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"content": "\u003cp>The creation of new Smithsonian museums dedicated to Latinos and women can now move forward. Earlier this month, Sen. Mike Lee (R-UT) was the lone vote \u003ca href=\"https://www.npr.org/2020/12/11/945389843/sen-mike-lee-blocks-legislation-for-latino-womens-museums\" target=\"_blank\" rel=\"noopener noreferrer\">blocking\u003c/a> legislation, saying “separate-but-equal museums” would “further divide an already divided nation.” Supporters of both museums quickly moved to ensure the museums would be included in the $900 billion year-end spending package which was passed by Congress on Monday and now heads to President Trump’s desk.\u003c/p>\n\u003cp>“Victory finally came today,” Sen. Bob Menendez (D-NJ) wrote in a \u003ca href=\"https://www.menendez.senate.gov/newsroom/press/menendez-national-american-latino-museum-will-be-built\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>. Noting that a National Museum of the American Latino has been decades in the making, Menendez says, “We have overcome tremendous obstacles and unbelievable hurdles to get to this historic moment, but, as I’ve said before, Latinos are used to overcoming obstacles.”\u003c/p>\n\u003cp>Estuardo Rodriguez, president of \u003ca href=\"https://americanlatinomuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Friends of the American Latino Museum\u003c/a>, tells NPR it’s fitting that the museum is included in the coronavirus relief bill. [aside postid='arts_11830777']\u003c/p>\n\u003cp>“With the Latino community on the frontlines of this pandemic, in the food service industry, agriculture, healthcare services and caring for the elderly … Latinos and Latinas have been disproportionately impacted by the pandemic, suffering high rates of infection and death.” He continues, “The legislation to create a museum serves to not only honor the past contributions of American Latinos for over 500 years, but recognize their sacrifices today.”\u003c/p>\n\u003cp>The Smithsonian cannot build a new museum without federal legislation but both the Latino and women’s museums have bipartisan support.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrating the inclusion of a Smithsonian Women’s History Museum in the omnibus spending package, Rep. Carolyn B. Maloney (D-NY) writes that she is “thrilled that we are finally set to pass this historic legislation.” She continues, “How fitting that we pass this bill as we mark the centennial of the 19th Amendment and in the year in which we elected our first woman vice president.” [aside postid='arts_13816161']\u003c/p>\n\u003cp>Similar to the financing of the \u003ca href=\"https://www.npr.org/series/493945132/grand-opening-the-national-museum-of-african-american-history-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of African American History and Culture\u003c/a>, the last Smithsonian museum built on the National Mall, the law requires costs be covered by a 50/50 split between public and private dollars. The Smithsonian’s Board of Regents will be tasked with finding space for both museums on or near the National Mall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sen. Lee of Utah was one of six senators, all Republican, to vote no on the omnibus spending bill.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Congress+Approves+2+New+Museums+Honoring+American+Latinos%2C+Women%27s+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Christmas romantic comedies are known for cozy sweaters, roaring fireplaces, meaningful glances over cups of hot chocolate and stars who, until recently, looked like a bunch of models from a Land’s End catalog circa 1985.\u003c/p>\n\u003cp>Rare were the Christmas rom-coms with Asian, queer, Latinx or disabled characters. When Black characters started to show up, they generally played sidekicks—or they starred in family holiday movies, not the kind of Christmas rom-coms where Mom’s always there to help with a thorny relationship dilemma, the cider is forever mulled and not a single problem can’t be solved by declaring love under the mistletoe. [aside postid='arts_13889581']\u003c/p>\n\u003cp>2020, of all the years, might be the one where all this decisively changed. It’s been happening for a while, but holiday rom-coms this year are centering like never before on characters who only slowly started appearing in these movies, at first in the margins.\u003c/p>\n\u003cp>“People see themselves in our programming and feel welcome here,” explains Amy Winter, head of programming for Lifetime and Lifetime Movie Network. “We have over 20 diverse leads and over 80 diverse characters in the course of this premiere season. So, we’re doing pretty well.”\u003c/p>\n\u003cfigure id=\"attachment_13890720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890720\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/3633821-f27bb1ad1e7c1828095e58dfacffee765dfa6cb2-800x600.jpg\" alt=\"Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel's many new holiday rom-coms, 'A Christmas Tree Grows in Colorado.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel’s many new holiday rom-coms, ‘A Christmas Tree Grows in Colorado.’ \u003ccite>(Ryan Plummer/2020 Crown Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It should be said there’s a full-on Christmas rom-com arms race between Lifetime and the Hallmark Channel. This year, Lifetime premiered 34 original Christmas movies to Hallmark’s 40. (Last year, Lifetime gave us 19, Hallmark, 16.) Perhaps when there are so darn many Christmas movies, it’s easier to feature leads who are Asian American (\u003cem>A Sugar & Spice Holiday\u003c/em>), gay men (\u003cem>The Christmas Set-up\u003c/em> and \u003cem>The Christmas House\u003c/em>) and wheelchair users (\u003cem>Christmas Ever After\u003c/em>), as well as Latinx (\u003cem>Feliz NaviDAD\u003c/em>, \u003cem>Jingle Bell Bride\u003c/em>) and Black (too many this year to name!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Diversity among ‘people of color’ has been a priority for us for many years,” Allison Bennett told NPR in an email. She’s Crown Media’s vice president of corporate communications, which owns the Hallmark Channel. Both Hallmark and Lifetime have now established successful Christmas rom-com franchises with mostly Black casts: \u003cem>Christmas in Evergreen\u003c/em> and the \u003cem>Merry Liddle Christmas\u003c/em> series.\u003c/p>\n\u003cp>“Just put them in my veins. I’ll watch them back to back,” jokes Brittany Luse. Cultural critic and host of \u003cem>\u003ca href=\"https://gimletmedia.com/shows/the-nod\" target=\"_blank\" rel=\"noopener noreferrer\">The Nod\u003c/a>\u003c/em>, Luse is also an unabashed Christmas rom-com fan who’s followed Black representation in these movies at least, she says, since \u003cem>The Preacher’s Wife\u003c/em> came out in 1996, starring Denzel Washington (“couldn’t have been hotter”) and Whitney Houston (“at her most devastatingly beautiful.”) But she points out that movie denied its main characters the kind of happy ending rom-com lovers expect. [aside postid='arts_13889735']\u003c/p>\n\u003cp>Since then, Luse says, these saccharine, cinematic bon-bons have become increasingly embraced in the mainstream. And while cheesy, they pack a cultural punch. Which may be partly why you see famous names like Kelly Rowland or Kristen Stewart showing up in the \u003cem>Merry Liddle\u003c/em> movies and \u003cem>Happiest Season—\u003c/em>the lesbian rom-com that happened to be Hulu’s biggest holiday hit this year.\u003c/p>\n\u003cfigure id=\"attachment_13890719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/sugar-and-spice-2-bb6e58350f5196737f41ab5d9009fb01830a17de-800x600.jpg\" alt=\"'A Sugar & Spice Holiday,' starring Jacky Lai and Tony Giroux, is Lifetime's first Chinese American Christmas romantic comedy.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">‘A Sugar & Spice Holiday,’ starring Jacky Lai and Tony Giroux, is Lifetime’s first Chinese American Christmas romantic comedy. \u003ccite>(Kailey Schwerman/Courtesy of Lifetime 2020)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re seeing that kind of progress and growth happening socioculturally among all kinds of marginalized people in so many areas of pop culture,” Luse observes. “But all of this is happening in a year when so many have evoked Breonna Taylor’s name, and things are—not good for so many marginalized people. As much as I enjoy these films, I can’t help but think we’re getting the most diverse slate of Christmas romantic comedies\u003cem> that the world has ever seen, \u003c/em>but people who are living the reality of those identities on a daily basis are having a really hard time right now.”\u003c/p>\n\u003cp>Escapism is deeply human. While crying over silly peccadilloes in romantic comedies won’t save the world, it won’t hurt it either. During this horrible year, Luse admits to finding relief in such Christmas movies as \u003cem>The Princess Switch 2\u003c/em> on Netflix and \u003cem>The Christmas Aunt\u003c/em> on Lifetime, starring Keshia Knight Pulliam—who a generation of fans remember as little Rudy from \u003cem>The Cosby Show—\u003c/em>as a grown-up art curator falling in love with her handsome high school crush. (Luse: “Was Lifetime stalking me? Like, did they read my emails?”) [aside postid='arts_13889748']\u003c/p>\n\u003cp>Lifetime’s Amy Winter says the network makes a point of not just sticking diverse actors in Christmas rom-coms without also hiring writers, directors and decision-makers who share their cultural perspectives. That said, there was one exception this year. \u003cem>Christmas Ever After \u003c/em>stars an actress in a wheelchair. It was written for an able-bodied lead, but Ali Stroker—\u003ca href=\"https://www.youtube.com/watch?v=ozcsGH5eyuU\" target=\"_blank\" rel=\"noopener noreferrer\">who’d just made history by winning a Tony for \u003cem>Oklahoma!\u003c/em>\u003c/a>—was beautiful, talented, charismatic and available. So, of course Lifetime hired her to play a romance novelist who finds love in a charming B&B in one of their 34 Christmas romcoms.\u003c/p>\n\u003cp>“We didn’t make a movie about a woman in a wheelchair at Christmas,” Winter says. “We made a Christmas movie that stars a woman in a wheelchair.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Don’t call this Christmas casting magic, she adds. This is Christmas common sense.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Holiday+Rom-Coms+Go+Beyond+Diversity+To+Center+New+Christmas+Stars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christmas romantic comedies are known for cozy sweaters, roaring fireplaces, meaningful glances over cups of hot chocolate and stars who, until recently, looked like a bunch of models from a Land’s End catalog circa 1985.\u003c/p>\n\u003cp>Rare were the Christmas rom-coms with Asian, queer, Latinx or disabled characters. When Black characters started to show up, they generally played sidekicks—or they starred in family holiday movies, not the kind of Christmas rom-coms where Mom’s always there to help with a thorny relationship dilemma, the cider is forever mulled and not a single problem can’t be solved by declaring love under the mistletoe. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>2020, of all the years, might be the one where all this decisively changed. It’s been happening for a while, but holiday rom-coms this year are centering like never before on characters who only slowly started appearing in these movies, at first in the margins.\u003c/p>\n\u003cp>“People see themselves in our programming and feel welcome here,” explains Amy Winter, head of programming for Lifetime and Lifetime Movie Network. “We have over 20 diverse leads and over 80 diverse characters in the course of this premiere season. So, we’re doing pretty well.”\u003c/p>\n\u003cfigure id=\"attachment_13890720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890720\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/3633821-f27bb1ad1e7c1828095e58dfacffee765dfa6cb2-800x600.jpg\" alt=\"Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel's many new holiday rom-coms, 'A Christmas Tree Grows in Colorado.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rochelle Aytes and Mark Taylor star in one of the Hallmark Channel’s many new holiday rom-coms, ‘A Christmas Tree Grows in Colorado.’ \u003ccite>(Ryan Plummer/2020 Crown Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It should be said there’s a full-on Christmas rom-com arms race between Lifetime and the Hallmark Channel. This year, Lifetime premiered 34 original Christmas movies to Hallmark’s 40. (Last year, Lifetime gave us 19, Hallmark, 16.) Perhaps when there are so darn many Christmas movies, it’s easier to feature leads who are Asian American (\u003cem>A Sugar & Spice Holiday\u003c/em>), gay men (\u003cem>The Christmas Set-up\u003c/em> and \u003cem>The Christmas House\u003c/em>) and wheelchair users (\u003cem>Christmas Ever After\u003c/em>), as well as Latinx (\u003cem>Feliz NaviDAD\u003c/em>, \u003cem>Jingle Bell Bride\u003c/em>) and Black (too many this year to name!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Diversity among ‘people of color’ has been a priority for us for many years,” Allison Bennett told NPR in an email. She’s Crown Media’s vice president of corporate communications, which owns the Hallmark Channel. Both Hallmark and Lifetime have now established successful Christmas rom-com franchises with mostly Black casts: \u003cem>Christmas in Evergreen\u003c/em> and the \u003cem>Merry Liddle Christmas\u003c/em> series.\u003c/p>\n\u003cp>“Just put them in my veins. I’ll watch them back to back,” jokes Brittany Luse. Cultural critic and host of \u003cem>\u003ca href=\"https://gimletmedia.com/shows/the-nod\" target=\"_blank\" rel=\"noopener noreferrer\">The Nod\u003c/a>\u003c/em>, Luse is also an unabashed Christmas rom-com fan who’s followed Black representation in these movies at least, she says, since \u003cem>The Preacher’s Wife\u003c/em> came out in 1996, starring Denzel Washington (“couldn’t have been hotter”) and Whitney Houston (“at her most devastatingly beautiful.”) But she points out that movie denied its main characters the kind of happy ending rom-com lovers expect. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, Luse says, these saccharine, cinematic bon-bons have become increasingly embraced in the mainstream. And while cheesy, they pack a cultural punch. Which may be partly why you see famous names like Kelly Rowland or Kristen Stewart showing up in the \u003cem>Merry Liddle\u003c/em> movies and \u003cem>Happiest Season—\u003c/em>the lesbian rom-com that happened to be Hulu’s biggest holiday hit this year.\u003c/p>\n\u003cfigure id=\"attachment_13890719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/sugar-and-spice-2-bb6e58350f5196737f41ab5d9009fb01830a17de-800x600.jpg\" alt=\"'A Sugar & Spice Holiday,' starring Jacky Lai and Tony Giroux, is Lifetime's first Chinese American Christmas romantic comedy.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">‘A Sugar & Spice Holiday,’ starring Jacky Lai and Tony Giroux, is Lifetime’s first Chinese American Christmas romantic comedy. \u003ccite>(Kailey Schwerman/Courtesy of Lifetime 2020)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re seeing that kind of progress and growth happening socioculturally among all kinds of marginalized people in so many areas of pop culture,” Luse observes. “But all of this is happening in a year when so many have evoked Breonna Taylor’s name, and things are—not good for so many marginalized people. As much as I enjoy these films, I can’t help but think we’re getting the most diverse slate of Christmas romantic comedies\u003cem> that the world has ever seen, \u003c/em>but people who are living the reality of those identities on a daily basis are having a really hard time right now.”\u003c/p>\n\u003cp>Escapism is deeply human. While crying over silly peccadilloes in romantic comedies won’t save the world, it won’t hurt it either. During this horrible year, Luse admits to finding relief in such Christmas movies as \u003cem>The Princess Switch 2\u003c/em> on Netflix and \u003cem>The Christmas Aunt\u003c/em> on Lifetime, starring Keshia Knight Pulliam—who a generation of fans remember as little Rudy from \u003cem>The Cosby Show—\u003c/em>as a grown-up art curator falling in love with her handsome high school crush. (Luse: “Was Lifetime stalking me? Like, did they read my emails?”) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lifetime’s Amy Winter says the network makes a point of not just sticking diverse actors in Christmas rom-coms without also hiring writers, directors and decision-makers who share their cultural perspectives. That said, there was one exception this year. \u003cem>Christmas Ever After \u003c/em>stars an actress in a wheelchair. It was written for an able-bodied lead, but Ali Stroker—\u003ca href=\"https://www.youtube.com/watch?v=ozcsGH5eyuU\" target=\"_blank\" rel=\"noopener noreferrer\">who’d just made history by winning a Tony for \u003cem>Oklahoma!\u003c/em>\u003c/a>—was beautiful, talented, charismatic and available. So, of course Lifetime hired her to play a romance novelist who finds love in a charming B&B in one of their 34 Christmas romcoms.\u003c/p>\n\u003cp>“We didn’t make a movie about a woman in a wheelchair at Christmas,” Winter says. “We made a Christmas movie that stars a woman in a wheelchair.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Don’t call this Christmas casting magic, she adds. This is Christmas common sense.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Holiday+Rom-Coms+Go+Beyond+Diversity+To+Center+New+Christmas+Stars&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "India's Female Superhero and Her Flying Tiger are Out to Fight the Pandemic",
"headTitle": "India’s Female Superhero and Her Flying Tiger are Out to Fight the Pandemic | KQED",
"content": "\u003cp>Indian superhero Priya has battled rape, acid attacks and trafficking. And now she’s fighting the new coronavirus.\u003c/p>\n\u003cp>\u003ca href=\"https://www.priyashakti.com/priyas-mask\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Priya’s Mask\u003c/em>\u003c/a> is the latest installation in \u003cem>Priya\u003c/em>, the hit comic book series targeted to Indian children. This time, Priya and her flying tiger Sahas befriend a little girl named Meena to show the sacrifices made by frontline health-care workers—and why it’s important to be courageous and compassionate during the pandemic.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.priyashakti.com/priyas-mask\" target=\"_blank\" rel=\"noopener noreferrer\">15-page comic book\u003c/a>, \u003ca href=\"https://www.dropbox.com/s/vsd8pqiprna9onu/Priyas_Mask_Comic_English.pdf?dl=0\" target=\"_blank\" rel=\"noopener noreferrer\">available to download\u003c/a> for free online, comes with a two-minute animated film, featuring the voices of Bollywood stars such as Vidya Balan and Mrunal Thakur. Both premiered in London at the \u003ca href=\"https://www.globalhealthfilm.org/pages/4-global-health-film-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Global Health Film Festival\u003c/a> in December.\u003c/p>\n\u003cp>“When we start being anxious and thinking about ourselves, we need someone to tell us to think about the sacrifices people are making to make sure we are safe,” says Shubhra Prakash, who wrote the script for \u003cem>Priya’s Mask\u003c/em>. In essence, she says, everyone needs a Priya to make sense of a world turned upside down.\u003c/p>\n\u003cp>The character of Priya, clad in a traditional outfit worn by Indian women, the \u003cem>salwar kameez\u003c/em>, was created by Ram Devineni, who is Indian American, in 2014. The idea was to use comic books to help children in India understand difficult topics—especially those that are heavily stigmatized.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first comic, \u003cem>Priya’s Shakti\u003c/em>, was developed in response to a brutal gang rape of a young woman in a New Delhi bus in 2012 who died as a result of her injuries. It portrays Priya as a rape survivor fighting stigma and sexual violence. There’s also \u003cem>Priya’s Mirror\u003c/em>, about acid attacks, and \u003cem>Priya and the Lost Girls\u003c/em>, about freeing young women entrapped in the sex industry.\u003c/p>\n\u003cp>The comic series has earned critical acclaim, including the honor of “gender equality champion,” by U.N. Women and attention from the international press. And it has garnered \u003ca href=\"https://nabshow.com/2020/thought-gallery/ram-devineni/\" target=\"_blank\" rel=\"noopener noreferrer\">millions of book downloads\u003c/a>, finding an audience in India and beyond.\u003c/p>\n\u003cp>Devineni and his team started envisioning \u003cem>Priya’s Mask \u003c/em>in May after the U.S. Embassy in Delhi invited them to apply for a grant.”\u003c/p>\n\u003cp>One of the motivations to bring back Priya during the pandemic was to tackle false information, says Devineni. “There was so much disinformation being spread on social media about the virus, blaming people of different nationalities, religions, even poor people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yU4tznAFevg\u003c/p>\n\u003cp>In the new comic, Priya invites Meena to join her and Sahas—Hindi for “courage”—on a magical ride through the city. Along the way to the hospital, where Meena’s mother is a frontline health worker, they see her friend who misses her grandmother’s hugs and Meena’s favorite ice-cream parlor, now empty because of the lockdown.\u003c/p>\n\u003cp>Meena also gets a bird’s eye (or tiger’s eye) view of her city and hears all the pandemic disinformation bubbling around: Someone says there is no virus, and another person says only the poor get it.\u003c/p>\n\u003cp>Then Priya hops across the border to Pakistan where she teams up with another iconic South Asian female superhero: \u003ca href=\"https://www.washingtonpost.com/blogs/she-the-people/wp/2013/08/01/burka-avenger-pakistans-new-superhero/\" target=\"_blank\" rel=\"noopener noreferrer\">Jiya\u003c/a> from Pakistan’s comic series \u003cem>Burka Avenger\u003c/em>. Together, they tackle the mustachioed (and unmasked) Baba Kaboom, who wants to spread the virus all over the town of Chutneyville.\u003c/p>\n\u003cp>Devineni had long wanted to connect Jiya and Priya, and the virus gave him that opportunity. “The virus doesn’t respect borders,” says Devineni. “I thought we could come together to fight the epidemic.”\u003c/p>\n\u003cp>For the team behind \u003cem>Priya’s Mask\u003c/em>, scattered over different cities and continents, the comic became a “safe space, our bubble,” says Indrani Ray, co-producer of the animated film.