And though we are privy to his character’s thoughts (always a comedic red flag), Tudyk’s such a consummate vocal pro that the series manages to use his voiceover to make the jokes land harder, instead of sucking all life from them.\u003c/p>\n\u003cp>Quibbles? Well, the show’s comedy/drama ratio feels a bit off, occasionally. One downside to creating a town full of characters with nuanced, interwoven backstories is the tendency to tell those stories by defaulting to soapy, hand-wringing plotting. One such storyline gives Sara Tomko a chance to show her acting chops, and she’s certainly up for it—but it forces the show’s tone to go a bit too lachrymose to easily recover from.\u003c/p>\n\u003cp>Comparisons to \u003cem>Northern Exposure\u003c/em> have already begun to crop up, and on the surface, they’re fair: A remote, snowy small town filled with quirky characters opens its heart to an arrogant doctor from far away—a doctor who grudgingly treats the locals, and even comes to feel some affection for them, though he’s desperate to escape.\u003c/p>\n\u003cp>Two small but telling differences must be noted, however:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Northern Exposure\u003c/em>‘s Joel Fleischmann wasn’t bent on vaporizing humanity, as far as I recall, nor (check me on this, it’s been decades since I’ve seen it) did his large, black, reptilian eyes feature nictitating membranes.\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=%27Resident+Alien%27%3A+The+Truth+Is+Way%2C+Way+Out+There+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Charles Blow's 'The Devil You Know' is a Black Power Manifesto For Our Time",
"headTitle": "Charles Blow’s ‘The Devil You Know’ is a Black Power Manifesto For Our Time | KQED",
"content": "\u003cp>Some time into his new book \u003cem>The Devil You Know: A Black Power Manifesto\u003c/em>, Charles Blow recalls hearing Harry Belafonte give a speech.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891835 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM.png\" alt=\"\" width=\"275\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM.png 275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM-160x236.png 160w\" sizes=\"(max-width: 275px) 100vw, 275px\">The subject was Belafonte’s bailout of some student members of the Student Nonviolent Coordinating Committee (SNCC.) Belafonte had raised $70,000 in bail money and called up his best friend Sidney Poitier to help him deliver the money. But it was not easy. Belafonte recalled how he and Poitier were chased by the Ku Klux Klan, whose members accosted them at the airport; Belafonte and Poitier had to take off speeding in a race for their lives.\u003c/p>\n\u003cp>Poitier and Belafonte were, without a doubt, two of the most acclaimed Black stars in America. And this still happened to them. But Belafonte did not end his story at the recounting of this memory of vile racism and terror. Belafonte turned it into a call for action. Facing the audience that Charles Blow sat in, Belafonte asked a simple question: “Where are the radical thinkers?”\u003c/p>\n\u003cp>In the years that passed, Blow found himself haunted by Belafonte’s question. In time, Belafonte’s questions spurred the writing of \u003cem>The Devil You Know, \u003c/em>Charles Blow’s own declaration of radical thought—for Black Americans to reconsider their Great Migration North and imagine new possibilities of Black political might. [aside postid='arts_13881229']\u003c/p>\n\u003cp>Writes Blow: “The proposition is simple. As many Black descendants of the Great Migration as possible should return to the South from which their ancestors fled.” By concentrating their political power in key Southern cities, Blow posits, Black Americans will be able to effect actual social change. “The mission begins with the states, which are the true centers of power in this country, and as such control the lion’s share of the issues that bedevil Black lives: criminal justice, judicial processes, education, health care, economic opportunity and assistance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Blow, the author of the memoir \u003cem>Fire Shut Up in My Bones \u003c/em>and a \u003cem>New York Times \u003c/em>columnist, is himself a child of the South who migrated North for employment opportunities, and thus is aptly situated to discuss these ideas. “I was born in 1970 in Louisiana at the end of the Great Migration into a world shaped by vacancy,” Blow writes. “The landscape was specked by empty houses; there was more work than could be done, more jobs than could be filled.”\u003c/p>\n\u003cp>So why, remembering the economic blight of his childhood, does Blow advocate a return to the South?\u003c/p>\n\u003cp>Firstly, Blow argues, the South is no longer an economically depressed region, but an economically thriving part of the country, especially in its major cities. Writes Blow: “In 2018 Forbes compiled a list of ‘The Cities Where African Americans Are Doing the Best Economically” and found many of those cities were in the South. The 15 worst cities for Black Americans were all the destination cities from the Great Migration.”