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And, because too much knowledge, especially medical knowledge of women’s bodies, is frowned upon, “barren” women are regarded as freaks of nature, witches; they’re ostracized, imprisoned and sometimes put to death.\u003c/p>\n\u003cp>That status quo is pretty much okay with the heroine of \u003cem>Outlawed\u003c/em>, a 17-year-old woman named Ada. She’s content to be married off to a man chosen for her and settles in to await her first pregnancy—which fails to happen. In less than a year, Ada is expelled from her husband’s house and, after a few twists of fate, joins up with the infamous Hole in the Wall Gang.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890875 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM.png\" alt=\"\" width=\"384\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM.png 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-06-at-12.10.30-PM-160x238.png 160w\" sizes=\"auto, (max-width: 384px) 100vw, 384px\">\u003c/p>\n\u003cp>In North’s novel, that real-life band of 19th-century gunslingers is reimagined as a group of outlaws who identify as female or non-binary. They’re led by a messianic figure called “The Kid.” In finding a home with the gang, Ada comes to realize that sexual desire can roam as wide and free as deer and buffalo on the range.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Outlawed\u003c/em>, in this quick summary, can sound gimmicky, but there’s much more going on in this smart adventure tale than just a sly upending of the traditional Western, rooted in macho individualism and violence. For all the ways North ingeniously stretches the limits of the genre, she’s also clearly a fan. She doesn’t shy away from the expected gunfights and her rendering of such scenes is jittery and absorbing; but, North also dwells on the bloody aftermath of these shootouts and the damage that bullets do to the body. 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For Ada and the other “outlaws” of this spirited novel, the frontiers of gender and sexuality beckon to be explored.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Outlawed%27+Frontiers+Of+Gender+And+Sexuality+Beckon+In+This+Sly+Western&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>How many steps do you walk each day?\u003c/p>\n\u003cp>If you live in the U.S. and can claim more than 4,774 steps daily, you’re exceeding the average American’s total. Comparable figures from England and Japan are 5,444 and 6,010 daily steps, respectively—with this info derived from cellphone data.\u003c/p>\n\u003cp>The distance that individuals walk daily varies, with a host of factors affecting the total, including where you live, what work you do and whether you are able to walk at all. In a riveting book published Tuesday, \u003cem>Exercised: Why Something We Never Evolved to Do is Healthy and Rewarding\u003c/em>, Harvard University evolutionary biologist Daniel E. Lieberman cites the step data to make a point. Many of us today are fairly inactive (under 5,000 steps is defined as “sedentary”), so much so that our activity levels are mismatched with the way we evolved.\u003c/p>\n\u003cp>Exercise can be understood as “discretionary, planned physical activity for the sake of physical improvement.” In other words, when we work out, we set aside time to exercise and do it because we have goals related to better bodies and better health. [aside postid='arts_13817884']\u003c/p>\n\u003cp>Our ancestors never did any such thing. Certainly, they moved a lot in the course of their daily lives. We know this because the hunter-gatherer lifestyle—making a living off the land, without farming—demands it, and also because data from contemporary hunter-gatherers like the Hadza Indigenous people of Tanzania give us some clues to past activity patterns. Hadza individuals are about 12 times more active than the average American or European. Elderly people remain highly active, as they must have in the past. “Almost no one in the Stone Age,” Lieberman notes, “least of all grandparents, managed to avoid hours of walking, running, digging, climbing, and other manual labors.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet, here’s the central point: There was no exercise in the Stone Age! People had high activity levels simply because that’s how it was possible to survive by hunting and gathering.\u003c/p>\n\u003cp>With that distinction in place, Lieberman begins a process of myth-busting about exercise. Some exercise enthusiasts, he writes, insist that “we were \u003cem>born \u003c/em>to exercise because for millions of years our hunter-gatherer ancestors survived through walking, running, climbing, and other physical activities.” On the contrary—and here comes a surprising but scientifically sensible statement—we evolved to limit our physical activity whenever we reasonably could. With all the survival tasks requiring our energy, the last thing needed ancestrally was to set aside time to work out.\u003c/p>\n\u003cfigure id=\"attachment_13890847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg\" alt=\"The cover of 'Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,' by Daniel E. Lieberman.\" width=\"800\" height=\"1224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-768x1175.