\u003c/p>\n\u003cp>Devineni’s parents are both doctors. His father, who has been a pediatrician since 1975 in New Jersey, shut down his practice because of the pandemic. He’s attended the funerals of two of his friends via Zoom. Co-producer Tanvi Gandhi says her family lost someone very close to them to COVID-19. “Not being able to say goodbye, it was an experience none of us will ever forget,” she says.\u003c/p>\n\u003cp>Pop culture such as comics can make it easier to help important messages get through, says \u003ca href=\"https://us.breakthrough.tv/team/mallika-dutt/\" target=\"_blank\" rel=\"noopener noreferrer\">Mallika Dutt\u003c/a>, an Indian American social justice advocate and the founder of Breakthrough, a global organization that tackles hot-button social issues in creative ways, such as a video game about U.S. immigration detention and an album of ballads to talk about domestic violence. “Popular culture is a powerful way to influence social change,” says Dutt, who says she loved the images in \u003cem>Priya’s Mask\u003c/em>. “It gets people to listen and react in a way that doesn’t feel didactic and lecturing.”\u003c/p>\n\u003cp>Devineni says when the team envisioned\u003cem> Priya’s Mask\u003c/em> six months ago, they had no idea if it would still be relevant by the time the film and comic got done. But one thing he knew for sure. “Priya is a survivor of gender-based violence. She’s a survivor, not a victim,” he says.\u003c/p>\n\u003cp>A U.S. version of the animated film, featuring Hollywood actress Rosanna Arquette as the voice of Sahas, will soon be released. And when it’s safer, the U.S. Embassy in New Delhi plans to distribute free copies of the book to Indian schoolchildren.\u003c/p>\n\u003cp>The team is already planning a future installment that will send a positive message about vaccines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Based in Kolkata, Sandip Roy is the author of the novel \u003c/em>\u003ca href=\"http://www.npr.org/2015/02/24/383581229/family-secrets-and-mango-chutney-in-dont-let-him-know\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Let Him Know\u003c/a>. \u003cem>He tweets @sandipr.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=India%27s+Female+Superhero+And+Her+Flying+Tiger+Are+Out+To+Fight+The+Pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Indian superhero Priya has battled rape, acid attacks and trafficking. And now she’s fighting the new coronavirus.\u003c/p>\n\u003cp>\u003ca href=\"https://www.priyashakti.com/priyas-mask\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Priya’s Mask\u003c/em>\u003c/a> is the latest installation in \u003cem>Priya\u003c/em>, the hit comic book series targeted to Indian children. This time, Priya and her flying tiger Sahas befriend a little girl named Meena to show the sacrifices made by frontline health-care workers—and why it’s important to be courageous and compassionate during the pandemic.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.priyashakti.com/priyas-mask\" target=\"_blank\" rel=\"noopener noreferrer\">15-page comic book\u003c/a>, \u003ca href=\"https://www.dropbox.com/s/vsd8pqiprna9onu/Priyas_Mask_Comic_English.pdf?dl=0\" target=\"_blank\" rel=\"noopener noreferrer\">available to download\u003c/a> for free online, comes with a two-minute animated film, featuring the voices of Bollywood stars such as Vidya Balan and Mrunal Thakur. Both premiered in London at the \u003ca href=\"https://www.globalhealthfilm.org/pages/4-global-health-film-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Global Health Film Festival\u003c/a> in December.\u003c/p>\n\u003cp>“When we start being anxious and thinking about ourselves, we need someone to tell us to think about the sacrifices people are making to make sure we are safe,” says Shubhra Prakash, who wrote the script for \u003cem>Priya’s Mask\u003c/em>. In essence, she says, everyone needs a Priya to make sense of a world turned upside down.\u003c/p>\n\u003cp>The character of Priya, clad in a traditional outfit worn by Indian women, the \u003cem>salwar kameez\u003c/em>, was created by Ram Devineni, who is Indian American, in 2014. The idea was to use comic books to help children in India understand difficult topics—especially those that are heavily stigmatized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first comic, \u003cem>Priya’s Shakti\u003c/em>, was developed in response to a brutal gang rape of a young woman in a New Delhi bus in 2012 who died as a result of her injuries. It portrays Priya as a rape survivor fighting stigma and sexual violence. There’s also \u003cem>Priya’s Mirror\u003c/em>, about acid attacks, and \u003cem>Priya and the Lost Girls\u003c/em>, about freeing young women entrapped in the sex industry.\u003c/p>\n\u003cp>The comic series has earned critical acclaim, including the honor of “gender equality champion,” by U.N. Women and attention from the international press. And it has garnered \u003ca href=\"https://nabshow.com/2020/thought-gallery/ram-devineni/\" target=\"_blank\" rel=\"noopener noreferrer\">millions of book downloads\u003c/a>, finding an audience in India and beyond.\u003c/p>\n\u003cp>Devineni and his team started envisioning \u003cem>Priya’s Mask \u003c/em>in May after the U.S. Embassy in Delhi invited them to apply for a grant.”\u003c/p>\n\u003cp>One of the motivations to bring back Priya during the pandemic was to tackle false information, says Devineni. “There was so much disinformation being spread on social media about the virus, blaming people of different nationalities, religions, even poor people.”\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/yU4tznAFevg'\n title='//www.youtube.com/embed/yU4tznAFevg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the new comic, Priya invites Meena to join her and Sahas—Hindi for “courage”—on a magical ride through the city. Along the way to the hospital, where Meena’s mother is a frontline health worker, they see her friend who misses her grandmother’s hugs and Meena’s favorite ice-cream parlor, now empty because of the lockdown.\u003c/p>\n\u003cp>Meena also gets a bird’s eye (or tiger’s eye) view of her city and hears all the pandemic disinformation bubbling around: Someone says there is no virus, and another person says only the poor get it.\u003c/p>\n\u003cp>Then Priya hops across the border to Pakistan where she teams up with another iconic South Asian female superhero: \u003ca href=\"https://www.washingtonpost.com/blogs/she-the-people/wp/2013/08/01/burka-avenger-pakistans-new-superhero/\" target=\"_blank\" rel=\"noopener noreferrer\">Jiya\u003c/a> from Pakistan’s comic series \u003cem>Burka Avenger\u003c/em>. Together, they tackle the mustachioed (and unmasked) Baba Kaboom, who wants to spread the virus all over the town of Chutneyville.\u003c/p>\n\u003cp>Devineni had long wanted to connect Jiya and Priya, and the virus gave him that opportunity. “The virus doesn’t respect borders,” says Devineni. “I thought we could come together to fight the epidemic.”\u003c/p>\n\u003cp>For the team behind \u003cem>Priya’s Mask\u003c/em>, scattered over different cities and continents, the comic became a “safe space, our bubble,” says Indrani Ray, co-producer of the animated film.\u003c/p>\n\u003cp>Devineni’s parents are both doctors. His father, who has been a pediatrician since 1975 in New Jersey, shut down his practice because of the pandemic. He’s attended the funerals of two of his friends via Zoom. Co-producer Tanvi Gandhi says her family lost someone very close to them to COVID-19. “Not being able to say goodbye, it was an experience none of us will ever forget,” she says.\u003c/p>\n\u003cp>Pop culture such as comics can make it easier to help important messages get through, says \u003ca href=\"https://us.breakthrough.tv/team/mallika-dutt/\" target=\"_blank\" rel=\"noopener noreferrer\">Mallika Dutt\u003c/a>, an Indian American social justice advocate and the founder of Breakthrough, a global organization that tackles hot-button social issues in creative ways, such as a video game about U.S. immigration detention and an album of ballads to talk about domestic violence. “Popular culture is a powerful way to influence social change,” says Dutt, who says she loved the images in \u003cem>Priya’s Mask\u003c/em>. “It gets people to listen and react in a way that doesn’t feel didactic and lecturing.”\u003c/p>\n\u003cp>Devineni says when the team envisioned\u003cem> Priya’s Mask\u003c/em> six months ago, they had no idea if it would still be relevant by the time the film and comic got done. But one thing he knew for sure. “Priya is a survivor of gender-based violence. She’s a survivor, not a victim,” he says.\u003c/p>\n\u003cp>A U.S. version of the animated film, featuring Hollywood actress Rosanna Arquette as the voice of Sahas, will soon be released. And when it’s safer, the U.S. Embassy in New Delhi plans to distribute free copies of the book to Indian schoolchildren.\u003c/p>\n\u003cp>The team is already planning a future installment that will send a positive message about vaccines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Based in Kolkata, Sandip Roy is the author of the novel \u003c/em>\u003ca href=\"http://www.npr.org/2015/02/24/383581229/family-secrets-and-mango-chutney-in-dont-let-him-know\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Let Him Know\u003c/a>. \u003cem>He tweets @sandipr.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=India%27s+Female+Superhero+And+Her+Flying+Tiger+Are+Out+To+Fight+The+Pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "George Clooney Says 'Midnight Sky' is About 'Our Desperate Need' to Be With Loved Ones",
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"content": "\u003cp>A global catastrophe has wiped out most of humanity. An astronomer living in an outpost inside the Arctic Circle is in a race against time to help the crew of a spacecraft returning from one of Jupiter’s moons.\u003c/p>\n\u003cp>That’s the premise of \u003cem>The Midnight Sky\u003c/em>, the new science fiction movie starring George Clooney. It’s based on the 2016 book \u003cem>Good Morning, Midnight\u003c/em> by Lily Brooks-Dalton. Though the story is set in 2049, the themes are very 2020.\u003c/p>\n\u003cp>“I always thought it was a film, when we started, about what we were capable of doing to one another,” Clooney, who also directed the movie, said in an interview with NPR’s \u003cem>Weekend Edition\u003c/em>.\u003c/p>\n\u003cp>Then the coronavirus pandemic hit.\u003c/p>\n\u003cp>“I was in post-production and started to realize that, no, what the film is and what the story is, is our desperate need to be home or to be with the people we love and to be in contact with them. And sometimes we forget that, and all of a sudden, you take it away so you can’t be in touch,” said Clooney.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think we all are going through a lot of that. And you’re at least reminded of how lucky you are to have somebody in your life that you love that much.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXUUqr3AFKs\u003c/p>\n\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>\u003cem>The Midnight Sky\u003c/em>\u003c/strong>\u003cstrong>‘s theme of regret and how it relates to the pandemic\u003c/strong>\u003c/p>\n\u003cp>Well, I will say this: I’m not filled with regret. Not that I don’t have the capacity for self-reflection. If I get hit by a bus tomorrow, I don’t think anybody who knows me would think that I didn’t get a lot out of life, you know, and try to add something to the conversation.\u003c/p>\n\u003cp>Having said that, I was, I think, probably doing what everyone was doing at the time [the pandemic began]. First, I couldn’t believe it—I couldn’t believe we were in the position we were in. And then I was worried, you know, I’ve got … a son who has asthma and you start to worry about just basic, “How are we going to do these things?”\u003c/p>\n\u003cp>\u003cstrong>On his two young children and the legacy he hopes to impart to them\u003c/strong>\u003c/p>\n\u003cp>Here’s the thing I want them to understand: the North Star for me, my parents drilled into my head from the time I was not much older than them, was if you only in your lifetime challenge people with power and defend people with less power, if you only do that in your life you will be a success. … If my kids have that in them, sort of burned into them, I think they’re going to be fine.\u003c/p>\n\u003cp>\u003cstrong>On the 1,000-page book that his wife, human rights lawyer Amal Clooney, recently co-wrote\u003c/strong>\u003c/p>\n\u003cp>Well, it was funny. So she was in the office upstairs doing her live book launch from … [a] Zoom meeting. And I’m in the office next door doing Howard Stern’s show at the same time. And so I can hear all these brilliant barristers and world leaders on Amal’s Zoom talking about how brilliant this book is and how it’s the game changer and the book that all of these people have been needing.\u003c/p>\n\u003cp>And then I’ve got Howard Stern and … he’s going, “So did you really crap in a cat box?”\u003c/p>\n\u003cp>\u003cstrong>On whether criticism he receives for being outspoken about certain causes makes him reconsider his approach\u003c/strong>\u003c/p>\n\u003cp>No. … Here’s the thing: Can you imagine how ashamed I would be to look at my son and daughter in 20 years and they come up to me and say, “Was there really a moment in time when we had a policy that said, ‘We’re going to disenfranchise people seeking asylum [and] make them not want to come here by taking their children away and putting them in cages?’ ”\u003c/p>\n\u003cp>And I would say, “Yes.” And they said, “And what did you say about it? What did you do about it?” And I would say, “Nothing.” I would be ashamed.\u003c/p>\n\u003cp>\u003cstrong>On how he’s been getting through quarantine\u003c/strong>\u003c/p>\n\u003cp>We do Zoom dinners. We did one with Norman Lear and we did one with the Obamas. … But my good pals, my best friends, all of us are on the same, on one message. In a strange way, we’ve spent more time talking to one another than we have in a long time. … And we’ve honestly needed it.\u003c/p>\n\u003cp>We’re all sort of in post-traumatic stress in a way. We’re all locked in, you know. People are dealing with having to teach their kids from home. … They’re dealing with the fear of dying, they’re dealing with the fear of losing their job. I mean, suddenly, everything is put in play that wasn’t before. And so this is going to be a while. And you really need to have the people you were closest to as close as they can be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Melissa Gray produced and edited the audio interview.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=George+Clooney%27s+New+Sci-Fi+Film+Is+About+%27Our+Desperate+Need%27+To+Be+With+Loved+Ones&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A global catastrophe has wiped out most of humanity. An astronomer living in an outpost inside the Arctic Circle is in a race against time to help the crew of a spacecraft returning from one of Jupiter’s moons.\u003c/p>\n\u003cp>That’s the premise of \u003cem>The Midnight Sky\u003c/em>, the new science fiction movie starring George Clooney. It’s based on the 2016 book \u003cem>Good Morning, Midnight\u003c/em> by Lily Brooks-Dalton. Though the story is set in 2049, the themes are very 2020.\u003c/p>\n\u003cp>“I always thought it was a film, when we started, about what we were capable of doing to one another,” Clooney, who also directed the movie, said in an interview with NPR’s \u003cem>Weekend Edition\u003c/em>.\u003c/p>\n\u003cp>Then the coronavirus pandemic hit.\u003c/p>\n\u003cp>“I was in post-production and started to realize that, no, what the film is and what the story is, is our desperate need to be home or to be with the people we love and to be in contact with them. And sometimes we forget that, and all of a sudden, you take it away so you can’t be in touch,” said Clooney.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think we all are going through a lot of that. And you’re at least reminded of how lucky you are to have somebody in your life that you love that much.”\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/DXUUqr3AFKs'\n title='//www.youtube.com/embed/DXUUqr3AFKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>\u003cem>The Midnight Sky\u003c/em>\u003c/strong>\u003cstrong>‘s theme of regret and how it relates to the pandemic\u003c/strong>\u003c/p>\n\u003cp>Well, I will say this: I’m not filled with regret. Not that I don’t have the capacity for self-reflection. If I get hit by a bus tomorrow, I don’t think anybody who knows me would think that I didn’t get a lot out of life, you know, and try to add something to the conversation.\u003c/p>\n\u003cp>Having said that, I was, I think, probably doing what everyone was doing at the time [the pandemic began]. First, I couldn’t believe it—I couldn’t believe we were in the position we were in. And then I was worried, you know, I’ve got … a son who has asthma and you start to worry about just basic, “How are we going to do these things?”\u003c/p>\n\u003cp>\u003cstrong>On his two young children and the legacy he hopes to impart to them\u003c/strong>\u003c/p>\n\u003cp>Here’s the thing I want them to understand: the North Star for me, my parents drilled into my head from the time I was not much older than them, was if you only in your lifetime challenge people with power and defend people with less power, if you only do that in your life you will be a success. … If my kids have that in them, sort of burned into them, I think they’re going to be fine.\u003c/p>\n\u003cp>\u003cstrong>On the 1,000-page book that his wife, human rights lawyer Amal Clooney, recently co-wrote\u003c/strong>\u003c/p>\n\u003cp>Well, it was funny. So she was in the office upstairs doing her live book launch from … [a] Zoom meeting. And I’m in the office next door doing Howard Stern’s show at the same time. And so I can hear all these brilliant barristers and world leaders on Amal’s Zoom talking about how brilliant this book is and how it’s the game changer and the book that all of these people have been needing.\u003c/p>\n\u003cp>And then I’ve got Howard Stern and … he’s going, “So did you really crap in a cat box?”\u003c/p>\n\u003cp>\u003cstrong>On whether criticism he receives for being outspoken about certain causes makes him reconsider his approach\u003c/strong>\u003c/p>\n\u003cp>No. … Here’s the thing: Can you imagine how ashamed I would be to look at my son and daughter in 20 years and they come up to me and say, “Was there really a moment in time when we had a policy that said, ‘We’re going to disenfranchise people seeking asylum [and] make them not want to come here by taking their children away and putting them in cages?’ ”\u003c/p>\n\u003cp>And I would say, “Yes.” And they said, “And what did you say about it? What did you do about it?” And I would say, “Nothing.” I would be ashamed.\u003c/p>\n\u003cp>\u003cstrong>On how he’s been getting through quarantine\u003c/strong>\u003c/p>\n\u003cp>We do Zoom dinners. We did one with Norman Lear and we did one with the Obamas. … But my good pals, my best friends, all of us are on the same, on one message. In a strange way, we’ve spent more time talking to one another than we have in a long time. … And we’ve honestly needed it.\u003c/p>\n\u003cp>We’re all sort of in post-traumatic stress in a way. We’re all locked in, you know. People are dealing with having to teach their kids from home. … They’re dealing with the fear of dying, they’re dealing with the fear of losing their job. I mean, suddenly, everything is put in play that wasn’t before. And so this is going to be a while. And you really need to have the people you were closest to as close as they can be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Melissa Gray produced and edited the audio interview.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=George+Clooney%27s+New+Sci-Fi+Film+Is+About+%27Our+Desperate+Need%27+To+Be+With+Loved+Ones&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Ma Rainey's Black Bottom' Shines a Light on August Wilson's Vision",