\u003c/p>\n\u003cp>Secondly, the South is home to more than 1,000 of the nation’s 1,200 majority Black cities, home to most of the nation’s Black-owned businesses, has more Black folks in local government than northern cities, and carries an intergenerational Black history, memory and culture that must be honored.\u003c/p>\n\u003cp>But Blow’s main point is this: Racism is everywhere—it’s just about what kind of racism you can live with. And for Blow, Southern racism is preferable to its Northern cousin. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“I often think of racism as having developmental cycles. In the South, it’s an old man. There racism hasn’t vanished (far from it), but it has come to terms with itself. In the North, particularly in destination cities, racism is a teenage boy, acting out as the old man did years ago.”\u003c/p>\u003c/blockquote>\n\u003cp>In cogent arguments bound together by his customary incandescent prose, Blow explores how the white backlash towards the Great Migration that never really ended has created a situation where racism in these Northern “destination cities” of the Great Migration makes life untenable for Black Americans. Through research undertaken by Project Implicit, Blow found there is no difference between anti-Black bias in the North and the South. There are only the ideas that people will admit to out loud. In other words, writes Blow, “white people outside the South say the right words but many possess the same bigotry.” [aside postid='arts_13881489']\u003c/p>\n\u003cp>Consider this: Of the violent deaths of unarmed Black folks at the hands of policemen and white vigilantes, a great many now occur in the North, rather than the South. Eric Garner was killed in New York City. George Floyd in Minneapolis, Minnesota. Philando Castile was killed outside St. Paul, Minnesota. Mike Brown was shot in Ferguson, Missouri. Tamir Rice was gunned down in Cleveland, Ohio. Stephon Clark was killed in Sacramento, California. Freddy Gray was killed in Baltimore, Maryland.\u003c/p>\n\u003cp>The most segregated school systems are no longer in the South—instead, the most segregated school system in the United States is in a city many have long held up as a beacon of diversity and liberalism: New York City.\u003c/p>\n\u003cp>And while the American public imagination remembers the murders of Emmett Till and George Stinney by white supremacy in the South, the North was also an extremely unsafe place for Black Americans of that time as well. The post-World War I migration of Black folks North was followed by violence levied at the new Black arrivals by white Northerners. “So much blood flowed in America’s streets that year that James Weldon Johnson, field secretary of the NAACP dubbed it the ‘Red Summer’ writes Blow of the 1919 Chicago white uprising against the Black citizens of the region. “In ten months, an estimated 250 people were killed—including nearly 100 who were lynched.”\u003c/p>\n\u003cp>Weaving together deeply thought out analysis and in-depth sociological and historical research, Blow details how, as Black folks migrated North, “white people in Chicago found a way to formalize and ensure segregation: restrictive covenants” that made Black people unable to lease, buy, or even use property in certain areas of the city. The result? “By 1939, an estimated 80 percent of all Chicago’s land area was covered by these covenants,” Blow writes. Black Americans in the North suffered racial violence and reductions of rights codified by law—just like Black Americans in the South, but often without the support of extended family and community back home.\u003c/p>\n\u003cp>Blow connects the dots between moments of social advancement for Black Americans and the accompanying white backlash:\u003c/p>\n\u003cblockquote>\u003cp>“Whenever Black people make progress, white people feel threatened and respond forcefully. Emancipation and the Civil War gave rise to the KKK, which formed just months after the war ended. The Supreme Court’s decision in Brown vs. Board of Education striking down racial segregation in schools gave rise to the white supremacist Citizen’s Councils. The election of the first Black president gave rise to the Tea Party, which was formed soon after Barack Obama was sworn in.”\u003c/p>\u003c/blockquote>\n\u003cp>As he discusses the rise of anti-Black violence and the need for safe spaces for Black folks, Blow draws from personal experience, detailing the moment his college student son was held at gunpoint on his Yale campus; how that moment echoed his own experience of being unjustly held at gunpoint by white police officers while in college himself. “He said he could make us lie down in the middle of the road and shoot us in the back of the head, and no one would say anything about it,” Blow writes.\u003c/p>\n\u003cp>But throughout the book, Blow grounds his ideas in this central question: “What could and should Black people do to acquire and maintain the economic and political power—for the many, not just for the few—that the Great Migration failed to secure?”