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1004x1536.jpg 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1339x2048.jpg 1339w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c.jpg 1643w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,’ by Daniel E. Lieberman. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An irresistible aspect of \u003cem>Exercised \u003c/em>is Lieberman’s firm stance that no shame or stigma be attached to those who find it challenging to sustain an exercise program: “So if, as you read these words, you are seated in a chair or lounging in bed and feeling guilty about your indolence, take solace in knowing that your current state of physical inactivity is an ancient, fundamental strategy to allocate scarce energy sensibly.”\u003c/p>\n\u003cp>Indolence is not \u003cem>good \u003c/em>for us, of course. Sitting for long hours, for instance, encourages inflammation throughout the body and is associated with chronic disease. This is especially true of the way we tend to sit in our culture—on a chair—compared to cultural traditions of squatting, kneeling or sitting on the ground, which causes the muscles to be more highly active. Yet if you’re attached to your chair or couch, all is not lost: In one study, in which participants interrupted their sitting with just 100 seconds of movement every half-hour, the result was lower blood levels of sugar, fat and bad cholesterol.\u003c/p>\n\u003cp>Another exceptionally informative part of the book discusses the damage-and-repair cycle brought on by exercise. Lieberman explains more clearly than I’ve ever read what exercise does to the body and how the body then begins to repair itself afterwards. Briefly put, exercise unleashes a flood of waste products and unstable oxygen molecules that compromise cells’ function. Following a workout, the body slowly begins to repair the damage, through a suite of anti-inflammatory and cleanup responses. Often, this repair process works so well that it leads to a state of better health in the body overall.\u003c/p>\n\u003cp>This beneficial process evolved in an evolutionary context of physical activity, as carried out by our ancestors. Thus, repair today \u003cem>does not happen efficiently if you are sedentary\u003c/em>: “We never evolved to activate these maintenance and repair responses as effectively in the absence of regular physical activity.” Additionally, an increase in BDNF (brain-derived neurotrophic factor) that helps protect our brains against Alzheimer’s disease increases with physical effort, for the same evolutionary reason. Insights like these alone make reading the book worthwhile.\u003c/p>\n\u003cp>To integrate exercise into our lives in sustained fun ways is a goal we should all have, Lieberman says, though he appropriately explains that certain disabilities may make this difficult or impossible. We can bring this about by exercising socially, for example; our species is gregarious by nature and many people enjoy collective activity, plus, if we commit to an exercise meetup, we’re less likely to succumb to that urge not to exercise. (The book was mostly written before the COVID-19 pandemic forced temporary suspension of shared exercise activities in the name of good public health.) [aside postid='pop_113275']\u003c/p>\n\u003cp>The oft-cited recommendation to exercise 150 minutes a week Lieberman doesn’t discount, but he emphasizes there’s no optimal routine of exercise type or quantity because we all have different bodies and circumstances. A good across-the-board summary is this: “Make exercise necessary and fun. Do mostly cardio, but also some weights. Some is better than none. Keep it up as you age.”\u003c/p>\n\u003cp>\u003cem>Exercised\u003c/em> is written in a warm, sometimes dryly amusing tone that’s highly appealing. Colorful personal stories enliven the book. Follow along as Lieberman accompanies two Hadza men on a hunt, rides a dog sled across icy terrain Greenland and tries to outrun a horse in a race in Arizona.\u003c/p>\n\u003cp>Lieberman makes a superb guide for anyone wishing to understand why it can be hard to commit to exercising and why we should do it anyway.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Barbara J. King is a biological anthropologist emerita at William & Mary. Her seventh book, \u003c/em>Animals’ Best Friends: Putting Compassion to Work for Animals in Captivity and in the Wild\u003cem>, will be published in March. Find her on Twitter \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/bjkingape__;!!Iwwt!BAeIwfAGCiX__cFRtM8--3vc8UpSgpcexxGLIloDXMFDIMH1cw4OiwUJuWGhfQ%24\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@bjkingape\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Exercised%27+Explains+Why+It+Can+Be+Hard+To+Commit+To+Working+Out+%E2%80%94+And+Why+We+Should&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How many steps do you walk each day?\u003c/p>\n\u003cp>If you live in the U.S. and can claim more than 4,774 steps daily, you’re exceeding the average American’s total. Comparable figures from England and Japan are 5,444 and 6,010 daily steps, respectively—with this info derived from cellphone data.\u003c/p>\n\u003cp>The distance that individuals walk daily varies, with a host of factors affecting the total, including where you live, what work you do and whether you are able to walk at all. In a riveting book published Tuesday, \u003cem>Exercised: Why Something We Never Evolved to Do is Healthy and Rewarding\u003c/em>, Harvard University evolutionary biologist Daniel E. Lieberman cites the step data to make a point. Many of us today are fairly inactive (under 5,000 steps is defined as “sedentary”), so much so that our activity levels are mismatched with the way we evolved.