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"content": "\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> was August Wilson’s first Broadway hit—and a preamble to his cycle of award-winning plays about the African-American experience across the 20th Century that included \u003cem>Fences\u003c/em> and \u003cem>The Piano Lesson\u003c/em>.\u003c/p>\n\u003cp>Now \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first of the late playwright’s works to be adapted for Netflix\u003cem>—\u003c/em>premiering Dec. 18.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ord7gP151vk\u003c/p>\n\u003cp>\u003ca href=\"https://www.centertheatregroup.org/programs/students/learn-about-theatre/august-wilson-monologue-competition/august-wilson-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Wilson\u003c/a> was a little-known poet when the play opened at Yale Repertory Theater in the \u003ca href=\"https://yalerep.org/productions/ma-raineys-black-bottom-8/\" target=\"_blank\" rel=\"noopener noreferrer\">spring of 1984\u003c/a>. Sitting in the theater, Wilson told me the story came to him one day when he was listening to a recording of Ma Rainey singing the title song.\u003c/p>\n\u003cp>“I felt privileged to be listening to her sing,” Wilson recalls. “I thought, ‘How did this record get recorded?’ And ‘What was the price that was paid?’ I know those things are paid for in blood, sweat and tears.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> takes place in a Chicago studio on the day in 1927 when the song was recorded. The Netflix adaptation preserves Wilson’s dialogue, with added musical numbers bookending the script.\u003c/p>\n\u003cp>On the surface, the story is about the economic exploitation of the early black performers. Rainey was called “The Mother of the Blues.” But Wilson didn’t write a biography. He said he avoided doing research—and he created fictional musicians for her band—so that he could deal with larger issues.\u003c/p>\n\u003cp>George C. Wolfe directed the film and says all of the characters have come to Chicago from the South. “In the South, Black people could create, and nurture, and support themselves and their own communities,” Wolfe says. “When they came North, if they wanted to achieve anything, they had to come into contact with the White power structure. And by virtue of coming into contact with the White power structure, their power was in essence nullified.”\u003c/p>\n\u003cfigure id=\"attachment_13890666\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg\" alt=\"Viola Davis as Ma Rainey in the film adaptation of 'Ma Rainey's Black Bottom.'\" width=\"200\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5-160x174.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis as Ma Rainey in the film adaptation of ‘Ma Rainey’s Black Bottom.’ \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ma Rainey is the title character, played in the film by Viola Davis, but the central drama belongs to a sideman in her band, the ambitious young cornetist, Levee, played by Chadwick Boseman in his final performance before he died of cancer this past summer.\u003c/p>\n\u003cp>By the end of the story, Levee is lied to, cheated, and broken. He says God has turned his back on him.\u003c/p>\n\u003cp>“I was talking with someone today,” Wilson said in 1984, “and [what’s] very strange is that if God is white, as Christ is often portrayed—and people actually believe that—and you look around in your life, you have white men oppressing you. Everywhere you look. Every contact you have with white men is a negative contact, then I don’t see how you can worship a God made in that image.”\u003c/p>\n\u003cp>Wilson grew up poor in the Hill District of Pittsburgh. His father was a white baker who was mostly absent from his family of six kids. So Wilson identified with his African-American mother and he drew on his experiences for all of his plays.\u003c/p>\n\u003cp>“What I do is I go inside myself,” Wilson said. “There’s a landscape there. Sometimes there’s a terrifying landscape. And I start walking there. My baggage is the small imperial truths which I have accumulated from my life experience. You never know what you’re going to confront. But if you’re writing seriously out of the core of yourself, then very oftimes you confront things which are frightening. And you wrassle with them and deal with them and hopefully after you have walked through that landscape you’ve come out with something that—a larger something, be it truth or not. That is both illuminating even as it’s blinding. And then you say you’ve got a play.”\u003c/p>\n\u003cp>And it’s the character of Levee who carries that story in \u003cem>Ma Rainey’s Black Bottom\u003c/em>, says Wolfe.\u003c/p>\n\u003cfigure id=\"attachment_13890667\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg\" alt=\"Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee.\" width=\"200\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee. \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Levee is this bright, promising future—but [are] the pain and the scars and the sins of the past going to keep Levee from realizing all the bright promising future that he has before him?” Wolfe asks. “And that’s America. Is America ever going to deliver on its possibility when it is forever haunted by its un-owned sins of the past?”\u003c/p>\n\u003cp>Wolfe expects the film to strike a chord with today’s audiences.\u003c/p>\n\u003cp>“It would be lovely one day if it was a lovely piece of nostalgia about the difficult, complicated racial equation of 1927. But that’s not going to happen for a while,” says Wolfe.\u003c/p>\n\u003cp>In the half century between when the play is set and its 1984 premiere, Wilson said the move towards racial equality had stalled.\u003c/p>\n\u003cp>“I’m not certain we’re making progress. I don’t believe that we can make progress in America until Blacks are allowed their cultural differences,” Wilson said. “I don’t see how we can make progress until white America recognizes and accepts the fact that Black Americans are not the same as white Americans.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>August Wilson died in 2005. \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first in a planned series of Wilson’s plays to be adapted for Netflix.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Ma+Rainey%27s+Black+Bottom%27+Shines+A+Light+On+August+Wilson%27s+Vision&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> was August Wilson’s first Broadway hit—and a preamble to his cycle of award-winning plays about the African-American experience across the 20th Century that included \u003cem>Fences\u003c/em> and \u003cem>The Piano Lesson\u003c/em>.\u003c/p>\n\u003cp>Now \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first of the late playwright’s works to be adapted for Netflix\u003cem>—\u003c/em>premiering Dec. 18.\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/ord7gP151vk'\n title='//www.youtube.com/embed/ord7gP151vk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.centertheatregroup.org/programs/students/learn-about-theatre/august-wilson-monologue-competition/august-wilson-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Wilson\u003c/a> was a little-known poet when the play opened at Yale Repertory Theater in the \u003ca href=\"https://yalerep.org/productions/ma-raineys-black-bottom-8/\" target=\"_blank\" rel=\"noopener noreferrer\">spring of 1984\u003c/a>. Sitting in the theater, Wilson told me the story came to him one day when he was listening to a recording of Ma Rainey singing the title song.\u003c/p>\n\u003cp>“I felt privileged to be listening to her sing,” Wilson recalls. “I thought, ‘How did this record get recorded?’ And ‘What was the price that was paid?’ I know those things are paid for in blood, sweat and tears.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> takes place in a Chicago studio on the day in 1927 when the song was recorded. The Netflix adaptation preserves Wilson’s dialogue, with added musical numbers bookending the script.\u003c/p>\n\u003cp>On the surface, the story is about the economic exploitation of the early black performers. Rainey was called “The Mother of the Blues.” But Wilson didn’t write a biography. He said he avoided doing research—and he created fictional musicians for her band—so that he could deal with larger issues.\u003c/p>\n\u003cp>George C. Wolfe directed the film and says all of the characters have come to Chicago from the South. “In the South, Black people could create, and nurture, and support themselves and their own communities,” Wolfe says. “When they came North, if they wanted to achieve anything, they had to come into contact with the White power structure. And by virtue of coming into contact with the White power structure, their power was in essence nullified.”\u003c/p>\n\u003cfigure id=\"attachment_13890666\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg\" alt=\"Viola Davis as Ma Rainey in the film adaptation of 'Ma Rainey's Black Bottom.'\" width=\"200\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5-160x174.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis as Ma Rainey in the film adaptation of ‘Ma Rainey’s Black Bottom.’ \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ma Rainey is the title character, played in the film by Viola Davis, but the central drama belongs to a sideman in her band, the ambitious young cornetist, Levee, played by Chadwick Boseman in his final performance before he died of cancer this past summer.\u003c/p>\n\u003cp>By the end of the story, Levee is lied to, cheated, and broken. He says God has turned his back on him.\u003c/p>\n\u003cp>“I was talking with someone today,” Wilson said in 1984, “and [what’s] very strange is that if God is white, as Christ is often portrayed—and people actually believe that—and you look around in your life, you have white men oppressing you. Everywhere you look. Every contact you have with white men is a negative contact, then I don’t see how you can worship a God made in that image.”\u003c/p>\n\u003cp>Wilson grew up poor in the Hill District of Pittsburgh. His father was a white baker who was mostly absent from his family of six kids. So Wilson identified with his African-American mother and he drew on his experiences for all of his plays.\u003c/p>\n\u003cp>“What I do is I go inside myself,” Wilson said. “There’s a landscape there. Sometimes there’s a terrifying landscape. And I start walking there. My baggage is the small imperial truths which I have accumulated from my life experience. You never know what you’re going to confront. But if you’re writing seriously out of the core of yourself, then very oftimes you confront things which are frightening. And you wrassle with them and deal with them and hopefully after you have walked through that landscape you’ve come out with something that—a larger something, be it truth or not. That is both illuminating even as it’s blinding. And then you say you’ve got a play.”\u003c/p>\n\u003cp>And it’s the character of Levee who carries that story in \u003cem>Ma Rainey’s Black Bottom\u003c/em>, says Wolfe.\u003c/p>\n\u003cfigure id=\"attachment_13890667\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg\" alt=\"Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee.\" width=\"200\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee. \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Levee is this bright, promising future—but [are] the pain and the scars and the sins of the past going to keep Levee from realizing all the bright promising future that he has before him?” Wolfe asks. “And that’s America. Is America ever going to deliver on its possibility when it is forever haunted by its un-owned sins of the past?”\u003c/p>\n\u003cp>Wolfe expects the film to strike a chord with today’s audiences.\u003c/p>\n\u003cp>“It would be lovely one day if it was a lovely piece of nostalgia about the difficult, complicated racial equation of 1927. But that’s not going to happen for a while,” says Wolfe.\u003c/p>\n\u003cp>In the half century between when the play is set and its 1984 premiere, Wilson said the move towards racial equality had stalled.\u003c/p>\n\u003cp>“I’m not certain we’re making progress. I don’t believe that we can make progress in America until Blacks are allowed their cultural differences,” Wilson said. “I don’t see how we can make progress until white America recognizes and accepts the fact that Black Americans are not the same as white Americans.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>August Wilson died in 2005. \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first in a planned series of Wilson’s plays to be adapted for Netflix.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Ma+Rainey%27s+Black+Bottom%27+Shines+A+Light+On+August+Wilson%27s+Vision&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Funny Boy,' a Young Sri Lankan Gay Man Comes of Age as Ethnic Tensions Explode",
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"content": "\u003cp>In the opening pages of the 1994 Canadian novel \u003cem>Funny Boy\u003c/em>, a young Sri Lankan boy named Arjie refuses to play cricket with the boys as his father insists. He’d rather bedazzle in bridal reds and join the girls’ make-believe wedding.\u003c/p>\n\u003cp>Novelist \u003ca href=\"https://shyamselvadurai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shyam Selvadurai\u003c/a>‘s gay coming of age novel became a critical and commercial sensation in Canada when it was first published, enduring as a pioneering story of queerness, politics, and South Asian history. As the new film adaptation opens with the sound of the ocean—establishing the lush seafront tropical landscape of Sri Lanka—a group of girls run across the screen, with Arjie’s veil billowing in the wind, gender non-conforming and proudly leading the way.\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is directed by Oscar-nominated filmmaker \u003ca href=\"https://www.npr.org/2013/05/09/182334238/an-epic-of-india-gets-a-canvas-its-own-size\" target=\"_blank\" rel=\"noopener noreferrer\">Deepa Mehta\u003c/a>, who has previously explored what it means to be an outsider in South Asian culture in a trilogy of acclaimed and controversial historical dramas: \u003cem>Fire\u003c/em>, \u003cem>Earth\u003c/em> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5373830\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Water\u003c/em>\u003c/a>. Like author Shyam Selvadurai, Mehta is also an immigrant to Canada and she says it was Selvadurai’s interwoven narrative of being both a migrant and a queer outsider in his own culture that made it such a powerfully layered story of selfhood.\u003c/p>\n\u003cp>“It felt like a double whammy,” she says. “Not only was it about what it’s like to leave your homeland but it combines the feeling of looking different with actually being different all your life, which was queer. It was something I’d never read before.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> tells Arjie’s coming of age story as a privileged Tamil young man against the backdrop of the late 1970s and 1980s, as ethnic tensions between Sri Lanka’s Sinhalese majority and Tamil minority explode into \u003ca href=\"https://hir.harvard.edu/sri-lankan-civil-war/\" target=\"_blank\" rel=\"noopener noreferrer\">full blown conflict\u003c/a>. As Arjie falls in love with a queer Sinhalese classmate, he’s forced to confront the hardening borders and violence of ethnic difference. The devastating Sri Lankan civil war lasted for more than two decades and displaced generations, including author Shyam Selvadurai’s own blended Tamil-Sinhalese family who went to Toronto as refugees in 1983. Selvadurai says although he found his creative community in Canada among fellow queer immigrant writers, he never came across published novels that reflected their experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Our story needed to be told and I thought there was nothing for me, so I thought, ‘Wouldn’t it be wonderful to give a young Sri Lankan or South Asian queer writer a book where they could see themselves?’…So that was the start of the novel,” Selvadurai says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oQOlnuJxU4Y\u003c/p>\n\u003cp>Mehta says she first read \u003cem>Funny Boy\u003c/em> 24 years ago around the same time she released her own breakthrough queer drama \u003cem>Fire\u003c/em>. That film told the story of two unhappily married Delhi housewives who defy both tradition and laws in the act of love. The film’s lesbian relationship was a groundbreaking subject for mainstream South Asian cinema and the film’s release ignited violent backlash from conservative groups.\u003c/p>\n\u003cp>As cinemas burned in India amid protests and debates over the film’s themes, Mehta became known as a critical and brave feminist voice in world cinema, says queer cinema scholar B. Ruby Rich. “The impact of that film was such that it entered the curriculum for feminist classes, film classes, globalization classes in all kinds of places around the world,” she says.\u003c/p>\n\u003cp>Mehta says her intention wasn’t to make a “lesbian story” but to explore the boundaries of women’s lives and freedom in her culture. “It is what is expected of women or what is expected of men, what is expected of us as human beings,” she says. “Why can’t we be what we want to be… and that’s what intrigues me.” Selvadurai says because of Mehta’s queer politics and filmmaking skills he knew she could do justice to his own \u003cem>Funny Boy\u003c/em>. “I really knew she was the person for it. I mean I gave them the rights to the movie for a dollar,” he says.\u003c/p>\n\u003cp>Despite the fact that homosexuality is illegal in Sri Lanka and the trauma of the civil war remains a deeply sensitive subject, Mehta and her international cast were able to shoot \u003cem>Funny Boy\u003c/em> entirely on location—amid the homes and lush coastline of the tropical island nation. Although official filming permissions were rescinded and returned over a tumultuous production year in 2019, Mehta describes the entire process as a miraculous triumph, especially given filming was completed before the coronavirus pandemic closed international borders.\u003c/p>\n\u003cp>But ever since the first trailer for \u003cem>Funny Boy\u003c/em> appeared online, some in the Tamil diaspora have attacked Mehta for casting non-Tamil and non-Sri Lankan actors in major roles and for Tamil dialogue delivered with audibly foreign accents. Although she has had some of the dialogue re-recorded by native Tamil speakers in weeks leading up to the release, the controversy around casting and representation has continued online and the attacks against Mehta have grown more personal and pointed. Selvadurai says while he thinks it’s okay not to like the film and disagree with the casting choices, he’s found the online outrage against the film both “violent and disrespectful.”\u003c/p>\n\u003cp>Mehta, who has had film sets in addition to cinemas attacked in the past, says she never sets out to court controversy and wonders whether she’s just a “sucker for punishment.” Mehta says that for her, the collaboration with Selvadurai was born of a desire to better understand the roots of Sri Lanka’s sectarian conflict and the possibility of reconciliation through love across lines.\u003c/p>\n\u003cp>“Why do I make the films I make? I do make them because I’m curious. I’m curious about things I really want to know more about. Why do we hang on to hatred? We have to heal. The world just can’t carry on the way it is right now,” she says. As for the debate around her filmmaking choices, she says while she may not have made a perfect film, “I do feel that a conversation is essential to have. Let them see the film, let the dialogue and the healing begin, if they wish it.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is being distributed by filmmaker Ava DuVernay’s ARRAY films, which focuses on bringing movies from underrepresented artists to wider audiences. As the film adaptation arrives on Netflix this month, \u003cem>Funny Boy\u003c/em> has already been selected to represent Canada as the country’s official Oscar entry. Selvadurai says writing—and sharing—Arjie’s story helped him heal from the wounds he carried to Canada as a refugee, and as a young gay man, and he hopes the film can do the same for others.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The beginning of talking about trauma is telling the story, and I really hope that the film opens up the story for our community,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=In+%27Funny+Boy%2C%27+A+Young+Sri+Lankan+Gay+Man+Comes+Of+Age+As+Ethnic+Tensions+Explode&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the opening pages of the 1994 Canadian novel \u003cem>Funny Boy\u003c/em>, a young Sri Lankan boy named Arjie refuses to play cricket with the boys as his father insists. He’d rather bedazzle in bridal reds and join the girls’ make-believe wedding.\u003c/p>\n\u003cp>Novelist \u003ca href=\"https://shyamselvadurai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shyam Selvadurai\u003c/a>‘s gay coming of age novel became a critical and commercial sensation in Canada when it was first published, enduring as a pioneering story of queerness, politics, and South Asian history. As the new film adaptation opens with the sound of the ocean—establishing the lush seafront tropical landscape of Sri Lanka—a group of girls run across the screen, with Arjie’s veil billowing in the wind, gender non-conforming and proudly leading the way.\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is directed by Oscar-nominated filmmaker \u003ca href=\"https://www.npr.org/2013/05/09/182334238/an-epic-of-india-gets-a-canvas-its-own-size\" target=\"_blank\" rel=\"noopener noreferrer\">Deepa Mehta\u003c/a>, who has previously explored what it means to be an outsider in South Asian culture in a trilogy of acclaimed and controversial historical dramas: \u003cem>Fire\u003c/em>, \u003cem>Earth\u003c/em> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5373830\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Water\u003c/em>\u003c/a>. Like author Shyam Selvadurai, Mehta is also an immigrant to Canada and she says it was Selvadurai’s interwoven narrative of being both a migrant and a queer outsider in his own culture that made it such a powerfully layered story of selfhood.\u003c/p>\n\u003cp>“It felt like a double whammy,” she says. “Not only was it about what it’s like to leave your homeland but it combines the feeling of looking different with actually being different all your life, which was queer. It was something I’d never read before.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> tells Arjie’s coming of age story as a privileged Tamil young man against the backdrop of the late 1970s and 1980s, as ethnic tensions between Sri Lanka’s Sinhalese majority and Tamil minority explode into \u003ca href=\"https://hir.harvard.edu/sri-lankan-civil-war/\" target=\"_blank\" rel=\"noopener noreferrer\">full blown conflict\u003c/a>. As Arjie falls in love with a queer Sinhalese classmate, he’s forced to confront the hardening borders and violence of ethnic difference. The devastating Sri Lankan civil war lasted for more than two decades and displaced generations, including author Shyam Selvadurai’s own blended Tamil-Sinhalese family who went to Toronto as refugees in 1983. Selvadurai says although he found his creative community in Canada among fellow queer immigrant writers, he never came across published novels that reflected their experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our story needed to be told and I thought there was nothing for me, so I thought, ‘Wouldn’t it be wonderful to give a young Sri Lankan or South Asian queer writer a book where they could see themselves?’…So that was the start of the novel,” Selvadurai says.\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/oQOlnuJxU4Y'\n title='//www.youtube.com/embed/oQOlnuJxU4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mehta says she first read \u003cem>Funny Boy\u003c/em> 24 years ago around the same time she released her own breakthrough queer drama \u003cem>Fire\u003c/em>. That film told the story of two unhappily married Delhi housewives who defy both tradition and laws in the act of love. The film’s lesbian relationship was a groundbreaking subject for mainstream South Asian cinema and the film’s release ignited violent backlash from conservative groups.\u003c/p>\n\u003cp>As cinemas burned in India amid protests and debates over the film’s themes, Mehta became known as a critical and brave feminist voice in world cinema, says queer cinema scholar B. Ruby Rich. “The impact of that film was such that it entered the curriculum for feminist classes, film classes, globalization classes in all kinds of places around the world,” she says.\u003c/p>\n\u003cp>Mehta says her intention wasn’t to make a “lesbian story” but to explore the boundaries of women’s lives and freedom in her culture. “It is what is expected of women or what is expected of men, what is expected of us as human beings,” she says. “Why can’t we be what we want to be… and that’s what intrigues me.” Selvadurai says because of Mehta’s queer politics and filmmaking skills he knew she could do justice to his own \u003cem>Funny Boy\u003c/em>. “I really knew she was the person for it. I mean I gave them the rights to the movie for a dollar,” he says.