\u003c/p>\n\u003cp>Blow pays special attention to the role of elders in the community as he discusses how the original Great Migration caused a “loss of generational connectedness as an entire young generation left and the South became more of aged society,” adversely affecting both young people and the elders. Here, Blow crafts an homage to the elders in the Black community—from the great-uncle who babysat him to the importance of the example of elders like the 100 year-old Tim Black of Chicago who mentored a young Barack Obama newly arrived to Chicago.\u003c/p>\n\u003cp>It is also important to note the space Blow gives here to Black women social justice leaders who are often ignored, spending time with the mothers of the murdered black children—Samaria Rice, Sybrina Fulton; honoring the work of the great Shirley Chisolm; honoring the work Stacey Abrams. Indeed Abrams’ work, like Belafonte’s call to action, is an impetus of sorts for Blow’s book. “Georgia became the model for how Black people can potentially experience true power in this country and alter the political landscape,” writes Blow in his introduction. [aside postid='arts_13881199']\u003c/p>\n\u003cp>Consider this: Just after the Civil War, Blacks were the majority in three Southern states and within inches of the majority in three more. “If the Great Migration hadn’t happened, and those Black people had remained in the South until the passage of the Civil Rights Act of 1964 and the Voting Rights Act of 1965, it is possible that African Americans would dominate the politics of the Deep South.” They could have controlled as many as 12 seats in the U.S Senate.\u003c/p>\n\u003cp>Blow does not call himself an activist and does not admit to any political aspiration; since starting his first newspaper in high school he has thought of himself as a newspaperman through and through. His job, writes Blow, is this: “I bear witness. I interpret the world. I record history in real time.”\u003c/p>\n\u003cp>But for Blow, Belafonte’s call still comes through loud and clear. Imagining free Black futures requires radical thought. “In a society and system in which white supremacy is ubiquitous and inveterate, Black people need fierce advocates to help restore the balance in the first instance,” writes Blow. Throughout his legendary career in journalism, Charles Blow has long been that voice. The question is now: Will you join him?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hope Wabuke is a poet, writer and assistant professor at the University of Nebraska-Lincoln.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Charles+Blow%27s+%27The+Devil+You+Know%27+Is+A+Black+Power+Manifesto+For+Our+Time+++&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some time into his new book \u003cem>The Devil You Know: A Black Power Manifesto\u003c/em>, Charles Blow recalls hearing Harry Belafonte give a speech.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891835 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM.png\" alt=\"\" width=\"275\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM.png 275w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-26-at-1.21.17-PM-160x236.png 160w\" sizes=\"(max-width: 275px) 100vw, 275px\">The subject was Belafonte’s bailout of some student members of the Student Nonviolent Coordinating Committee (SNCC.) Belafonte had raised $70,000 in bail money and called up his best friend Sidney Poitier to help him deliver the money. But it was not easy. Belafonte recalled how he and Poitier were chased by the Ku Klux Klan, whose members accosted them at the airport; Belafonte and Poitier had to take off speeding in a race for their lives.\u003c/p>\n\u003cp>Poitier and Belafonte were, without a doubt, two of the most acclaimed Black stars in America. And this still happened to them. But Belafonte did not end his story at the recounting of this memory of vile racism and terror. Belafonte turned it into a call for action. Facing the audience that Charles Blow sat in, Belafonte asked a simple question: “Where are the radical thinkers?”\u003c/p>\n\u003cp>In the years that passed, Blow found himself haunted by Belafonte’s question. In time, Belafonte’s questions spurred the writing of \u003cem>The Devil You Know, \u003c/em>Charles Blow’s own declaration of radical thought—for Black Americans to reconsider their Great Migration North and imagine new possibilities of Black political might. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Writes Blow: “The proposition is simple. As many Black descendants of the Great Migration as possible should return to the South from which their ancestors fled.” By concentrating their political power in key Southern cities, Blow posits, Black Americans will be able to effect actual social change. “The mission begins with the states, which are the true centers of power in this country, and as such control the lion’s share of the issues that bedevil Black lives: criminal justice, judicial processes, education, health care, economic opportunity and assistance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blow, the author of the memoir \u003cem>Fire Shut Up in My Bones \u003c/em>and a \u003cem>New York Times \u003c/em>columnist, is himself a child of the South who migrated North for employment opportunities, and thus is aptly situated to discuss these ideas. “I was born in 1970 in Louisiana at the end of the Great Migration into a world shaped by vacancy,” Blow writes. “The landscape was specked by empty houses; there was more work than could be done, more jobs than could be filled.”