\u003c/p>\n\u003cp>Exercise can be understood as “discretionary, planned physical activity for the sake of physical improvement.” In other words, when we work out, we set aside time to exercise and do it because we have goals related to better bodies and better health. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our ancestors never did any such thing. Certainly, they moved a lot in the course of their daily lives. We know this because the hunter-gatherer lifestyle—making a living off the land, without farming—demands it, and also because data from contemporary hunter-gatherers like the Hadza Indigenous people of Tanzania give us some clues to past activity patterns. Hadza individuals are about 12 times more active than the average American or European. Elderly people remain highly active, as they must have in the past. “Almost no one in the Stone Age,” Lieberman notes, “least of all grandparents, managed to avoid hours of walking, running, digging, climbing, and other manual labors.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet, here’s the central point: There was no exercise in the Stone Age! People had high activity levels simply because that’s how it was possible to survive by hunting and gathering.\u003c/p>\n\u003cp>With that distinction in place, Lieberman begins a process of myth-busting about exercise. Some exercise enthusiasts, he writes, insist that “we were \u003cem>born \u003c/em>to exercise because for millions of years our hunter-gatherer ancestors survived through walking, running, climbing, and other physical activities.” On the contrary—and here comes a surprising but scientifically sensible statement—we evolved to limit our physical activity whenever we reasonably could. With all the survival tasks requiring our energy, the last thing needed ancestrally was to set aside time to work out.\u003c/p>\n\u003cfigure id=\"attachment_13890847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg\" alt=\"The cover of 'Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,' by Daniel E. Lieberman.\" width=\"800\" height=\"1224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-800x1224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-768x1175.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1004x1536.jpg 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c-1339x2048.jpg 1339w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/exercised_custom-a607e1210220f2084f5f7c756c4f96c87f30546c.jpg 1643w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Exercised: Why Something We Never Evolved to Do Is Healthy and Rewarding,’ by Daniel E. Lieberman. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An irresistible aspect of \u003cem>Exercised \u003c/em>is Lieberman’s firm stance that no shame or stigma be attached to those who find it challenging to sustain an exercise program: “So if, as you read these words, you are seated in a chair or lounging in bed and feeling guilty about your indolence, take solace in knowing that your current state of physical inactivity is an ancient, fundamental strategy to allocate scarce energy sensibly.”\u003c/p>\n\u003cp>Indolence is not \u003cem>good \u003c/em>for us, of course. Sitting for long hours, for instance, encourages inflammation throughout the body and is associated with chronic disease. This is especially true of the way we tend to sit in our culture—on a chair—compared to cultural traditions of squatting, kneeling or sitting on the ground, which causes the muscles to be more highly active. Yet if you’re attached to your chair or couch, all is not lost: In one study, in which participants interrupted their sitting with just 100 seconds of movement every half-hour, the result was lower blood levels of sugar, fat and bad cholesterol.\u003c/p>\n\u003cp>Another exceptionally informative part of the book discusses the damage-and-repair cycle brought on by exercise. Lieberman explains more clearly than I’ve ever read what exercise does to the body and how the body then begins to repair itself afterwards. Briefly put, exercise unleashes a flood of waste products and unstable oxygen molecules that compromise cells’ function. Following a workout, the body slowly begins to repair the damage, through a suite of anti-inflammatory and cleanup responses. Often, this repair process works so well that it leads to a state of better health in the body overall.\u003c/p>\n\u003cp>This beneficial process evolved in an evolutionary context of physical activity, as carried out by our ancestors. Thus, repair today \u003cem>does not happen efficiently if you are sedentary\u003c/em>: “We never evolved to activate these maintenance and repair responses as effectively in the absence of regular physical activity.” Additionally, an increase in BDNF (brain-derived neurotrophic factor) that helps protect our brains against Alzheimer’s disease increases with physical effort, for the same evolutionary reason. Insights like these alone make reading the book worthwhile.