\u003c/p>\n\u003cp>Despite the fact that homosexuality is illegal in Sri Lanka and the trauma of the civil war remains a deeply sensitive subject, Mehta and her international cast were able to shoot \u003cem>Funny Boy\u003c/em> entirely on location—amid the homes and lush coastline of the tropical island nation. Although official filming permissions were rescinded and returned over a tumultuous production year in 2019, Mehta describes the entire process as a miraculous triumph, especially given filming was completed before the coronavirus pandemic closed international borders.\u003c/p>\n\u003cp>But ever since the first trailer for \u003cem>Funny Boy\u003c/em> appeared online, some in the Tamil diaspora have attacked Mehta for casting non-Tamil and non-Sri Lankan actors in major roles and for Tamil dialogue delivered with audibly foreign accents. Although she has had some of the dialogue re-recorded by native Tamil speakers in weeks leading up to the release, the controversy around casting and representation has continued online and the attacks against Mehta have grown more personal and pointed. Selvadurai says while he thinks it’s okay not to like the film and disagree with the casting choices, he’s found the online outrage against the film both “violent and disrespectful.”\u003c/p>\n\u003cp>Mehta, who has had film sets in addition to cinemas attacked in the past, says she never sets out to court controversy and wonders whether she’s just a “sucker for punishment.” Mehta says that for her, the collaboration with Selvadurai was born of a desire to better understand the roots of Sri Lanka’s sectarian conflict and the possibility of reconciliation through love across lines.\u003c/p>\n\u003cp>“Why do I make the films I make? I do make them because I’m curious. I’m curious about things I really want to know more about. Why do we hang on to hatred? We have to heal. The world just can’t carry on the way it is right now,” she says. As for the debate around her filmmaking choices, she says while she may not have made a perfect film, “I do feel that a conversation is essential to have. Let them see the film, let the dialogue and the healing begin, if they wish it.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is being distributed by filmmaker Ava DuVernay’s ARRAY films, which focuses on bringing movies from underrepresented artists to wider audiences. As the film adaptation arrives on Netflix this month, \u003cem>Funny Boy\u003c/em> has already been selected to represent Canada as the country’s official Oscar entry. Selvadurai says writing—and sharing—Arjie’s story helped him heal from the wounds he carried to Canada as a refugee, and as a young gay man, and he hopes the film can do the same for others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When listeners in Fort Wayne, Indiana, tuned into Majic 95.1 in July, they heard something both unexpected and all-too-familiar. The station was playing Christmas music. In the heat of summer.\u003c/p>\n\u003cp>With the pandemic making life miserable for people, the station was looking for a way to appeal to listeners and boost its ratings, and Christmas songs can be a dependable way of doing so.\u003c/p>\n\u003cp>“We knew that the world was topsy-turvy and we just knew from playing Christmas music over the years that there’s something special about it that people connect with,” says Chris Didier, operations manager at Majic 95.1, whose on-air name is Captain Chris.\u003c/p>\n\u003cp>All over the country this year, stations have been playing Christmas music much earlier than normal. One Memphis station started doing it right after Halloween. Another in Youngstown, Ohio, was decking the halls in September.\u003c/p>\n\u003cp>The radio industry has been hit hard by the pandemic, with ratings falling as much as 50% at first, although they have since rebounded somewhat, says Mike McVay, a radio industry veteran who now works as a consultant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was an incredible drop in listening, mainly because of listening habits. A lot of people who listen to radio listen in their car, and suddenly if you’re working at home and not commuting, that changed that,” he says.\u003c/p>\n\u003cp>Station officials figured that starting the holidays a bit early might be a way to lure listeners back home.\u003c/p>\n\u003cp>After all, Christmas music has been a reliable source of ratings gold since around 1990, when 99.9 KEZ, an adult contemporary station in Phoenix, created the format.\u003c/p>\n\u003cp>“We had every consultant, every research person that I could think of, before we did it told us, ‘You are crazy. Do not do it.'” says Jerry Ryan, former vice president and general manager at the radio station.\u003c/p>\n\u003cp>But the format turned out to be an enormous success, and within a few years hundreds of stations were playing non-stop Christmas music for 24 hours a day.\u003c/p>\n\u003cp>As the industry discovered, Christmas music can create a powerful emotional bond with an audience, bringing in listeners of all demographics, who want to hear vintage tunes like “\u003ca href=\"https://www.youtube.com/watch?v=1FuF7H0uJww\" target=\"_blank\" rel=\"noopener noreferrer\">Rudolph the Red-Nosed Reindeer\u003c/a>” and Elvis Presley’s “\u003ca href=\"https://www.youtube.com/watch?v=3KK6sMo8NBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Christmas\u003c/a>.”\u003c/p>\n\u003cp>Still, there have traditionally been limits to how far radio stations have been willing to go.\u003c/p>\n\u003cp>KEZ, the Phoenix radio station, traditionally began to air Christmas songs right after Thanksgiving, and Ryan says doing so much earlier than that can be jarring for an audience.\u003c/p>\n\u003cp>“I don’t think there’s a heck of a lot of emotional value to Christmas music outside of that particular time,” Ryan says.\u003c/p>\n\u003cp>Not this year, however.\u003c/p>\n\u003cp>In an unprecedented year marked by the pandemic, many stations say the earlier start to airing Christmas songs has actually been a success with listeners.\u003c/p>\n\u003cp>Take Majic 95.1, for example.\u003c/p>\n\u003cp>“We got incredible feedback. Lots of calls, lots of emails, people saying, ‘Yes, thank you for doing this, we really love the Christmas music,'” says Captain Chris of Majic 95.1 of its decision to play holiday music in July.\u003c/p>\n\u003cp>Emily Boldon, vice president of adult contemporary radio at Cumulus Media, which has some two dozen stations employing the holiday format, says she’s seen a similar response.\u003c/p>\n\u003cp>And she has a theory about what’s happening. She says listeners associate Christmas with the year ending, and this has been a really terrible year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think everybody is trying to rush the holiday this year just so we can get beyond it,” Boldon says. “I really truly believe the audience was just ready to get to the end of 2020 as fast as possible this year.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pandemic%2C+The+Most+Wonderful+Time+For+Christmas+Songs+Turned+Out+To+Be+...+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When listeners in Fort Wayne, Indiana, tuned into Majic 95.1 in July, they heard something both unexpected and all-too-familiar. The station was playing Christmas music. In the heat of summer.\u003c/p>\n\u003cp>With the pandemic making life miserable for people, the station was looking for a way to appeal to listeners and boost its ratings, and Christmas songs can be a dependable way of doing so.\u003c/p>\n\u003cp>“We knew that the world was topsy-turvy and we just knew from playing Christmas music over the years that there’s something special about it that people connect with,” says Chris Didier, operations manager at Majic 95.1, whose on-air name is Captain Chris.\u003c/p>\n\u003cp>All over the country this year, stations have been playing Christmas music much earlier than normal. One Memphis station started doing it right after Halloween. Another in Youngstown, Ohio, was decking the halls in September.\u003c/p>\n\u003cp>The radio industry has been hit hard by the pandemic, with ratings falling as much as 50% at first, although they have since rebounded somewhat, says Mike McVay, a radio industry veteran who now works as a consultant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was an incredible drop in listening, mainly because of listening habits. A lot of people who listen to radio listen in their car, and suddenly if you’re working at home and not commuting, that changed that,” he says.\u003c/p>\n\u003cp>Station officials figured that starting the holidays a bit early might be a way to lure listeners back home.\u003c/p>\n\u003cp>After all, Christmas music has been a reliable source of ratings gold since around 1990, when 99.9 KEZ, an adult contemporary station in Phoenix, created the format.\u003c/p>\n\u003cp>“We had every consultant, every research person that I could think of, before we did it told us, ‘You are crazy. Do not do it.'” says Jerry Ryan, former vice president and general manager at the radio station.\u003c/p>\n\u003cp>But the format turned out to be an enormous success, and within a few years hundreds of stations were playing non-stop Christmas music for 24 hours a day.\u003c/p>\n\u003cp>As the industry discovered, Christmas music can create a powerful emotional bond with an audience, bringing in listeners of all demographics, who want to hear vintage tunes like “\u003ca href=\"https://www.youtube.com/watch?v=1FuF7H0uJww\" target=\"_blank\" rel=\"noopener noreferrer\">Rudolph the Red-Nosed Reindeer\u003c/a>” and Elvis Presley’s “\u003ca href=\"https://www.youtube.com/watch?v=3KK6sMo8NBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Christmas\u003c/a>.”\u003c/p>\n\u003cp>Still, there have traditionally been limits to how far radio stations have been willing to go.\u003c/p>\n\u003cp>KEZ, the Phoenix radio station, traditionally began to air Christmas songs right after Thanksgiving, and Ryan says doing so much earlier than that can be jarring for an audience.\u003c/p>\n\u003cp>“I don’t think there’s a heck of a lot of emotional value to Christmas music outside of that particular time,” Ryan says.\u003c/p>\n\u003cp>Not this year, however.\u003c/p>\n\u003cp>In an unprecedented year marked by the pandemic, many stations say the earlier start to airing Christmas songs has actually been a success with listeners.\u003c/p>\n\u003cp>Take Majic 95.1, for example.\u003c/p>\n\u003cp>“We got incredible feedback. Lots of calls, lots of emails, people saying, ‘Yes, thank you for doing this, we really love the Christmas music,'” says Captain Chris of Majic 95.1 of its decision to play holiday music in July.\u003c/p>\n\u003cp>Emily Boldon, vice president of adult contemporary radio at Cumulus Media, which has some two dozen stations employing the holiday format, says she’s seen a similar response.\u003c/p>\n\u003cp>And she has a theory about what’s happening. She says listeners associate Christmas with the year ending, and this has been a really terrible year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think everybody is trying to rush the holiday this year just so we can get beyond it,” Boldon says. “I really truly believe the audience was just ready to get to the end of 2020 as fast as possible this year.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pandemic%2C+The+Most+Wonderful+Time+For+Christmas+Songs+Turned+Out+To+Be+...+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tony-winning legend and dance icon Ann Reinking died on Saturday, family members confirmed to news outlets on Monday. She was 71.\u003c/p>\n\u003cp>“The world and our family have lost a vibrant, amazing talent and beautiful soul. Ann was the heart of our family and the life of the party,” her family said in a statement, as \u003ca href=\"https://variety.com/2020/legit/news/ann-reinking-dead-chicago-1234853416/\" target=\"_blank\" rel=\"noopener noreferrer\">reported \u003c/a>by \u003cem>Variety. \u003c/em>\u003c/p>\n\u003cp>“She was visiting our brother in Washington state when she went to sleep and never woke up. We will miss her more than we can say. Heaven has the best choreographer available now. I’m sure they are dancing up a storm up there! Annie, we will love and miss you always!!!”\u003c/p>\n\u003cp>Born in Seattle, Reinking trained in ballet, but ended up in the chorus lines of many musicals, including \u003cem>Cabaret \u003c/em>and \u003cem>Pippin\u003c/em>.\u003c/p>\n\u003cp>She graduated to lead roles in shows such as \u003cem>Goodtime Charley\u003c/em>, with Joel Grey. In 1977, she took on her most famous role when she replaced Gwen Verdon in \u003cem>Chicago\u003c/em>, directed and choreographed by Bob Fosse. Fosse hired her for \u003cem>Dancin’ \u003c/em>and \u003cem>Sweet Charity\u003c/em>, and she even played a version of herself in Fosse’s film, \u003cem>All That Jazz. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1996, nearly two decades after first dazzling audiences as Roxie Hart in \u003cem>Chicago\u003c/em>, she did it again in a revival she hoped would help audiences “\u003ca href=\"https://www.nytimes.com/1996/11/10/theater/two-decades-later-just-right-for-the-role.html\" target=\"_blank\" rel=\"noopener noreferrer\">rediscover what theater was\u003c/a>.” She won a \u003ca href=\"https://www.tonyawards.com/winners/year/1997/category/choreography/show/any/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Award for Best Choreography\u003c/a> for her efforts the following year.\u003c/p>\n\u003cp>https://twitter.com/LesNesman5/status/1338866178513461255\u003c/p>\n\u003cp>A mainstay in Broadway musicals for decades, Reinking was both a muse and lover to Fosse\u003cem>.\u003c/em>\u003c/p>\n\u003cp>That relationship was a pivotal plot line—though somewhat fictionalized—in FX’s recent limited series production, \u003cem>Fosse/Verdon. \u003c/em>Fosse was married to Gwen Verdon. Reinking consulted on the project, serving as a personal sounding board to actress Margaret Qualley, who portrayed the famous dancer.\u003c/p>\n\u003cp>“I was really nervous because I wanted to do right by her,” Qualley \u003ca href=\"https://www.indiewire.com/2019/08/fosse-verdon-margaret-qualley-ann-reinking-1202168945/\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003c/a>\u003cem>IndieWire\u003c/em> of the experience. “I looked up to her for so long, was so familiar with her. More than anything, I wanted her to like it. I didn’t even know her yet, but I was already thinking about that.”\u003c/p>\n\u003cp>On Monday, choreographer Christopher Dean, whom \u003cem>Variety\u003c/em> reports teaches Reinking’s niece, mourned the death of the actress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The lights on Broadway are forever more dim this morning and there is one less star in the sky,” he wrote in \u003ca href=\"https://www.facebook.com/thechristopherdean\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook post\u003c/a>. “The good news is that heaven has the very best choreographer on earth now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Actress%2C+Dancer%2C+Choreographer+Ann+Reinking+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony-winning legend and dance icon Ann Reinking died on Saturday, family members confirmed to news outlets on Monday. She was 71.\u003c/p>\n\u003cp>“The world and our family have lost a vibrant, amazing talent and beautiful soul. Ann was the heart of our family and the life of the party,” her family said in a statement, as \u003ca href=\"https://variety.com/2020/legit/news/ann-reinking-dead-chicago-1234853416/\" target=\"_blank\" rel=\"noopener noreferrer\">reported \u003c/a>by \u003cem>Variety. \u003c/em>\u003c/p>\n\u003cp>“She was visiting our brother in Washington state when she went to sleep and never woke up. We will miss her more than we can say. Heaven has the best choreographer available now. I’m sure they are dancing up a storm up there! Annie, we will love and miss you always!!!”\u003c/p>\n\u003cp>Born in Seattle, Reinking trained in ballet, but ended up in the chorus lines of many musicals, including \u003cem>Cabaret \u003c/em>and \u003cem>Pippin\u003c/em>.\u003c/p>\n\u003cp>She graduated to lead roles in shows such as \u003cem>Goodtime Charley\u003c/em>, with Joel Grey. In 1977, she took on her most famous role when she replaced Gwen Verdon in \u003cem>Chicago\u003c/em>, directed and choreographed by Bob Fosse. Fosse hired her for \u003cem>Dancin’ \u003c/em>and \u003cem>Sweet Charity\u003c/em>, and she even played a version of herself in Fosse’s film, \u003cem>All That Jazz. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1996, nearly two decades after first dazzling audiences as Roxie Hart in \u003cem>Chicago\u003c/em>, she did it again in a revival she hoped would help audiences “\u003ca href=\"https://www.nytimes.com/1996/11/10/theater/two-decades-later-just-right-for-the-role.html\" target=\"_blank\" rel=\"noopener noreferrer\">rediscover what theater was\u003c/a>.” She won a \u003ca href=\"https://www.tonyawards.com/winners/year/1997/category/choreography/show/any/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Award for Best Choreography\u003c/a> for her efforts the following year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A mainstay in Broadway musicals for decades, Reinking was both a muse and lover to Fosse\u003cem>.\u003c/em>\u003c/p>\n\u003cp>That relationship was a pivotal plot line—though somewhat fictionalized—in FX’s recent limited series production, \u003cem>Fosse/Verdon. \u003c/em>Fosse was married to Gwen Verdon. Reinking consulted on the project, serving as a personal sounding board to actress Margaret Qualley, who portrayed the famous dancer.\u003c/p>\n\u003cp>“I was really nervous because I wanted to do right by her,” Qualley \u003ca href=\"https://www.indiewire.com/2019/08/fosse-verdon-margaret-qualley-ann-reinking-1202168945/\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003c/a>\u003cem>IndieWire\u003c/em> of the experience. “I looked up to her for so long, was so familiar with her. More than anything, I wanted her to like it. I didn’t even know her yet, but I was already thinking about that.”\u003c/p>\n\u003cp>On Monday, choreographer Christopher Dean, whom \u003cem>Variety\u003c/em> reports teaches Reinking’s niece, mourned the death of the actress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The lights on Broadway are forever more dim this morning and there is one less star in the sky,” he wrote in \u003ca href=\"https://www.facebook.com/thechristopherdean\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook post\u003c/a>. “The good news is that heaven has the very best choreographer on earth now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Actress%2C+Dancer%2C+Choreographer+Ann+Reinking+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“We must do what we’re told!”\u003c/p>\n\u003cp>“But why, Father? Why?”\u003c/p>\n\u003cp>“… I’m afraid.”\u003c/p>\n\u003cp>That sudden, self-lacerating epiphany comes near the end of the animated film \u003cem>Wolfwalkers\u003c/em>, debuting on AppleTV+ on Friday.\u003c/p>\n\u003cp>It’s not the kind of tidy object-lesson generally served up in movies made for kids, which tend to run more in the \u003cem>Believe in Yourself/Follow Your Passion/You are Special\u003c/em> vein.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s tough to imagine Jiminy Cricket, say, singing a little ditty summing up this film’s comparatively thornier message that adults follow—and enforce—rules because they don’t know what they’re doing, and are frightened of the consequences.\u003c/p>\n\u003cp>But \u003cem>Wolfwalkers\u003c/em>, from Cartoon Saloon, the production company behind 2009’s \u003cem>The Secret of Kells \u003c/em>and 2014’s\u003cem> Song of the Sea,\u003c/em> isn’t made for kids. Or at least, not \u003cem>just \u003c/em>for kids.\u003c/p>\n\u003cp>Because there are a lot of other thematic elements jostling for elbow room in this tale of young English girl Robyn (voiced by Honor Kneafsey) and her father (voiced by Sean Bean) trying to make a go of it in the pre-colonial Irish town of Kilkenny.\u003c/p>\n\u003cp>Layered over the anti-authoritarian theme is an ecological one: The town is growing, and Robyn’s father has been hired by the Lord Protector Oliver Cromwell (voiced by Simon McBurney) to clear the wolves out of the rapidly vanishing forest nearby. There’s a healthy dose of feminism in the mix, as well: Robyn only wants to help her father hunt, but her status as a young woman gets her consigned to menial scullery duties. You don’t have to scratch the film’s surface terribly hard to find a queer reading, either: Robyn and her father are desperately trying to blend in, but Robyn’s need for freedom (and her drive to point out to her father that his white-knuckle grip on their assigned hierarchical roles is wrong) endangers them both.\u003c/p>\n\u003cp>That’s a lot of topical balls to juggle, and I haven’t even gotten to Robyn’s friendship with the feral Mebh (voiced by Eva Whittaker), a young girl who lives in the woods. Mebh represents the freedom Robyn aches for—plus she can take the form of a wolf and telepathically command the pack she lives with, which is nice.\u003c/p>\n\u003cp>There’s an endangered parent tossed into the mix as well, because it’s an animated film, and that’s the law.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_Z_tybgPgg\u003c/p>\n\u003cp>The film succeeds by hanging all those disparate tones and motifs along a clean and direct narrative, which is to say: You and your kids will see every turn in the plot coming. But in an era when Disney/Pixar tend to overload their animated films with expositional dumps of lore that must first be internalized before you can follow the story, \u003cem>Wolfwalkers \u003c/em>does its world-building through emotional voice-work, through lush, hand-drawn animation, and through visual style for days.\u003c/p>\n\u003cp>The movie takes very evident pride in its status as a film animated by hand. As a wolf lopes through the woods, the muscles along its flanks roil under its fur—but a closer look reveals that those muscles are delineated by the rough, sketchy lines of its preliminary drawing: The finished figure exists alongside the work it took to create it. Every frame is an tiny act of time-travel.