\u003c/p>\n\u003cp>So why, remembering the economic blight of his childhood, does Blow advocate a return to the South?\u003c/p>\n\u003cp>Firstly, Blow argues, the South is no longer an economically depressed region, but an economically thriving part of the country, especially in its major cities. Writes Blow: “In 2018 Forbes compiled a list of ‘The Cities Where African Americans Are Doing the Best Economically” and found many of those cities were in the South. The 15 worst cities for Black Americans were all the destination cities from the Great Migration.”\u003c/p>\n\u003cp>Secondly, the South is home to more than 1,000 of the nation’s 1,200 majority Black cities, home to most of the nation’s Black-owned businesses, has more Black folks in local government than northern cities, and carries an intergenerational Black history, memory and culture that must be honored.\u003c/p>\n\u003cp>But Blow’s main point is this: Racism is everywhere—it’s just about what kind of racism you can live with. And for Blow, Southern racism is preferable to its Northern cousin. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“I often think of racism as having developmental cycles. In the South, it’s an old man. There racism hasn’t vanished (far from it), but it has come to terms with itself. In the North, particularly in destination cities, racism is a teenage boy, acting out as the old man did years ago.”\u003c/p>\u003c/blockquote>\n\u003cp>In cogent arguments bound together by his customary incandescent prose, Blow explores how the white backlash towards the Great Migration that never really ended has created a situation where racism in these Northern “destination cities” of the Great Migration makes life untenable for Black Americans. Through research undertaken by Project Implicit, Blow found there is no difference between anti-Black bias in the North and the South. There are only the ideas that people will admit to out loud. In other words, writes Blow, “white people outside the South say the right words but many possess the same bigotry.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consider this: Of the violent deaths of unarmed Black folks at the hands of policemen and white vigilantes, a great many now occur in the North, rather than the South. Eric Garner was killed in New York City. George Floyd in Minneapolis, Minnesota. Philando Castile was killed outside St. Paul, Minnesota. Mike Brown was shot in Ferguson, Missouri. Tamir Rice was gunned down in Cleveland, Ohio. Stephon Clark was killed in Sacramento, California. Freddy Gray was killed in Baltimore, Maryland.\u003c/p>\n\u003cp>The most segregated school systems are no longer in the South—instead, the most segregated school system in the United States is in a city many have long held up as a beacon of diversity and liberalism: New York City.\u003c/p>\n\u003cp>And while the American public imagination remembers the murders of Emmett Till and George Stinney by white supremacy in the South, the North was also an extremely unsafe place for Black Americans of that time as well. The post-World War I migration of Black folks North was followed by violence levied at the new Black arrivals by white Northerners. “So much blood flowed in America’s streets that year that James Weldon Johnson, field secretary of the NAACP dubbed it the ‘Red Summer’ writes Blow of the 1919 Chicago white uprising against the Black citizens of the region. “In ten months, an estimated 250 people were killed—including nearly 100 who were lynched.”\u003c/p>\n\u003cp>Weaving together deeply thought out analysis and in-depth sociological and historical research, Blow details how, as Black folks migrated North, “white people in Chicago found a way to formalize and ensure segregation: restrictive covenants” that made Black people unable to lease, buy, or even use property in certain areas of the city. The result? “By 1939, an estimated 80 percent of all Chicago’s land area was covered by these covenants,” Blow writes. Black Americans in the North suffered racial violence and reductions of rights codified by law—just like Black Americans in the South, but often without the support of extended family and community back home.\u003c/p>\n\u003cp>Blow connects the dots between moments of social advancement for Black Americans and the accompanying white backlash:\u003c/p>\n\u003cblockquote>\u003cp>“Whenever Black people make progress, white people feel threatened and respond forcefully. Emancipation and the Civil War gave rise to the KKK, which formed just months after the war ended. The Supreme Court’s decision in Brown vs. Board of Education striking down racial segregation in schools gave rise to the white supremacist Citizen’s Councils. The election of the first Black president gave rise to the Tea Party, which was formed soon after Barack Obama was sworn in.”