\u003c/p>\n\u003cp>You won’t need to be reminded of the effort involved, however, because the film has the quality of something painstakingly wrought, with an artisan’s eye. The gray town of Kilkenny is stylistically rendered in the kind of flat, two-dimensional perspective seen in the art of the era the film is set in. Forest scenes, on the other hand, burst with a natural—a supernatural, technically—fullness. Vivid autumnal colors dazzle the eyes, waterfalls shimmer magically and animals move with swift, fluid grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of the film’s densely packed themes, you can pick and choose which particular “message” you’ll take away from \u003cem>Wolfwalkers\u003c/em>. But whichever you pick, the \u003cem>feel \u003c/em>of this hauntingly rich visual feast will stay with you much longer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Wolfwalkers%27+Is+A+Rich%2C+Densely+Packed+Visual+Feast&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“We must do what we’re told!”\u003c/p>\n\u003cp>“But why, Father? Why?”\u003c/p>\n\u003cp>“… I’m afraid.”\u003c/p>\n\u003cp>That sudden, self-lacerating epiphany comes near the end of the animated film \u003cem>Wolfwalkers\u003c/em>, debuting on AppleTV+ on Friday.\u003c/p>\n\u003cp>It’s not the kind of tidy object-lesson generally served up in movies made for kids, which tend to run more in the \u003cem>Believe in Yourself/Follow Your Passion/You are Special\u003c/em> vein.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s tough to imagine Jiminy Cricket, say, singing a little ditty summing up this film’s comparatively thornier message that adults follow—and enforce—rules because they don’t know what they’re doing, and are frightened of the consequences.\u003c/p>\n\u003cp>But \u003cem>Wolfwalkers\u003c/em>, from Cartoon Saloon, the production company behind 2009’s \u003cem>The Secret of Kells \u003c/em>and 2014’s\u003cem> Song of the Sea,\u003c/em> isn’t made for kids. Or at least, not \u003cem>just \u003c/em>for kids.\u003c/p>\n\u003cp>Because there are a lot of other thematic elements jostling for elbow room in this tale of young English girl Robyn (voiced by Honor Kneafsey) and her father (voiced by Sean Bean) trying to make a go of it in the pre-colonial Irish town of Kilkenny.\u003c/p>\n\u003cp>Layered over the anti-authoritarian theme is an ecological one: The town is growing, and Robyn’s father has been hired by the Lord Protector Oliver Cromwell (voiced by Simon McBurney) to clear the wolves out of the rapidly vanishing forest nearby. There’s a healthy dose of feminism in the mix, as well: Robyn only wants to help her father hunt, but her status as a young woman gets her consigned to menial scullery duties. You don’t have to scratch the film’s surface terribly hard to find a queer reading, either: Robyn and her father are desperately trying to blend in, but Robyn’s need for freedom (and her drive to point out to her father that his white-knuckle grip on their assigned hierarchical roles is wrong) endangers them both.\u003c/p>\n\u003cp>That’s a lot of topical balls to juggle, and I haven’t even gotten to Robyn’s friendship with the feral Mebh (voiced by Eva Whittaker), a young girl who lives in the woods. Mebh represents the freedom Robyn aches for—plus she can take the form of a wolf and telepathically command the pack she lives with, which is nice.\u003c/p>\n\u003cp>There’s an endangered parent tossed into the mix as well, because it’s an animated film, and that’s the law.\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/d_Z_tybgPgg'\n title='//www.youtube.com/embed/d_Z_tybgPgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film succeeds by hanging all those disparate tones and motifs along a clean and direct narrative, which is to say: You and your kids will see every turn in the plot coming. But in an era when Disney/Pixar tend to overload their animated films with expositional dumps of lore that must first be internalized before you can follow the story, \u003cem>Wolfwalkers \u003c/em>does its world-building through emotional voice-work, through lush, hand-drawn animation, and through visual style for days.\u003c/p>\n\u003cp>The movie takes very evident pride in its status as a film animated by hand. As a wolf lopes through the woods, the muscles along its flanks roil under its fur—but a closer look reveals that those muscles are delineated by the rough, sketchy lines of its preliminary drawing: The finished figure exists alongside the work it took to create it. Every frame is an tiny act of time-travel.\u003c/p>\n\u003cp>You won’t need to be reminded of the effort involved, however, because the film has the quality of something painstakingly wrought, with an artisan’s eye. The gray town of Kilkenny is stylistically rendered in the kind of flat, two-dimensional perspective seen in the art of the era the film is set in. Forest scenes, on the other hand, burst with a natural—a supernatural, technically—fullness. Vivid autumnal colors dazzle the eyes, waterfalls shimmer magically and animals move with swift, fluid grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of the film’s densely packed themes, you can pick and choose which particular “message” you’ll take away from \u003cem>Wolfwalkers\u003c/em>. But whichever you pick, the \u003cem>feel \u003c/em>of this hauntingly rich visual feast will stay with you much longer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Wolfwalkers%27+Is+A+Rich%2C+Densely+Packed+Visual+Feast&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Grease,' 'Shrek' and a Record Number of Women Directors Join National Film Registry",
"headTitle": "‘Grease,’ ‘Shrek’ and a Record Number of Women Directors Join National Film Registry | KQED",
"content": "\u003cp>The Library of Congress tries to raise awareness of film conservation every year by adding 25 movies to the National Film Registry to preserve for posterity.\u003c/p>\n\u003cp>As usual, 2020’s lineup includes attention-grabbing Hollywood blockbusters of relatively recent vintage (\u003cem>The Dark Knight\u003c/em> and \u003cem>Shrek\u003c/em>), widely beloved older features (\u003cem>Grease, The Blues Brothers, A Clockwork Orange\u003c/em>), respected documentaries (\u003cem>The Buena Vista Social Club, Wattstax, Freedom Riders\u003c/em>), venerable silent films (\u003cem>Kid Auto Races At Venice\u003c/em>, apparently one of the few Charlie Chaplin movies not already inducted) and films from Hollywood’s Golden Age, underground movies, influential but lesser-known films and early work from seminal directors.\u003c/p>\n\u003cp>This year an unprecedented number of these films are by women, from the domestic drama \u003cem>Suspense\u003c/em> (1913), an early silent film co-directed by and starring Lois Weber as a housewife fending off an intruder, to 2008’s \u003cem>The Hurt Locker\u003c/em>. Kathryn Bigelow’s harrowing war movie remains the only film to have won a Best Director Oscar for a woman.\u003c/p>\n\u003cfigure id=\"attachment_13890381\" class=\"wp-caption aligncenter\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg\" alt='Adventurer and filmmaker Aloha Wanderwell working on her 1929 film \"With Car and Camera Around the World,\" which joined the National Film Registry this year.' width=\"521\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b-160x120.jpg 160w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">Adventurer and filmmaker Aloha Wanderwell working on her 1929 film “With Car and Camera Around the World,” which joined the National Film Registry this year. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nine films in total this year were directed by women, including Ida May Park’s \u003cem>Bread, \u003c/em>from 1918\u003cem>, \u003c/em>about a woman struggling to pull herself out of poverty; the 1929 film \u003cem>With Car and Camera Around the World, \u003c/em>co-directed by Aloha Wanderwell; Ida Lupino’s 1950 film, \u003cem>Outrage, \u003c/em>about sexual assault; two 1982 movies by Black women filmmakers—Kathleen Collins’ semi-autobiographical feature film\u003cem> Losing Ground\u003c/em> and an early student film by Julie Dash (best known for \u003cem>Daughters of the Dust\u003c/em>, which was inducted in 2004); the 1994 film \u003cem>The Devil Never Sleep\u003c/em> by Lourdes Portillo and 2006’s \u003cem>Mauna Kea: Temple Under Siege \u003c/em>co-directed by Joan Lander.\u003c/p>\n\u003cp>Librarian of Congress Carla Hayden has been working to draw attention to the accomplishments of women filmmakers: Last year, she added seven to the still overwhelmingly male list of 800 names.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The National Film Registry is an important record of American history, culture and creativity, captured through one of the great American artforms, our cinematic experience,” Hayden said in a statement. “With the inclusion of diverse filmmakers, we are not trying to set records but rather to set the record straight by spotlighting the astonishing contributions women and people of color have made to American cinema, despite facing often-overwhelming hurdles.”\u003c/p>\n\u003cp>Seven movies added to the National Film Registry this year were directed by people of color, including Wayne Wang’s \u003cem>The Joy Luck Club\u003c/em> (1993) and Melvin Van Peebles’ blaxpolitation classic\u003cem>, Sweet Sweetback’s Baadasssss Song \u003c/em>(1971). The complete list of films selected for the 2020 National Film Registry, in chronological order, follows:\u003c/p>\n\u003cp>1. Suspense (1913)\u003c/p>\n\u003cp>2. Kid Auto Races at Venice (1914)\u003c/p>\n\u003cp>3. Bread (1918)\u003c/p>\n\u003cp>4. The Battle of the Century (1927)\u003c/p>\n\u003cp>5. With Car and Camera Around the World (1929)\u003c/p>\n\u003cp>6. Cabin in the Sky (1943)\u003c/p>\n\u003cp>7. Outrage (1950)\u003c/p>\n\u003cp>8. The Man with the Golden Arm (1955)\u003c/p>\n\u003cp>9. Lilies of the Field (1963)\u003c/p>\n\u003cp>10. A Clockwork Orange (1971)\u003c/p>\n\u003cp>11. Sweet Sweetback’s Baadasssss Song (1971)\u003c/p>\n\u003cp>12. Wattstax (1973)\u003c/p>\n\u003cp>13. Grease (1978)\u003c/p>\n\u003cp>14. The Blues Brothers (1980)\u003c/p>\n\u003cp>15. Losing Ground (1982)\u003c/p>\n\u003cp>16. Illusions (1982)\u003c/p>\n\u003cp>17. The Joy Luck Club (1993)\u003c/p>\n\u003cp>18. The Devil Never Sleeps (1994)\u003c/p>\n\u003cp>19. Buena Vista Social Club (1999)\u003c/p>\n\u003cp>20. The Ground (1993-2001)\u003c/p>\n\u003cp>21. Shrek (2001)\u003c/p>\n\u003cp>22. Mauna Kea: Temple Under Siege (2006)\u003c/p>\n\u003cp>23. The Hurt Locker (2008)\u003c/p>\n\u003cp>24. The Dark Knight (2008)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>25. Freedom Riders (2010)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Grease%2C%27+%27Shrek%27+And+A+Record+Number+Of+Women+Directors+Join+National+Film+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Library of Congress tries to raise awareness of film conservation every year by adding 25 movies to the National Film Registry to preserve for posterity.\u003c/p>\n\u003cp>As usual, 2020’s lineup includes attention-grabbing Hollywood blockbusters of relatively recent vintage (\u003cem>The Dark Knight\u003c/em> and \u003cem>Shrek\u003c/em>), widely beloved older features (\u003cem>Grease, The Blues Brothers, A Clockwork Orange\u003c/em>), respected documentaries (\u003cem>The Buena Vista Social Club, Wattstax, Freedom Riders\u003c/em>), venerable silent films (\u003cem>Kid Auto Races At Venice\u003c/em>, apparently one of the few Charlie Chaplin movies not already inducted) and films from Hollywood’s Golden Age, underground movies, influential but lesser-known films and early work from seminal directors.\u003c/p>\n\u003cp>This year an unprecedented number of these films are by women, from the domestic drama \u003cem>Suspense\u003c/em> (1913), an early silent film co-directed by and starring Lois Weber as a housewife fending off an intruder, to 2008’s \u003cem>The Hurt Locker\u003c/em>. Kathryn Bigelow’s harrowing war movie remains the only film to have won a Best Director Oscar for a woman.\u003c/p>\n\u003cfigure id=\"attachment_13890381\" class=\"wp-caption aligncenter\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg\" alt='Adventurer and filmmaker Aloha Wanderwell working on her 1929 film \"With Car and Camera Around the World,\" which joined the National Film Registry this year.' width=\"521\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b-160x120.jpg 160w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">Adventurer and filmmaker Aloha Wanderwell working on her 1929 film “With Car and Camera Around the World,” which joined the National Film Registry this year. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nine films in total this year were directed by women, including Ida May Park’s \u003cem>Bread, \u003c/em>from 1918\u003cem>, \u003c/em>about a woman struggling to pull herself out of poverty; the 1929 film \u003cem>With Car and Camera Around the World, \u003c/em>co-directed by Aloha Wanderwell; Ida Lupino’s 1950 film, \u003cem>Outrage, \u003c/em>about sexual assault; two 1982 movies by Black women filmmakers—Kathleen Collins’ semi-autobiographical feature film\u003cem> Losing Ground\u003c/em> and an early student film by Julie Dash (best known for \u003cem>Daughters of the Dust\u003c/em>, which was inducted in 2004); the 1994 film \u003cem>The Devil Never Sleep\u003c/em> by Lourdes Portillo and 2006’s \u003cem>Mauna Kea: Temple Under Siege \u003c/em>co-directed by Joan Lander.\u003c/p>\n\u003cp>Librarian of Congress Carla Hayden has been working to draw attention to the accomplishments of women filmmakers: Last year, she added seven to the still overwhelmingly male list of 800 names.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The National Film Registry is an important record of American history, culture and creativity, captured through one of the great American artforms, our cinematic experience,” Hayden said in a statement. “With the inclusion of diverse filmmakers, we are not trying to set records but rather to set the record straight by spotlighting the astonishing contributions women and people of color have made to American cinema, despite facing often-overwhelming hurdles.”\u003c/p>\n\u003cp>Seven movies added to the National Film Registry this year were directed by people of color, including Wayne Wang’s \u003cem>The Joy Luck Club\u003c/em> (1993) and Melvin Van Peebles’ blaxpolitation classic\u003cem>, Sweet Sweetback’s Baadasssss Song \u003c/em>(1971). The complete list of films selected for the 2020 National Film Registry, in chronological order, follows:\u003c/p>\n\u003cp>1. Suspense (1913)\u003c/p>\n\u003cp>2. Kid Auto Races at Venice (1914)\u003c/p>\n\u003cp>3. Bread (1918)\u003c/p>\n\u003cp>4. The Battle of the Century (1927)\u003c/p>\n\u003cp>5. With Car and Camera Around the World (1929)\u003c/p>\n\u003cp>6. Cabin in the Sky (1943)\u003c/p>\n\u003cp>7. Outrage (1950)\u003c/p>\n\u003cp>8. The Man with the Golden Arm (1955)\u003c/p>\n\u003cp>9. Lilies of the Field (1963)\u003c/p>\n\u003cp>10. A Clockwork Orange (1971)\u003c/p>\n\u003cp>11. Sweet Sweetback’s Baadasssss Song (1971)\u003c/p>\n\u003cp>12. Wattstax (1973)\u003c/p>\n\u003cp>13. Grease (1978)\u003c/p>\n\u003cp>14. The Blues Brothers (1980)\u003c/p>\n\u003cp>15. Losing Ground (1982)\u003c/p>\n\u003cp>16. Illusions (1982)\u003c/p>\n\u003cp>17. The Joy Luck Club (1993)\u003c/p>\n\u003cp>18. The Devil Never Sleeps (1994)\u003c/p>\n\u003cp>19. Buena Vista Social Club (1999)\u003c/p>\n\u003cp>20. The Ground (1993-2001)\u003c/p>\n\u003cp>21. Shrek (2001)\u003c/p>\n\u003cp>22. Mauna Kea: Temple Under Siege (2006)\u003c/p>\n\u003cp>23. The Hurt Locker (2008)\u003c/p>\n\u003cp>24. The Dark Knight (2008)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>25. Freedom Riders (2010)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Grease%2C%27+%27Shrek%27+And+A+Record+Number+Of+Women+Directors+Join+National+Film+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NPR Critics Pick Their Favorite TV From a Strange 2020",
"headTitle": "NPR Critics Pick Their Favorite TV From a Strange 2020 | KQED",
"content": "\u003cp>It has been a momentous year for everything we consider TV.\u003c/p>\n\u003cp>A pandemic, civil rights reckoning, streaming war and presidential election shook up the industry in a dozen different ways. It blurred lines between genres, platforms and story forms, while also encouraging us to develop our own, deep rabbit holes of favorite media. So when our team of four critics sat down to figure out what we liked most onscreen this year, we each had a lot of stuff on our lists no one else did. [aside postid='arts_13890197']\u003c/p>\n\u003cp>That’s why our list crosses a lot of boundaries, including projects technically released as feature films. It’s a powerful example of how much quality entertainment was available this year, even after coronavirus lockdowns shut down productions and upended release schedules.\u003c/p>\n\u003cp>In alphabetical order, here’s our best of 2020—and we know it’s a long list, so you can use these alphabetical links to skip around: \u003ca href=\"#B\">B\u003c/a>, \u003ca href=\"#C\">C\u003c/a>, \u003ca href=\"#D\">D\u003c/a>, \u003ca href=\"#F\">F\u003c/a>, \u003ca href=\"#G\">G\u003c/a>, \u003ca href=\"#H\">H\u003c/a>, \u003ca href=\"#I\">I\u003c/a>, \u003ca href=\"#J\">J\u003c/a>, \u003ca href=\"#L\">L\u003c/a>, \u003ca href=\"#M\">M\u003c/a>, \u003ca href=\"#N\">N\u003c/a>, \u003ca href=\"#O\">O\u003c/a>, \u003ca href=\"#P\">P\u003c/a>, \u003ca href=\"#Q\">Q\u003c/a>, \u003ca href=\"#T\">T\u003c/a>, \u003ca href=\"#W\">W\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Better Call Saul, Season 5 \u003c/em>\u003c/strong>\u003cstrong>(AMC, Amazon Prime rental, earlier seasons on Netflix)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This outstanding FX series long ago rendered pointless any comparisons to \u003cem>Breaking Bad\u003c/em>, of which it is technically a prequel. The story it’s telling is so very much its own—by turns gritty and funny, melancholic and viciously violent. In its penultimate season, the transformation of Jimmy McGill (Bob Odenkirk) into Saul Goodman—a criminal lawyer who’s actually a \u003cem>criminal\u003c/em> lawyer—is just about complete. We finally saw the series’ two disparate plot threads—Jimmy’s and Mike’s (Jonathan Banks)—come together, a richly satisfying consummation for those viewers who’ve complained about the series’ pacing, and who’ve longed for those two characters to share the screen. The fact that it’s all set against the very real, and immensely worrying, potential downfall of the show’s beating heart—Rhea Seehorn’s astonishing performance as Jimmy’s girlfriend Kim—invests us that much deeply in the show’s dangerous and duplicitous world. — \u003cem>Glen Weldon, Aisha Harris, Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Black Is King\u003c/em>\u003c/strong>\u003cstrong> (Disney+)/\u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>In a year that saw lots of reflection on systemic racism and police brutality, these two films offered emotional, effective meditations on Black joy and pain in very different ways. \u003cem>Black Is King\u003c/em> is Beyoncé’s “visual album,” loosely inspired by \u003cem>The Lion King\u003c/em> story, using arresting images and banging tunes to portray the peoples of the African diaspora rediscovering their heritage as leaders and royalty. \u003cem>Between the World and Me\u003c/em> is a different kind of tone poem, centered on passages read by performers like Oprah Winfrey from Ta-Nehisi Coates’ book, which was written as a letter to his teen son. It explores the dangers Black people face from police brutality and the joy which comes from Black love and achievement, perfectly presenting the duality of African American life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>BoJack Horseman, Season 6, Part II \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>After five-plus seasons watching a washed-up sitcom horse wrestle with drug addiction, narcissism, childhood traumas and the traumas he inflicted upon others, BoJack Horseman’s story came to an end that was as satisfying as one could hope. What the show did best (besides insanely clever animal puns and skewering Hollywood) was really question and challenge the arc of redemption for people (or horses) who have caused an immeasurable amount of pain to others. Right up to its final moments, the writers and animators didn’t let up, remaining as inquisitive and creative as ever. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Boys State\u003c/em>\u003c/strong> \u003cstrong>(Apple TV+)\u003c/strong>\u003c/p>\n\u003cp>Set at Boys State in Texas, a program where high school boys run for office and form a mock government, this is a documentary not for the faint of heart. It shows kids whose approach to politics is already hardened, already combative beyond the substance of it. Combative for its own sake. While there are moments that show the promise of young activists and idealists, there are also dark signs that a lot of kids who have grown up in our fractured and nasty political climate have learned plenty from the politicians who have endeavored at every turn to make it worse. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park\u003c/strong>\u003c/em> \u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>This documentary functions, at one level, as a document laying out the details of a very specific time and place: Action Park in New Jersey, famous for being the amusement park where kids got hurt. But with the help of excellent input from Class Action Park patrons and comedian Chris Gethard, it turns into a consideration of nostalgia more generally, and of what it means to know you had a great time doing something that was a very bad idea. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Da 5 Bloods \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Spike Lee’s usage of Marvin Gaye’s \u003cem>What’s Going On?\u003c/em> album is divine; his nods and references to everything from \u003cem>The Treasure of the Sierra Madre \u003c/em>to \u003cem>Rambo \u003c/em>are thoughtful and layered; Chadwick Boseman, in one of his final roles, is a powerful and spiritual presence. But this movie belongs to Delroy Lindo, who cuts an imposing and indelible figure as Paul, a Vietnam War vet worn down by unresolved guilt, wrecked by bitterness, sadness and fear. He finds shades to play with in every feeling and thought, giving one of the great performances in recent memory. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>David Byrne’s American Utopia \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>[aside postid='arts_13890048']\u003c/p>\n\u003cp>It was a year when we were starved for good feelings, a year when mere happiness felt like ecstatic joy, and real ecstatic joy—like that on glorious display on a Broadway stage by a barefoot David Byrne and a cadre of musicians in matching gray suits—could leave you breathless, swooning and profoundly grateful. Directed by Spike Lee, the theatrical concert film spans Byrne’s musical career but—as with any production associated with Byrne—it leaves plenty of room to get enthusiastically weird. Wireless technology allows the musicians to roam the stage, and they do so in lock-step choreography, like the hippest high school marching band imaginable. A special treat for longtime Talking Heads fans: We finally get the live version of “Born Under Punches (The Heat Goes On)” that we didn’t know we’ve been aching for, all this time. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>First Cow \u003c/em>\u003c/strong>\u003cstrong>(Showtime, DIRECTTV, and numerous rental sites) \u003c/strong>\u003c/p>\n\u003cp>It’s astounding how much suspense director Kelly Reichardt is able to derive from the act of milking a cow. In early 19th-century Oregon Territory, skillful cook Otis “Cookie” Figowitz (John Magaro) befriends King-Lu, an enterprising Chinese immigrant (Orion Lee) and outlaw. Together, they conjure up a successful business at a market outpost selling oily cakes to hungry traders; the recipe requires a very scarce commodity around those parts: cow’s milk. It’s one-part heist film and another part buddy adventure, with a tender—and often humorous—friendship at its center. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Flight Attendant\u003c/em>\u003c/strong>\u003cstrong> (HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Based on the novel by Chris Bohjalian, this smart, taut HBO Max thriller stars Kaley Cuoco as, well, a flight attendant who wakes up after a night of partying and realizes something very, very bad happened while she was asleep. Part mystery, part drama about the aftereffects of a traumatic childhood, and part dark comedy, it was one of the most pleasant surprises of the year, impressing with its razor-sharp tone, supporting performances (Zosia Mamet is tremendous as Cuoco’s best friend), and heartfelt work from Cuoco. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Forty-Year-Old Version \u003c/em>\u003c/strong>\u003cstrong>(Netflix) \u003c/strong>\u003c/p>\n\u003cp>Radha Blank’s debut as a feature film director, writer and star is an engaging portrait of an artist at an existential crossroad, professional and personal. This is a refreshingly specific mid-life crisis, one borrowing from Blank’s own life as a born-and-bred New York writer and rapper known as RhadaMUS Prime. It’s funny and poignant, and the banter and characters feel real and alive. Radha the character may lack confidence at times, but real-life Radha the filmmaker is very self-assured. — \u003cem>Aisha Harris, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Good Place, Season 4 \u003c/em>\u003c/strong>\u003cstrong>(NBC, Netflix, Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>The road to this perfectly poignant finale wasn’t smooth. Much of seasons 3 and 4 lacked the bite of the earlier seasons, and as the gang fought to prove that there was a fundamental glitch in the sorting of heaven and hell, it felt almost like Mike Schur and his team were spinning wheels. But they stuck the landing anyway, bringing back some of that subversiveness by daring to suggest there can come a point when you feel as though you’ve done all you wanted to do in (the after)life and it’s time to move on. It’s a dark thing to contemplate, but it’s also honest. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Great \u003c/em>\u003c/strong>\u003cstrong>(Hulu)\u003c/strong>\u003c/p>\n\u003cp>Billed as “An Occasionally True Story,” this series about young Catherine (Elle Fanning) and her ill-fated marriage to Emperor Peter of Russia (Nicholas Hoult) is stuffed with gleefully ahistorical elements that’ll send students of Russian history into aneurysms. Fanning is terrific as an idealistic (and self-satisfied) would-be social reformer, while Hoult’s Peter is a nightmare—a sociopathic boor poured into a pair of tight leather pants. \u003cem>The Great \u003c/em>was created by Tony McNamara, based on his 2008 play. McNamara went on to co-write 2018’s \u003cem>The Favourite\u003c/em>, and if you’ve seen that film, you know what to expect here—yes, bustles and corsets, wigs and snuffboxes, but also crisp ripostes, lacerating insults and dialogue that sizzles with withering wit. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Harley Quinn\u003c/em>\u003c/strong>\u003cstrong> (DC Universe and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Given the sheer tonnage of live action superhero shows on TV, it’s notable that the most gonzo, subversive, hilarious, action packed, explicit and entertaining take on the DC comics universe is actually this animated series. Originally created for the streaming service DC Universe, it now lives on HBO Max, where \u003cem>Big Bang Theory\u003c/em> alum Kaley Cuoco voices the Joker’s former girlfriend as an unpredictable, profanity-slinging romantic who resists the ex who exploited her. It’s a comedy of sorts where even Batman is a bit of a doofus, featuring Harley leading a team of misfit baddies who struggle for recognition as Gotham City’s leading villains, redefining adult-oriented superhero stories in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Haunting of Bly Manor \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>The first installment of this Netflix series\u003cem>, The Haunting of Hill House\u003c/em>, was packed with plenty of good, ghostly scares—but it lagged in the middle, and whiffed the ending. With \u003cem>The Haunting of Bly Manor\u003c/em> creator and showrunner Mike Flanagan hasn’t simply found a new author to riff on (Henry James, instead of Shirley Jackson) he has seriously course-corrected. Though it parcels out the scares more thinly than \u003cem>Hill House \u003c/em>did, \u003cem>Bly Manor\u003c/em>‘s story is tighter, and it nails the all-important dismount in a sincere, humane and bittersweet way that directly addresses the nature, and the purpose, of grief. It’s not overtly tidy or dully expositional—yet it feels, in the best way, inevitable. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>I Hate Suzie\u003c/strong>\u003c/em>\u003cstrong> (HBO Max) \u003c/strong>\u003c/p>\n\u003cp>This British series—just eight episodes, as is their wont—stars the great Billie Piper as an actress whose nudes end up on the Internet after her phone gets hacked. She then proceeds to make a series of \u003cem>wildly\u003c/em> terrible decisions to deal with it—or \u003cem>not\u003c/em> deal with it, as the case may be. It won’t be for everyone. Think of it as the anti-\u003cem>Ted Lasso—\u003c/em>there’s little here that’s comforting or warm. Try it on for size: Watch the first episode, in which a huge crowd comes tromping through her home for a photo shoot just as she’s first finding out about the leaked nudes. She keeps trying to find some privacy—and keep her husband from finding out—in a long stretch of tense, claustrophobic, downright nightmarish scenes, many of which take place entirely in a tight close-up of Piper’s face as she attempts to keep from panicking. If it grabs you, you’ll watch the rest of the episodes through your fingers—but you will watch them, compulsively. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I May Destroy You\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Michaela Coel’s series about a woman exploring the aftermath of a sexual assault shone a spotlight on Coel’s own acting, writing, and in some cases directing. It also became a broader examination of ethics in sex and relationships, from the traumatic to the questionable to the unkind. The supporting cast and dizzying structural turns made the HBO show one of the most exciting of 2020. — \u003cem>Linda Holmes, Aisha Harris, Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Invisible Man \u003c/em>\u003c/strong>\u003cstrong>(HBO, HBO Max and numerous rental sites)\u003c/strong>\u003c/p>\n\u003cp>Elisabeth Moss stars as a woman who begins to fear she’s crazy when she keeps sensing her dead abusive husband everywhere. From there, the film becomes a consideration of paranoia, trauma and ultimately the desire to reclaim a connection to reality that’s come undone as a result of repeated, relentless gaslighting. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>John Mulaney and the Sack Lunch Bunch \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Point of order: This comedy special debuted on Dec. 25, 2019—after we made our annual list—so it slides in here on a technicality. But it certainly belongs—no comedy special has won me over so hard, so completely. Mulaney’s idiosyncratic sensibility might seem an odd fit for what is essentially an extended riff on old children’s television programming, but it works seamlessly here. That’s a product of the writing, which is wry but never cynical, but it’s also an outgrowth of the casting. These kid actors aren’t pushing it—they easily find Mulaney’s particular comedic frequency, and stick to it. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Last Dance\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Basketball legend Michael Jordan looms over every frame of this revealing documentary series first shown on ESPN, and not just because it expertly documents his final championship season with the Chicago Bulls in 1997-98. It’s an incisive look at how that team became a world-crushing, pop-culture-dominating force, with special detail on how Jordan built his legend. Other stories also resonate: How Dennis Rodman nearly committed suicide before he joined the Bulls; how teammate Scottie Pippen was continually underpaid; how Jordan was merciless about pushing his teammates and cultivating grudges to boost his performance. Jordan was involved as a producer and had to approve use of the Bulls’ behind-the-scenes footage, giving him even more control. But despite his influence, this miniseries offers a never-before-seen look at a once in a generation team. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovecraft Country\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Packed to bursting with symbolism, special effects, allegory, social messages, reinvented horror tropes and enough plot to require a YouTube explainer for every episode, this audacious take on Matt Ruff’s 2016 novel is a lot. But its story, placing a Black family at the heart of a pitched battle with a white family of witches in the Jim Crow-era 1950s, is a marvel of ambition and craft. Comparing the horrors of racism to the supernatural horrors found in novels by H.P. Lovecraft—himself an infamous xenophobe and racist—reinvents the genre in unexpected ways. And the work of executive producer/writer/director Misha Green to showcase the power of Black love and family in a series dropping during the summer’s reckoning over systemic racism and police brutality, was exquisitely perfect timing. — \u003cem>Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovers Rock \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>This entry in Steve McQueen’s excellent \u003cem>Small Axe \u003c/em>anthology series will surely make you want to seek out its soundtrack, which is bubbling with classics of the reggae subgenre from which it gets its title. But as you follow these young West Indian Londoners mingling, dancing, flirting and rebuffing aggressive strangers at a lively house party on one evening in 1980, it will also transport you to a realm of beauty and intimacy. It’s a musical reverie that manages to capture the exultation of the arrival of the weekend, and the sanctity of Black community. — \u003cem>Aisha Harris \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mucho Mucho Amor\u003c/em>\u003c/strong> \u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Netflix presented this documentary about legendary astrologer Walter Mercado to an audience that included both people who grew up watching him on television every day and people who knew him hardly at all. It told a story that was alternatively sad and stirring, but it ultimately gave the man his due as a legend who was part of the lives of many families and who found himself poorly treated by some of those close to him. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The New Pope \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>[aside postid='arts_13890093']\u003c/p>\n\u003cp>\u003cem>The New Pope\u003c/em>, like \u003cem>The Young Pope\u003c/em> before it, is all about jockeying for a very earthly kind of power behind the scenes of the Vatican. The vaguely odd, singular tone of that first series persists, as does the many Italian actors’ tendencies to emphasize words that native English speakers wouldn’t necessarily emphasize, and insert long, meaningful pauses (creator Paolo Sorrentino loves his pauses) where native English speakers wouldn’t. It all adds to the sense that you’re watching the show from across a vague, yet palpable cultural divide—the ecclesiastical drama as Mentos commercial. Despite the title change and the swapping out of Jude Law’s Pius XIII for John Malkovich’s Sir John Brannox, Sorrentino’s camera still tracks slowly and languidly through immense arched hallways, vaulted rooms and lush gardens, pausing to alight upon small, telling details. Malkovich revels in his portrayal of Brannox as a louche, mascara-wearing British fop who flounces through life—a man who can be counted upon to find the nearest chaise in any room and recline upon it as if he has just been roughly flung there. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Normal People\u003c/em>\u003c/strong>\u003cstrong> (Hulu)\u003c/strong>\u003c/p>\n\u003cp>The Sally Rooney novel about two young students who fall in love and watch their lives intersect over many years was a hit, and adapting it into a limited series was a challenge since it’s so reliant on the interiority of the lead characters. But leads Daisy Edgar-Jones and Paul Mescal brought their scenes together an intimacy and grace that kept the wide-ranging story in focus. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>On The Record \u003c/em>\u003c/strong>\u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Making a documentary about the reckoning over sexual harassment in music would have been too broad an assignment for any filmmaker. So it makes sense that this one is narrower: It is primarily about allegations against hip-hop mogul Russell Simmons, and even more specifically about Drew Dixon, an A&R executive who says she saw her career founder after being assaulted by Simmons. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ozark, Season 3\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Critics who dismiss this drama about a family juggling internal drama and FBI scrutiny while laundering money for a Mexican drug cartel in the Ozarks (some have dubbed it “Breaking Bad: The Family Edition”) have missed the point. Especially in this year’s powerhouse third season, Ozark raised its game, adding Janet McTeer as a domineering cartel lawyer and Tom Pelphrey in a shamefully under-recognized turn as the bipolar brother of matriarch Wendy Byrde, played by Laura Linney. Pelphrey was heart-rending as the only person who saw how terrible the Byrdes’ activities were, despite his mental illness. And the show’s ability to keep viewers invested in Jason Bateman’s numbers whiz, patriarch Marty Byrde—no matter who he gets killed or rips off—is nothing short of amazing. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>P-Valley \u003c/em>\u003c/strong>\u003cstrong>(STARZ) \u003c/strong>\u003c/p>\n\u003cp>In lesser hands, Uncle Clifford (Nicco Annan)—the towering, flamboyant non-binary strip club owner whose drawl kind of sounds like Katt Williams—could have easily turned out to be little more than sassy caricature. But Katori Hall’s soapy melodrama about a rural Mississippi town and its colorful inhabitants takes its characters seriously, and over the course of this crackling first season they emerge more unique and interesting than their “types” might initially suggest. The show also brings a new level of respect to the artistry and precision of pole dancing—among the highlights are those extensive routines backed by dirty, thumping Southern hip-hop. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Queen’s Gambit\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Before I saw one scene of chess play, I was all in for a miniseries showing a talented, self-possessed woman mastering a game dominated by men in the 1950s and ’60s, knocking them off like clay pigeons on her way to the world championship. But this series, crafted by Scott Frank based on a 1983 novel, also plays like a superhero origin story. In a magnetic performance, Anya Taylor-Joy brings liquid eyes and an inscrutable manner to chess prodigy Beth Harmon, who must overcome substance abuse, the influence of her suicidal mom and a sexist world to reach her goals. Toss in a period-specific, lavish production and direction that actually makes chess look interesting, and you have the ingredients of a modern TV masterpiece. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ted Lasso\u003c/em>\u003c/strong>\u003cstrong> (Apple TV+) \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> alum Jason Sudeikis is funny, bumbling and occasionally heartbreaking as Ted Lasso, a stupendously optimistic American college football coach hired to lead a Premiere League soccer team in England. The owner is actually trying to sabotage the team by hiring Lasso, who knows nothing about soccer—or “football,” as they call it in Britain. But she doesn’t realize his true superpower is that he’s so gosh darned nice. It may sound a little hokey, but \u003cem>Ted Lasso\u003c/em> somehow builds a wonderful comedy around the healing power of niceness—deflating any hokum with a well-timed joke or two. And considering how tough 2020 has been, we all could use a lot of that message right about now. — \u003cem>Eric Deggans, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tiger King\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>The subjects of this docuseries became the butt of a thousand punchlines, as viewers dug into the tawdry tale of Joe Exotic—a publicity-seeking, pistol-packing character running a private zoo in Oklahoma who was convicted of paying a hitman to murder his longtime nemesis, self-styled animal conservationist Carol Baskin. Still, the series itself is an amazing achievement, exploring the eccentric and often exploitive underworld of exotic animal collectors and conservationists. Joe Exotic was the show’s unstable center, given to stunts like running for president and participating in an unofficial, three-way same sex marriage. But the show also featured footage filmed over years, as directors caught crucial moments on film and climbed inside the heart of a devastatingly dysfunctional subculture. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Time \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>There’s a profound sadness at the core of Garrett Bradley’s arresting documentary about Fox Rich, a Louisiana woman who spent decades tirelessly contesting her husband Robert’s 60-year prison sentence for a crime they both committed out of economic desperation. But there’s also a sense of optimism humming beneath it all, particularly in how Rich’s story unfolds on screen: via footage from approximately 100 hours of daily video diaries she made of herself and their children over the years, in the hopes of eventually having the opportunity to show it all to Robert. Bradley and editor Gabriel Rhodes take this treasure of a time capsule and turn out an absorbing masterpiece. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What We Do In The Shadows, Season 2 \u003c/em>\u003c/strong>\u003cstrong>(FX and FX on Hulu)\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As great as the first season of this modern-day-vampire mockumentary series was, it had trouble stepping out of the long … well, \u003cem>shadow\u003c/em> of the 2014 film on which it was based. That’s not to say there weren’t plenty of creative additions—Mark Proksch’s cardigan-clad “energy vampire” Colin Robinson, for example, the embodiment of all things evil … and beige. But in the second season, a stronger, more linear plot involving the show’s secret weapon (Harvey Guillén as Guillermo, the Staten-Island-based vampires’ long-suffering thrall/assistant who discovers as dark, hilarious truth about himself) leaves the viewer with the impression that the show has clicked into its groove. And speaking of groove: If the show did nothing but grace us with the presence of the marvelous Matt Barry at his bombastic best here playing the preternaturally self-impressed vampire Lazlo, it would be enough. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=NPR+Critics+Pick+Their+Favorite+TV+From+A+Strange+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "If you could watch it at home in 2020, it's here—four NPR critics give their picks for the best in streaming or broadcast TV.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been a momentous year for everything we consider TV.\u003c/p>\n\u003cp>A pandemic, civil rights reckoning, streaming war and presidential election shook up the industry in a dozen different ways. It blurred lines between genres, platforms and story forms, while also encouraging us to develop our own, deep rabbit holes of favorite media. So when our team of four critics sat down to figure out what we liked most onscreen this year, we each had a lot of stuff on our lists no one else did. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s why our list crosses a lot of boundaries, including projects technically released as feature films. It’s a powerful example of how much quality entertainment was available this year, even after coronavirus lockdowns shut down productions and upended release schedules.