\u003c/p>\u003c/blockquote>\n\u003cp>As he discusses the rise of anti-Black violence and the need for safe spaces for Black folks, Blow draws from personal experience, detailing the moment his college student son was held at gunpoint on his Yale campus; how that moment echoed his own experience of being unjustly held at gunpoint by white police officers while in college himself. “He said he could make us lie down in the middle of the road and shoot us in the back of the head, and no one would say anything about it,” Blow writes.\u003c/p>\n\u003cp>But throughout the book, Blow grounds his ideas in this central question: “What could and should Black people do to acquire and maintain the economic and political power—for the many, not just for the few—that the Great Migration failed to secure?”\u003c/p>\n\u003cp>Blow pays special attention to the role of elders in the community as he discusses how the original Great Migration caused a “loss of generational connectedness as an entire young generation left and the South became more of aged society,” adversely affecting both young people and the elders. Here, Blow crafts an homage to the elders in the Black community—from the great-uncle who babysat him to the importance of the example of elders like the 100 year-old Tim Black of Chicago who mentored a young Barack Obama newly arrived to Chicago.\u003c/p>\n\u003cp>It is also important to note the space Blow gives here to Black women social justice leaders who are often ignored, spending time with the mothers of the murdered black children—Samaria Rice, Sybrina Fulton; honoring the work of the great Shirley Chisolm; honoring the work Stacey Abrams. Indeed Abrams’ work, like Belafonte’s call to action, is an impetus of sorts for Blow’s book. “Georgia became the model for how Black people can potentially experience true power in this country and alter the political landscape,” writes Blow in his introduction. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consider this: Just after the Civil War, Blacks were the majority in three Southern states and within inches of the majority in three more. “If the Great Migration hadn’t happened, and those Black people had remained in the South until the passage of the Civil Rights Act of 1964 and the Voting Rights Act of 1965, it is possible that African Americans would dominate the politics of the Deep South.” They could have controlled as many as 12 seats in the U.S Senate.\u003c/p>\n\u003cp>Blow does not call himself an activist and does not admit to any political aspiration; since starting his first newspaper in high school he has thought of himself as a newspaperman through and through. His job, writes Blow, is this: “I bear witness. I interpret the world. I record history in real time.”\u003c/p>\n\u003cp>But for Blow, Belafonte’s call still comes through loud and clear. Imagining free Black futures requires radical thought. “In a society and system in which white supremacy is ubiquitous and inveterate, Black people need fierce advocates to help restore the balance in the first instance,” writes Blow. Throughout his legendary career in journalism, Charles Blow has long been that voice. The question is now: Will you join him?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hope Wabuke is a poet, writer and assistant professor at the University of Nebraska-Lincoln.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Charles+Blow%27s+%27The+Devil+You+Know%27+Is+A+Black+Power+Manifesto+For+Our+Time+++&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>America’s librarians announced their top children’s book picks virtually on Monday—awarding the 2021 Newbery and Caldecott medals, among several other honors.\u003c/p>\n\u003cp>The John Newbery Medal for the most distinguished children’s book in 2020 went to \u003cem>When You Trap A Tiger,\u003c/em> by Tae Keller. The book’s central character is a girl, Lily, whose family moves in with her dying grandmother—and a tiger from Korean folklore shows up looking for something that was stolen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891748 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-800x1215.jpg\" alt=\"\" width=\"800\" height=\"1215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-1011x1536.jpg 1011w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>All Thirteen: The Incredible Cave Rescue of the Thai Boys’ Soccer Team\u003c/em> by Christina Soontornvat, \u003cem>BOX: Henry Brown Mails Himself to Freedom\u003c/em> by Carole Boston Weatherford and illustrated by Michele Wood, \u003cem>Fighting Words\u003c/em> by Kimberly Brubaker Bradley, \u003cem>We Dream of Space\u003c/em> by Erin Entrada Kelly and \u003cem>A Wish in the Dark\u003c/em> by Christina Soontornvat won Newbery honors.\u003c/p>\n\u003cp>The Randolph Caldecott Medal, which the American Library Association awards to the most distinguished American picture book for children, went to \u003cem>We Are Water Protectors \u003c/em>illustrated by Michaela Goade and written by Carole Lindstrom. The book stresses the urgent need to take care of Earth’s water.