\u003c/p>\n\u003cp>In alphabetical order, here’s our best of 2020—and we know it’s a long list, so you can use these alphabetical links to skip around: \u003ca href=\"#B\">B\u003c/a>, \u003ca href=\"#C\">C\u003c/a>, \u003ca href=\"#D\">D\u003c/a>, \u003ca href=\"#F\">F\u003c/a>, \u003ca href=\"#G\">G\u003c/a>, \u003ca href=\"#H\">H\u003c/a>, \u003ca href=\"#I\">I\u003c/a>, \u003ca href=\"#J\">J\u003c/a>, \u003ca href=\"#L\">L\u003c/a>, \u003ca href=\"#M\">M\u003c/a>, \u003ca href=\"#N\">N\u003c/a>, \u003ca href=\"#O\">O\u003c/a>, \u003ca href=\"#P\">P\u003c/a>, \u003ca href=\"#Q\">Q\u003c/a>, \u003ca href=\"#T\">T\u003c/a>, \u003ca href=\"#W\">W\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Better Call Saul, Season 5 \u003c/em>\u003c/strong>\u003cstrong>(AMC, Amazon Prime rental, earlier seasons on Netflix)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This outstanding FX series long ago rendered pointless any comparisons to \u003cem>Breaking Bad\u003c/em>, of which it is technically a prequel. The story it’s telling is so very much its own—by turns gritty and funny, melancholic and viciously violent. In its penultimate season, the transformation of Jimmy McGill (Bob Odenkirk) into Saul Goodman—a criminal lawyer who’s actually a \u003cem>criminal\u003c/em> lawyer—is just about complete. We finally saw the series’ two disparate plot threads—Jimmy’s and Mike’s (Jonathan Banks)—come together, a richly satisfying consummation for those viewers who’ve complained about the series’ pacing, and who’ve longed for those two characters to share the screen. The fact that it’s all set against the very real, and immensely worrying, potential downfall of the show’s beating heart—Rhea Seehorn’s astonishing performance as Jimmy’s girlfriend Kim—invests us that much deeply in the show’s dangerous and duplicitous world. — \u003cem>Glen Weldon, Aisha Harris, Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Black Is King\u003c/em>\u003c/strong>\u003cstrong> (Disney+)/\u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>In a year that saw lots of reflection on systemic racism and police brutality, these two films offered emotional, effective meditations on Black joy and pain in very different ways. \u003cem>Black Is King\u003c/em> is Beyoncé’s “visual album,” loosely inspired by \u003cem>The Lion King\u003c/em> story, using arresting images and banging tunes to portray the peoples of the African diaspora rediscovering their heritage as leaders and royalty. \u003cem>Between the World and Me\u003c/em> is a different kind of tone poem, centered on passages read by performers like Oprah Winfrey from Ta-Nehisi Coates’ book, which was written as a letter to his teen son. It explores the dangers Black people face from police brutality and the joy which comes from Black love and achievement, perfectly presenting the duality of African American life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>BoJack Horseman, Season 6, Part II \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>After five-plus seasons watching a washed-up sitcom horse wrestle with drug addiction, narcissism, childhood traumas and the traumas he inflicted upon others, BoJack Horseman’s story came to an end that was as satisfying as one could hope. What the show did best (besides insanely clever animal puns and skewering Hollywood) was really question and challenge the arc of redemption for people (or horses) who have caused an immeasurable amount of pain to others. Right up to its final moments, the writers and animators didn’t let up, remaining as inquisitive and creative as ever. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Boys State\u003c/em>\u003c/strong> \u003cstrong>(Apple TV+)\u003c/strong>\u003c/p>\n\u003cp>Set at Boys State in Texas, a program where high school boys run for office and form a mock government, this is a documentary not for the faint of heart. It shows kids whose approach to politics is already hardened, already combative beyond the substance of it. Combative for its own sake. While there are moments that show the promise of young activists and idealists, there are also dark signs that a lot of kids who have grown up in our fractured and nasty political climate have learned plenty from the politicians who have endeavored at every turn to make it worse. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park\u003c/strong>\u003c/em> \u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>This documentary functions, at one level, as a document laying out the details of a very specific time and place: Action Park in New Jersey, famous for being the amusement park where kids got hurt. But with the help of excellent input from Class Action Park patrons and comedian Chris Gethard, it turns into a consideration of nostalgia more generally, and of what it means to know you had a great time doing something that was a very bad idea. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Da 5 Bloods \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Spike Lee’s usage of Marvin Gaye’s \u003cem>What’s Going On?\u003c/em> album is divine; his nods and references to everything from \u003cem>The Treasure of the Sierra Madre \u003c/em>to \u003cem>Rambo \u003c/em>are thoughtful and layered; Chadwick Boseman, in one of his final roles, is a powerful and spiritual presence. But this movie belongs to Delroy Lindo, who cuts an imposing and indelible figure as Paul, a Vietnam War vet worn down by unresolved guilt, wrecked by bitterness, sadness and fear. He finds shades to play with in every feeling and thought, giving one of the great performances in recent memory. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>David Byrne’s American Utopia \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a year when we were starved for good feelings, a year when mere happiness felt like ecstatic joy, and real ecstatic joy—like that on glorious display on a Broadway stage by a barefoot David Byrne and a cadre of musicians in matching gray suits—could leave you breathless, swooning and profoundly grateful. Directed by Spike Lee, the theatrical concert film spans Byrne’s musical career but—as with any production associated with Byrne—it leaves plenty of room to get enthusiastically weird. Wireless technology allows the musicians to roam the stage, and they do so in lock-step choreography, like the hippest high school marching band imaginable. A special treat for longtime Talking Heads fans: We finally get the live version of “Born Under Punches (The Heat Goes On)” that we didn’t know we’ve been aching for, all this time. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>First Cow \u003c/em>\u003c/strong>\u003cstrong>(Showtime, DIRECTTV, and numerous rental sites) \u003c/strong>\u003c/p>\n\u003cp>It’s astounding how much suspense director Kelly Reichardt is able to derive from the act of milking a cow. In early 19th-century Oregon Territory, skillful cook Otis “Cookie” Figowitz (John Magaro) befriends King-Lu, an enterprising Chinese immigrant (Orion Lee) and outlaw. Together, they conjure up a successful business at a market outpost selling oily cakes to hungry traders; the recipe requires a very scarce commodity around those parts: cow’s milk. It’s one-part heist film and another part buddy adventure, with a tender—and often humorous—friendship at its center. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Flight Attendant\u003c/em>\u003c/strong>\u003cstrong> (HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Based on the novel by Chris Bohjalian, this smart, taut HBO Max thriller stars Kaley Cuoco as, well, a flight attendant who wakes up after a night of partying and realizes something very, very bad happened while she was asleep. Part mystery, part drama about the aftereffects of a traumatic childhood, and part dark comedy, it was one of the most pleasant surprises of the year, impressing with its razor-sharp tone, supporting performances (Zosia Mamet is tremendous as Cuoco’s best friend), and heartfelt work from Cuoco. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Forty-Year-Old Version \u003c/em>\u003c/strong>\u003cstrong>(Netflix) \u003c/strong>\u003c/p>\n\u003cp>Radha Blank’s debut as a feature film director, writer and star is an engaging portrait of an artist at an existential crossroad, professional and personal. This is a refreshingly specific mid-life crisis, one borrowing from Blank’s own life as a born-and-bred New York writer and rapper known as RhadaMUS Prime. It’s funny and poignant, and the banter and characters feel real and alive. Radha the character may lack confidence at times, but real-life Radha the filmmaker is very self-assured. — \u003cem>Aisha Harris, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Good Place, Season 4 \u003c/em>\u003c/strong>\u003cstrong>(NBC, Netflix, Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>The road to this perfectly poignant finale wasn’t smooth. Much of seasons 3 and 4 lacked the bite of the earlier seasons, and as the gang fought to prove that there was a fundamental glitch in the sorting of heaven and hell, it felt almost like Mike Schur and his team were spinning wheels. But they stuck the landing anyway, bringing back some of that subversiveness by daring to suggest there can come a point when you feel as though you’ve done all you wanted to do in (the after)life and it’s time to move on. It’s a dark thing to contemplate, but it’s also honest. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Great \u003c/em>\u003c/strong>\u003cstrong>(Hulu)\u003c/strong>\u003c/p>\n\u003cp>Billed as “An Occasionally True Story,” this series about young Catherine (Elle Fanning) and her ill-fated marriage to Emperor Peter of Russia (Nicholas Hoult) is stuffed with gleefully ahistorical elements that’ll send students of Russian history into aneurysms. Fanning is terrific as an idealistic (and self-satisfied) would-be social reformer, while Hoult’s Peter is a nightmare—a sociopathic boor poured into a pair of tight leather pants. \u003cem>The Great \u003c/em>was created by Tony McNamara, based on his 2008 play. McNamara went on to co-write 2018’s \u003cem>The Favourite\u003c/em>, and if you’ve seen that film, you know what to expect here—yes, bustles and corsets, wigs and snuffboxes, but also crisp ripostes, lacerating insults and dialogue that sizzles with withering wit. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Harley Quinn\u003c/em>\u003c/strong>\u003cstrong> (DC Universe and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Given the sheer tonnage of live action superhero shows on TV, it’s notable that the most gonzo, subversive, hilarious, action packed, explicit and entertaining take on the DC comics universe is actually this animated series. Originally created for the streaming service DC Universe, it now lives on HBO Max, where \u003cem>Big Bang Theory\u003c/em> alum Kaley Cuoco voices the Joker’s former girlfriend as an unpredictable, profanity-slinging romantic who resists the ex who exploited her. It’s a comedy of sorts where even Batman is a bit of a doofus, featuring Harley leading a team of misfit baddies who struggle for recognition as Gotham City’s leading villains, redefining adult-oriented superhero stories in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Haunting of Bly Manor \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>The first installment of this Netflix series\u003cem>, The Haunting of Hill House\u003c/em>, was packed with plenty of good, ghostly scares—but it lagged in the middle, and whiffed the ending. With \u003cem>The Haunting of Bly Manor\u003c/em> creator and showrunner Mike Flanagan hasn’t simply found a new author to riff on (Henry James, instead of Shirley Jackson) he has seriously course-corrected. Though it parcels out the scares more thinly than \u003cem>Hill House \u003c/em>did, \u003cem>Bly Manor\u003c/em>‘s story is tighter, and it nails the all-important dismount in a sincere, humane and bittersweet way that directly addresses the nature, and the purpose, of grief. It’s not overtly tidy or dully expositional—yet it feels, in the best way, inevitable. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>I Hate Suzie\u003c/strong>\u003c/em>\u003cstrong> (HBO Max) \u003c/strong>\u003c/p>\n\u003cp>This British series—just eight episodes, as is their wont—stars the great Billie Piper as an actress whose nudes end up on the Internet after her phone gets hacked. She then proceeds to make a series of \u003cem>wildly\u003c/em> terrible decisions to deal with it—or \u003cem>not\u003c/em> deal with it, as the case may be. It won’t be for everyone. Think of it as the anti-\u003cem>Ted Lasso—\u003c/em>there’s little here that’s comforting or warm. Try it on for size: Watch the first episode, in which a huge crowd comes tromping through her home for a photo shoot just as she’s first finding out about the leaked nudes. She keeps trying to find some privacy—and keep her husband from finding out—in a long stretch of tense, claustrophobic, downright nightmarish scenes, many of which take place entirely in a tight close-up of Piper’s face as she attempts to keep from panicking. If it grabs you, you’ll watch the rest of the episodes through your fingers—but you will watch them, compulsively. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I May Destroy You\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Michaela Coel’s series about a woman exploring the aftermath of a sexual assault shone a spotlight on Coel’s own acting, writing, and in some cases directing. It also became a broader examination of ethics in sex and relationships, from the traumatic to the questionable to the unkind. The supporting cast and dizzying structural turns made the HBO show one of the most exciting of 2020. — \u003cem>Linda Holmes, Aisha Harris, Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Invisible Man \u003c/em>\u003c/strong>\u003cstrong>(HBO, HBO Max and numerous rental sites)\u003c/strong>\u003c/p>\n\u003cp>Elisabeth Moss stars as a woman who begins to fear she’s crazy when she keeps sensing her dead abusive husband everywhere. From there, the film becomes a consideration of paranoia, trauma and ultimately the desire to reclaim a connection to reality that’s come undone as a result of repeated, relentless gaslighting. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>John Mulaney and the Sack Lunch Bunch \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Point of order: This comedy special debuted on Dec. 25, 2019—after we made our annual list—so it slides in here on a technicality. But it certainly belongs—no comedy special has won me over so hard, so completely. Mulaney’s idiosyncratic sensibility might seem an odd fit for what is essentially an extended riff on old children’s television programming, but it works seamlessly here. That’s a product of the writing, which is wry but never cynical, but it’s also an outgrowth of the casting. These kid actors aren’t pushing it—they easily find Mulaney’s particular comedic frequency, and stick to it. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Last Dance\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Basketball legend Michael Jordan looms over every frame of this revealing documentary series first shown on ESPN, and not just because it expertly documents his final championship season with the Chicago Bulls in 1997-98. It’s an incisive look at how that team became a world-crushing, pop-culture-dominating force, with special detail on how Jordan built his legend. Other stories also resonate: How Dennis Rodman nearly committed suicide before he joined the Bulls; how teammate Scottie Pippen was continually underpaid; how Jordan was merciless about pushing his teammates and cultivating grudges to boost his performance. Jordan was involved as a producer and had to approve use of the Bulls’ behind-the-scenes footage, giving him even more control. But despite his influence, this miniseries offers a never-before-seen look at a once in a generation team. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovecraft Country\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Packed to bursting with symbolism, special effects, allegory, social messages, reinvented horror tropes and enough plot to require a YouTube explainer for every episode, this audacious take on Matt Ruff’s 2016 novel is a lot. But its story, placing a Black family at the heart of a pitched battle with a white family of witches in the Jim Crow-era 1950s, is a marvel of ambition and craft. Comparing the horrors of racism to the supernatural horrors found in novels by H.P. Lovecraft—himself an infamous xenophobe and racist—reinvents the genre in unexpected ways. And the work of executive producer/writer/director Misha Green to showcase the power of Black love and family in a series dropping during the summer’s reckoning over systemic racism and police brutality, was exquisitely perfect timing. — \u003cem>Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovers Rock \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>This entry in Steve McQueen’s excellent \u003cem>Small Axe \u003c/em>anthology series will surely make you want to seek out its soundtrack, which is bubbling with classics of the reggae subgenre from which it gets its title. But as you follow these young West Indian Londoners mingling, dancing, flirting and rebuffing aggressive strangers at a lively house party on one evening in 1980, it will also transport you to a realm of beauty and intimacy. It’s a musical reverie that manages to capture the exultation of the arrival of the weekend, and the sanctity of Black community. — \u003cem>Aisha Harris \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mucho Mucho Amor\u003c/em>\u003c/strong> \u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Netflix presented this documentary about legendary astrologer Walter Mercado to an audience that included both people who grew up watching him on television every day and people who knew him hardly at all. It told a story that was alternatively sad and stirring, but it ultimately gave the man his due as a legend who was part of the lives of many families and who found himself poorly treated by some of those close to him. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The New Pope \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The New Pope\u003c/em>, like \u003cem>The Young Pope\u003c/em> before it, is all about jockeying for a very earthly kind of power behind the scenes of the Vatican. The vaguely odd, singular tone of that first series persists, as does the many Italian actors’ tendencies to emphasize words that native English speakers wouldn’t necessarily emphasize, and insert long, meaningful pauses (creator Paolo Sorrentino loves his pauses) where native English speakers wouldn’t. It all adds to the sense that you’re watching the show from across a vague, yet palpable cultural divide—the ecclesiastical drama as Mentos commercial. Despite the title change and the swapping out of Jude Law’s Pius XIII for John Malkovich’s Sir John Brannox, Sorrentino’s camera still tracks slowly and languidly through immense arched hallways, vaulted rooms and lush gardens, pausing to alight upon small, telling details. Malkovich revels in his portrayal of Brannox as a louche, mascara-wearing British fop who flounces through life—a man who can be counted upon to find the nearest chaise in any room and recline upon it as if he has just been roughly flung there. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Normal People\u003c/em>\u003c/strong>\u003cstrong> (Hulu)\u003c/strong>\u003c/p>\n\u003cp>The Sally Rooney novel about two young students who fall in love and watch their lives intersect over many years was a hit, and adapting it into a limited series was a challenge since it’s so reliant on the interiority of the lead characters. But leads Daisy Edgar-Jones and Paul Mescal brought their scenes together an intimacy and grace that kept the wide-ranging story in focus. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>On The Record \u003c/em>\u003c/strong>\u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Making a documentary about the reckoning over sexual harassment in music would have been too broad an assignment for any filmmaker. So it makes sense that this one is narrower: It is primarily about allegations against hip-hop mogul Russell Simmons, and even more specifically about Drew Dixon, an A&R executive who says she saw her career founder after being assaulted by Simmons. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ozark, Season 3\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Critics who dismiss this drama about a family juggling internal drama and FBI scrutiny while laundering money for a Mexican drug cartel in the Ozarks (some have dubbed it “Breaking Bad: The Family Edition”) have missed the point. Especially in this year’s powerhouse third season, Ozark raised its game, adding Janet McTeer as a domineering cartel lawyer and Tom Pelphrey in a shamefully under-recognized turn as the bipolar brother of matriarch Wendy Byrde, played by Laura Linney. Pelphrey was heart-rending as the only person who saw how terrible the Byrdes’ activities were, despite his mental illness. And the show’s ability to keep viewers invested in Jason Bateman’s numbers whiz, patriarch Marty Byrde—no matter who he gets killed or rips off—is nothing short of amazing. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>P-Valley \u003c/em>\u003c/strong>\u003cstrong>(STARZ) \u003c/strong>\u003c/p>\n\u003cp>In lesser hands, Uncle Clifford (Nicco Annan)—the towering, flamboyant non-binary strip club owner whose drawl kind of sounds like Katt Williams—could have easily turned out to be little more than sassy caricature. But Katori Hall’s soapy melodrama about a rural Mississippi town and its colorful inhabitants takes its characters seriously, and over the course of this crackling first season they emerge more unique and interesting than their “types” might initially suggest. The show also brings a new level of respect to the artistry and precision of pole dancing—among the highlights are those extensive routines backed by dirty, thumping Southern hip-hop. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Queen’s Gambit\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Before I saw one scene of chess play, I was all in for a miniseries showing a talented, self-possessed woman mastering a game dominated by men in the 1950s and ’60s, knocking them off like clay pigeons on her way to the world championship. But this series, crafted by Scott Frank based on a 1983 novel, also plays like a superhero origin story. In a magnetic performance, Anya Taylor-Joy brings liquid eyes and an inscrutable manner to chess prodigy Beth Harmon, who must overcome substance abuse, the influence of her suicidal mom and a sexist world to reach her goals. Toss in a period-specific, lavish production and direction that actually makes chess look interesting, and you have the ingredients of a modern TV masterpiece. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ted Lasso\u003c/em>\u003c/strong>\u003cstrong> (Apple TV+) \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> alum Jason Sudeikis is funny, bumbling and occasionally heartbreaking as Ted Lasso, a stupendously optimistic American college football coach hired to lead a Premiere League soccer team in England. The owner is actually trying to sabotage the team by hiring Lasso, who knows nothing about soccer—or “football,” as they call it in Britain. But she doesn’t realize his true superpower is that he’s so gosh darned nice. It may sound a little hokey, but \u003cem>Ted Lasso\u003c/em> somehow builds a wonderful comedy around the healing power of niceness—deflating any hokum with a well-timed joke or two. And considering how tough 2020 has been, we all could use a lot of that message right about now. — \u003cem>Eric Deggans, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tiger King\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>The subjects of this docuseries became the butt of a thousand punchlines, as viewers dug into the tawdry tale of Joe Exotic—a publicity-seeking, pistol-packing character running a private zoo in Oklahoma who was convicted of paying a hitman to murder his longtime nemesis, self-styled animal conservationist Carol Baskin. Still, the series itself is an amazing achievement, exploring the eccentric and often exploitive underworld of exotic animal collectors and conservationists. Joe Exotic was the show’s unstable center, given to stunts like running for president and participating in an unofficial, three-way same sex marriage. But the show also featured footage filmed over years, as directors caught crucial moments on film and climbed inside the heart of a devastatingly dysfunctional subculture. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Time \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>There’s a profound sadness at the core of Garrett Bradley’s arresting documentary about Fox Rich, a Louisiana woman who spent decades tirelessly contesting her husband Robert’s 60-year prison sentence for a crime they both committed out of economic desperation. But there’s also a sense of optimism humming beneath it all, particularly in how Rich’s story unfolds on screen: via footage from approximately 100 hours of daily video diaries she made of herself and their children over the years, in the hopes of eventually having the opportunity to show it all to Robert. Bradley and editor Gabriel Rhodes take this treasure of a time capsule and turn out an absorbing masterpiece. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What We Do In The Shadows, Season 2 \u003c/em>\u003c/strong>\u003cstrong>(FX and FX on Hulu)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As great as the first season of this modern-day-vampire mockumentary series was, it had trouble stepping out of the long … well, \u003cem>shadow\u003c/em> of the 2014 film on which it was based. That’s not to say there weren’t plenty of creative additions—Mark Proksch’s cardigan-clad “energy vampire” Colin Robinson, for example, the embodiment of all things evil … and beige. But in the second season, a stronger, more linear plot involving the show’s secret weapon (Harvey Guillén as Guillermo, the Staten-Island-based vampires’ long-suffering thrall/assistant who discovers as dark, hilarious truth about himself) leaves the viewer with the impression that the show has clicked into its groove. And speaking of groove: If the show did nothing but grace us with the presence of the marvelous Matt Barry at his bombastic best here playing the preternaturally self-impressed vampire Lazlo, it would be enough. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=NPR+Critics+Pick+Their+Favorite+TV+From+A+Strange+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cameras, Chaos And Cognac: How Bob Gruen Photographed the Spirit of Rock 'N' Roll",
"headTitle": "Cameras, Chaos And Cognac: How Bob Gruen Photographed the Spirit of Rock ‘N’ Roll | KQED",
"content": "\u003cp>Photographer Bob Gruen spent decades capturing the lives and performances of rock stars of the ’60s, ’70s and ’80s, including John Lennon, the Rolling Stones, Chuck Berry, Tina Turner—and many more.\u003c/p>\n\u003cp>Gruen put in many hours backstage, in studios and on the road, sometimes doing drugs and drinking until dawn with his subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890097 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png\" alt=\"\" width=\"297\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM-160x226.png 160w\" sizes=\"(max-width: 297px) 100vw, 297px\">“I carried a little flask of cognac in my camera case. It was part of my equipment. That’s the way it was in the ’70s,” he says. “I don’t know how I survived, because I crave peace and quiet—but I actually thrive in chaos.”\u003c/p>\n\u003cp>Gruen approached his subjects collaboratively, often soliciting their opinion about a photograph instead of trying to catch them off guard. He describes his work as an effort to capture the feeling and passion of music—not just the facts.\u003c/p>\n\u003cp>“For me, rock ‘n’ roll is all about freedom. It’s about the freedom to express your feelings very loudly in public,” he says. “I try to capture that moment of freedom, that moment when everybody’s yelling ‘Yay!’ and nobody’s thinking about paying the rent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gruen looks back on his career in the new memoir, \u003cem>Right Place, Right Time: The Life of a Rock & Roll Photographer. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On taking his now-famous photo of Tina Turner\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890088 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg\" alt=\"\" width=\"576\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122-160x240.jpg 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/p>\n\u003cp>Tina was just amazing. I was sitting right in front, taking pictures. And at the end of the show, a strobe light flashes and Tina kind of dances off of multiple images in the strobe light. And I just had a few frames left in the camera, and I thought, I wonder what will happen if I take a one-second picture and get a few of these flashes in the same frame? And I took, like, four or five pictures and three or four of them are useless—and one of them is one of the best pictures I’ve ever taken. And it just captures Tina in five images that just captures the excitement and the energy that’s Tina Turner.\u003c/p>\n\u003cp>\u003cstrong>On how the culture of drinking and doing drugs was part of the work \u003c/strong>\u003c/p>\n\u003cp>It is so hard to understand in the sober light of today what it was like back then, that you would go into a record company office and the guy would take out some coke. You share a couple lines if his were better than yours. You kind of discuss, light a joint, open a beer and then do some business, talk business. … I don’t remember seeing bottles of water, but we had lots of cans of beer. If there was orange juice around, it was for the vodka.\u003c/p>\n\u003cp>Thinking back, that’s the way it was. I couldn’t do it today. I don’t know how I operated on that level back then because the world isn’t drunk anymore. It’s pretty sober nowadays, but at the time it just seemed so normal. … I didn’t think I was impaired. We kind of thought that was improving our performance. It was getting us in the mood. It was getting us to enjoy the feeling. Rock ‘n’ roll was supposed to be [about] having fun.\u003c/p>\n\u003cp>\u003cstrong>On John Lennon bringing him along for the final legal meeting to dissolve the Beatles\u003c/strong>\u003c/p>\n\u003cp>They had been suing [business manager] Allen Klein to get out of the contract that they had made with him in the late ’60s. … They had taken over the whole floor of the Plaza Hotel, and they were negotiating the last bits of the contract and each Beatle had several lawyers and Allen had several lawyers. There must be 15 or 20 lawyers in the picture. And they had a whole room for the secretaries, because in those days they didn’t have the kind of fax machines or data processing we have now. And every time they changed a word, they did type it on 20 different copies of the new agreement. And actually, when it was signed, John told me that the original agreement with Allen Klein had been three paragraphs on one page and to break up that agreement took an 87-page contract. But he was very, very happy to finally sign that contract and get it done. Allen was funny. Allen Klein went to Zabar’s while they were typing up the last changes and he brought a giant, 2-foot-long rye bread. And so that when we took the picture of them with the contract, it was on top of the rye bread. And the caption said, “They’re splitting the bread.” …\u003c/p>\n\u003cp>It was a moment in history, the moment that the Beatles got free of their contract, and it was a big newsworthy event that they finally finished this several-year lawsuit going back and forth. All their money was in escrow. At one point, somebody [came up to John on the street and said], “You look like John Lennon!” And John said, “I wish I had his money.” And he wasn’t joking. It was true. They didn’t have their money. It was in escrow. So it was a big moment when they signed that contract. And it was after that he was free. He had no record contract. He had no management contract. He was on his own, had no responsibilities towards anybody. So he retreated to, you know, to his apartment and spent all his time raising Sean for the next five years.\u003c/p>\n\u003cp>\u003cstrong>On choosing Lennon’s memorial photo \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13890090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg\" alt=\"\" width=\"627\" height=\"857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b-160x219.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>[The promoter] called to ask me for a picture to put there for people to focus on and think about John. And I thought about all the different ones I had. There was one from Madison Square Garden where he was obviously a rock musician, but I thought he was more than that. And it was one where he looked very intellectual that had been on the cover of \u003cem>The New York Times\u003c/em>. But I thought he was more than that, too. And there was a picture of him just looking open and friendly with the New York City T-shirt on, and Yoko had published a piece that day, actually, [saying] don’t blame New York City for what happened to John, that the person who killed him came from the other side of the world and would come to wherever they lived. And I’ve always felt that John died in New York because he lived in New York. He died going home. And so I used the picture of John with the New York City T-shirt, and it became kind of the centerpiece of that memorial.\u003c/p>\n\u003cp>\u003cstrong>On his tense relationship with Bob Dylan \u003c/strong>\u003c/p>\n\u003cp>I’m such an admirer, but it just never really worked out. I mean, one time I took a picture right in his face at the Bottom Line [nightclub in New York City], I don’t think he appreciated that very much. But then when he had the Rolling Thunder tour, he was banning photography. He had one photographer that he had hired, and he was going to approve those pictures and he didn’t want any other pictures. But I took it as a challenge as a journalist who thought it was an important news event that had to be covered. And I literally put cameras in my boots and a lens in my hood and I snuck my equipment into the concert. And during the encore, when everybody was standing on their seats and chaos was reigning, I would jump up and take a whole bunch of pictures. And then a lot of them were published in magazines and newspapers. And I didn’t realize that Bob Dylan was going to take that as a personal offense since he had tried to ban photography.\u003c/p>\n\u003cp>I guess it was about a year later, he was playing in Berlin and … he said, “I know you. I saw your name next to all those pictures you took. And I always thought I was going to beat you up when I met you.” And he had a cane with a silver head and he’s, like, waving his cane in front. … And I started apologizing, trying to defend it saying I took really good pictures. It was kind of like meeting God and finding out that he wanted to kill me. And, in a sense, that made me stronger, because I no longer had a hero that I could really look up to for any kind of protection.\u003c/p>\n\u003cp>\u003cstrong>On publishing his first photograph when he was 13\u003c/strong>\u003c/p>\n\u003cp>My mom was an attorney, but her hobby was photography. She taught me to develop and print my own pictures when I was very little, and I started taking pictures around the house and around the neighborhood and in school. And then, when I was coming home from school, I saw firemen arriving at a fire. And I ran over and I took pictures of them and ran out of film and ran home, got more film and ran back and actually climbed up in a building behind the fire onto the roof of a six-story building behind it and got it—almost like an aerial shot of the whole scene—and then went back home, developed it right away and brought it down to the local newspaper. And they liked it, and they actually printed it on the cover and they were impressed with me. I was 13. …\u003c/p>\n\u003cp>[I learned] something that I followed the rest of my life, [which was] to get a different angle, because there was a local photographer out front taking pictures of the fire. And I went and found a different angle that showed the whole scene, and I often do that in concert to get something different than everybody else.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Cameras%2C+Chaos+And+Cognac%3A+How+Bob+Gruen+Photographed+The+Spirit+Of+Rock+%27N%27+Roll&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer Bob Gruen spent decades capturing the lives and performances of rock stars of the ’60s, ’70s and ’80s, including John Lennon, the Rolling Stones, Chuck Berry, Tina Turner—and many more.\u003c/p>\n\u003cp>Gruen put in many hours backstage, in studios and on the road, sometimes doing drugs and drinking until dawn with his subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890097 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png\" alt=\"\" width=\"297\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM-160x226.png 160w\" sizes=\"(max-width: 297px) 100vw, 297px\">“I carried a little flask of cognac in my camera case. It was part of my equipment. That’s the way it was in the ’70s,” he says. “I don’t know how I survived, because I crave peace and quiet—but I actually thrive in chaos.”\u003c/p>\n\u003cp>Gruen approached his subjects collaboratively, often soliciting their opinion about a photograph instead of trying to catch them off guard. He describes his work as an effort to capture the feeling and passion of music—not just the facts.\u003c/p>\n\u003cp>“For me, rock ‘n’ roll is all about freedom. It’s about the freedom to express your feelings very loudly in public,” he says. “I try to capture that moment of freedom, that moment when everybody’s yelling ‘Yay!’ and nobody’s thinking about paying the rent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gruen looks back on his career in the new memoir, \u003cem>Right Place, Right Time: The Life of a Rock & Roll Photographer. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On taking his now-famous photo of Tina Turner\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890088 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg\" alt=\"\" width=\"576\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122-160x240.jpg 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/p>\n\u003cp>Tina was just amazing. I was sitting right in front, taking pictures. And at the end of the show, a strobe light flashes and Tina kind of dances off of multiple images in the strobe light. And I just had a few frames left in the camera, and I thought, I wonder what will happen if I take a one-second picture and get a few of these flashes in the same frame? And I took, like, four or five pictures and three or four of them are useless—and one of them is one of the best pictures I’ve ever taken. And it just captures Tina in five images that just captures the excitement and the energy that’s Tina Turner.\u003c/p>\n\u003cp>\u003cstrong>On how the culture of drinking and doing drugs was part of the work \u003c/strong>\u003c/p>\n\u003cp>It is so hard to understand in the sober light of today what it was like back then, that you would go into a record company office and the guy would take out some coke. You share a couple lines if his were better than yours. You kind of discuss, light a joint, open a beer and then do some business, talk business. … I don’t remember seeing bottles of water, but we had lots of cans of beer. If there was orange juice around, it was for the vodka.\u003c/p>\n\u003cp>Thinking back, that’s the way it was. I couldn’t do it today. I don’t know how I operated on that level back then because the world isn’t drunk anymore. It’s pretty sober nowadays, but at the time it just seemed so normal. … I didn’t think I was impaired. We kind of thought that was improving our performance. It was getting us in the mood. It was getting us to enjoy the feeling. Rock ‘n’ roll was supposed to be [about] having fun.\u003c/p>\n\u003cp>\u003cstrong>On John Lennon bringing him along for the final legal meeting to dissolve the Beatles\u003c/strong>\u003c/p>\n\u003cp>They had been suing [business manager] Allen Klein to get out of the contract that they had made with him in the late ’60s. … They had taken over the whole floor of the Plaza Hotel, and they were negotiating the last bits of the contract and each Beatle had several lawyers and Allen had several lawyers. There must be 15 or 20 lawyers in the picture. And they had a whole room for the secretaries, because in those days they didn’t have the kind of fax machines or data processing we have now. And every time they changed a word, they did type it on 20 different copies of the new agreement. And actually, when it was signed, John told me that the original agreement with Allen Klein had been three paragraphs on one page and to break up that agreement took an 87-page contract. But he was very, very happy to finally sign that contract and get it done. Allen was funny. Allen Klein went to Zabar’s while they were typing up the last changes and he brought a giant, 2-foot-long rye bread. And so that when we took the picture of them with the contract, it was on top of the rye bread. And the caption said, “They’re splitting the bread.” …\u003c/p>\n\u003cp>It was a moment in history, the moment that the Beatles got free of their contract, and it was a big newsworthy event that they finally finished this several-year lawsuit going back and forth. All their money was in escrow. At one point, somebody [came up to John on the street and said], “You look like John Lennon!” And John said, “I wish I had his money.” And he wasn’t joking. It was true. They didn’t have their money. It was in escrow. So it was a big moment when they signed that contract. And it was after that he was free. He had no record contract. He had no management contract. He was on his own, had no responsibilities towards anybody. So he retreated to, you know, to his apartment and spent all his time raising Sean for the next five years.\u003c/p>\n\u003cp>\u003cstrong>On choosing Lennon’s memorial photo \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13890090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg\" alt=\"\" width=\"627\" height=\"857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b-160x219.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>[The promoter] called to ask me for a picture to put there for people to focus on and think about John. And I thought about all the different ones I had. There was one from Madison Square Garden where he was obviously a rock musician, but I thought he was more than that. And it was one where he looked very intellectual that had been on the cover of \u003cem>The New York Times\u003c/em>. But I thought he was more than that, too. And there was a picture of him just looking open and friendly with the New York City T-shirt on, and Yoko had published a piece that day, actually, [saying] don’t blame New York City for what happened to John, that the person who killed him came from the other side of the world and would come to wherever they lived. And I’ve always felt that John died in New York because he lived in New York. He died going home. And so I used the picture of John with the New York City T-shirt, and it became kind of the centerpiece of that memorial.\u003c/p>\n\u003cp>\u003cstrong>On his tense relationship with Bob Dylan \u003c/strong>\u003c/p>\n\u003cp>I’m such an admirer, but it just never really worked out. I mean, one time I took a picture right in his face at the Bottom Line [nightclub in New York City], I don’t think he appreciated that very much. But then when he had the Rolling Thunder tour, he was banning photography. He had one photographer that he had hired, and he was going to approve those pictures and he didn’t want any other pictures. But I took it as a challenge as a journalist who thought it was an important news event that had to be covered. And I literally put cameras in my boots and a lens in my hood and I snuck my equipment into the concert. And during the encore, when everybody was standing on their seats and chaos was reigning, I would jump up and take a whole bunch of pictures. And then a lot of them were published in magazines and newspapers. And I didn’t realize that Bob Dylan was going to take that as a personal offense since he had tried to ban photography.\u003c/p>\n\u003cp>I guess it was about a year later, he was playing in Berlin and … he said, “I know you. I saw your name next to all those pictures you took. And I always thought I was going to beat you up when I met you.” And he had a cane with a silver head and he’s, like, waving his cane in front. … And I started apologizing, trying to defend it saying I took really good pictures. It was kind of like meeting God and finding out that he wanted to kill me. And, in a sense, that made me stronger, because I no longer had a hero that I could really look up to for any kind of protection.\u003c/p>\n\u003cp>\u003cstrong>On publishing his first photograph when he was 13\u003c/strong>\u003c/p>\n\u003cp>My mom was an attorney, but her hobby was photography. She taught me to develop and print my own pictures when I was very little, and I started taking pictures around the house and around the neighborhood and in school. And then, when I was coming home from school, I saw firemen arriving at a fire. And I ran over and I took pictures of them and ran out of film and ran home, got more film and ran back and actually climbed up in a building behind the fire onto the roof of a six-story building behind it and got it—almost like an aerial shot of the whole scene—and then went back home, developed it right away and brought it down to the local newspaper. And they liked it, and they actually printed it on the cover and they were impressed with me. I was 13. …\u003c/p>\n\u003cp>[I learned] something that I followed the rest of my life, [which was] to get a different angle, because there was a local photographer out front taking pictures of the fire. And I went and found a different angle that showed the whole scene, and I often do that in concert to get something different than everybody else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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