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891749 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224.jpg 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Other Caldecott honor books were: \u003cem>A Place Inside of Me: A Poem to Heal the Heart, \u003c/em>illustrated by Noa Denmon and written by Zetta Elliott; \u003cem>The Cat Man of Aleppo,\u003c/em> illustrated by Yuko Shimizu and written by Irene Latham & Karim Shamsi-Basha; \u003cem>Me & Mama\u003c/em> illustrated and written by Cozbi A. Cabrera; and \u003cem>Outside In\u003c/em>, illustrated by Cindy Derby and written by Deborah Underwood.\u003c/p>\n\u003cp>ALA’s Youth Media Awards include many other honors, as well, such as the Coretta Scott King Award, which was awarded to \u003cem>Before the Ever After,\u003c/em> by Jacqueline Woodson.\u003c/p>\n\u003cp>In 2020, the Newbury was awarded to \u003cem>New Kid,\u003c/em> written and illustrated by Jerry Craft. The book centers on seventh grader Jordan Banks, who transfers schools and sees privilege all around him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last year, the Caldecott medal went to \u003cem>The Undefeated,\u003c/em> illustrated by Kadir Nelson and written by Kwame Alexander, which focuses on the Black experience.\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=%27When+You+Trap+A+Tiger%27+And+%27We+Are+Water+Protectors%27+Win+Top+Children%27s+Book+Honors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America’s librarians announced their top children’s book picks virtually on Monday—awarding the 2021 Newbery and Caldecott medals, among several other honors.\u003c/p>\n\u003cp>The John Newbery Medal for the most distinguished children’s book in 2020 went to \u003cem>When You Trap A Tiger,\u003c/em> by Tae Keller. The book’s central character is a girl, Lily, whose family moves in with her dying grandmother—and a tiger from Korean folklore shows up looking for something that was stolen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891748 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-800x1215.jpg\" alt=\"\" width=\"800\" height=\"1215\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-800x1215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-1020x1549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-768x1166.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-1011x1536.jpg 1011w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74-1349x2048.jpg 1349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/tiger_custom-016d07a4afa17be5bf99b077e6944f1df9107e74.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>All Thirteen: The Incredible Cave Rescue of the Thai Boys’ Soccer Team\u003c/em> by Christina Soontornvat, \u003cem>BOX: Henry Brown Mails Himself to Freedom\u003c/em> by Carole Boston Weatherford and illustrated by Michele Wood, \u003cem>Fighting Words\u003c/em> by Kimberly Brubaker Bradley, \u003cem>We Dream of Space\u003c/em> by Erin Entrada Kelly and \u003cem>A Wish in the Dark\u003c/em> by Christina Soontornvat won Newbery honors.\u003c/p>\n\u003cp>The Randolph Caldecott Medal, which the American Library Association awards to the most distinguished American picture book for children, went to \u003cem>We Are Water Protectors \u003c/em>illustrated by Michaela Goade and written by Carole Lindstrom. The book stresses the urgent need to take care of Earth’s water.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891749 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/water-4e7b69add589575207fcc3cc41242960dc10f224.jpg 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Other Caldecott honor books were: \u003cem>A Place Inside of Me: A Poem to Heal the Heart, \u003c/em>illustrated by Noa Denmon and written by Zetta Elliott; \u003cem>The Cat Man of Aleppo,\u003c/em> illustrated by Yuko Shimizu and written by Irene Latham & Karim Shamsi-Basha; \u003cem>Me & Mama\u003c/em> illustrated and written by Cozbi A. Cabrera; and \u003cem>Outside In\u003c/em>, illustrated by Cindy Derby and written by Deborah Underwood.\u003c/p>\n\u003cp>ALA’s Youth Media Awards include many other honors, as well, such as the Coretta Scott King Award, which was awarded to \u003cem>Before the Ever After,\u003c/em> by Jacqueline Woodson.\u003c/p>\n\u003cp>In 2020, the Newbury was awarded to \u003cem>New Kid,\u003c/em> written and illustrated by Jerry Craft. The book centers on seventh grader Jordan Banks, who transfers schools and sees privilege all around him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last year, the Caldecott medal went to \u003cem>The Undefeated,\u003c/em> illustrated by Kadir Nelson and written by Kwame Alexander, which focuses on the Black experience.\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=%27When+You+Trap+A+Tiger%27+And+%27We+Are+Water+Protectors%27+Win+Top+Children%27s+Book+Honors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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