\u003c/p>\n\u003cp>To integrate exercise into our lives in sustained fun ways is a goal we should all have, Lieberman says, though he appropriately explains that certain disabilities may make this difficult or impossible. We can bring this about by exercising socially, for example; our species is gregarious by nature and many people enjoy collective activity, plus, if we commit to an exercise meetup, we’re less likely to succumb to that urge not to exercise. (The book was mostly written before the COVID-19 pandemic forced temporary suspension of shared exercise activities in the name of good public health.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The oft-cited recommendation to exercise 150 minutes a week Lieberman doesn’t discount, but he emphasizes there’s no optimal routine of exercise type or quantity because we all have different bodies and circumstances. A good across-the-board summary is this: “Make exercise necessary and fun. Do mostly cardio, but also some weights. Some is better than none. Keep it up as you age.”\u003c/p>\n\u003cp>\u003cem>Exercised\u003c/em> is written in a warm, sometimes dryly amusing tone that’s highly appealing. Colorful personal stories enliven the book. Follow along as Lieberman accompanies two Hadza men on a hunt, rides a dog sled across icy terrain Greenland and tries to outrun a horse in a race in Arizona.\u003c/p>\n\u003cp>Lieberman makes a superb guide for anyone wishing to understand why it can be hard to commit to exercising and why we should do it anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Barbara J. King is a biological anthropologist emerita at William & Mary. Her seventh book, \u003c/em>Animals’ Best Friends: Putting Compassion to Work for Animals in Captivity and in the Wild\u003cem>, will be published in March. Find her on Twitter \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/bjkingape__;!!Iwwt!BAeIwfAGCiX__cFRtM8--3vc8UpSgpcexxGLIloDXMFDIMH1cw4OiwUJuWGhfQ%24\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@bjkingape\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Exercised%27+Explains+Why+It+Can+Be+Hard+To+Commit+To+Working+Out+%E2%80%94+And+Why+We+Should&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "As 'Mr. Mayor,' Ted Danson Sustains His Stellar Sitcom Streak",
"headTitle": "As ‘Mr. Mayor,’ Ted Danson Sustains His Stellar Sitcom Streak | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/2011/04/13/135247195/tina-fey-reveals-all-and-then-some-in-bossypants\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Fey\u003c/a> and Robert Carlock, the creators of NBC’s new sitcom \u003cem>Mr. Mayor\u003c/em>, were deep into the run of their hit \u003cem>30 Rock \u003c/em>when they came up with a promising idea for a spinoff. How about taking Jack Donaghy, the corporate executive played by \u003ca href=\"https://www.npr.org/2017/04/05/522712736/alec-baldwin-on-career-highs-and-lows-and-playing-a-larger-than-life-trump\" target=\"_blank\" rel=\"noopener noreferrer\">Alec Baldwin\u003c/a>, and have him run for mayor—and win?\u003c/p>\n\u003cp>That didn’t happen, and Baldwin ended up playing a much more powerful politician, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/12/514800509/melissa-mccarthys-spicey-and-alec-baldwins-trump-return-to-snl\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly and hilariously\u003c/a>, on Tina Fey’s old stomping grounds, \u003cem>Saturday Night Live. \u003c/em>[aside postid='pop_96840']\u003c/p>\n\u003cp>But that comic concept—of a celebrity mayor surrounded, and often defended by, an eager, yet weary, staff—was too good to let go. After all, it worked for years on ABC’s \u003cem>Spin City, \u003c/em>with \u003ca href=\"https://www.npr.org/2020/12/21/947962393/michael-j-fox-reflects-on-life-with-parkinsons-in-no-time-like-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">Michael J. Fox \u003c/a>playing the political assistant of a clueless mayor. And Mayor Jack Donaghy wouldn’t have been clueless—just arrogant and very, very vocal.\u003c/p>\n\u003cp>But with Donaghy out, Fey and Carlock dumped the spinoff idea and reshaped it into \u003cem>Mr. Mayor.\u003c/em> Where \u003cem>30 Rock\u003c/em> was set in and perfectly captured New York, the new sitcom is set in Los Angeles—and Neil Bremer, the newly elected mayor, isn’t a corporate executive, or even a TV celebrity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Iq7pZDK4cE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, Bremer is a retired millionaire who made his fortune plastering billboards all along Southern California’s streets and highways. He’s not clueless or arrogant, but he does come to the job without credentials or experience. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=112884242\" target=\"_blank\" rel=\"noopener noreferrer\">Ted Danson\u003c/a>, the actor who plays Bremer, is the exact opposite—with so many credentials, and so much experience at starring in TV sitcoms, that it’s almost ridiculous. [aside postid='pop_105436']\u003c/p>\n\u003cp>NBC’s launch of \u003cem>Mr. Mayor \u003c/em>extends Danson’s astounding streak of starring in sitcoms to five consecutive decades. In the 1980s, he had an 11-year run starring as Sam Malone on NBC’s \u003cem>Cheers\u003c/em>. In the ’90s, he was still starring in \u003cem>Cheers\u003c/em>, then began a six-season run as the star of \u003cem>Becker \u003c/em>on CBS. In the 2000s, he finished up \u003cem>Becker\u003c/em> and started playing an exaggerated version of himself as a recurring character on \u003ca href=\"https://www.npr.org/2015/03/05/390948906/larry-davids-first-time-on-broadway-its-not-so-easy\" target=\"_blank\" rel=\"noopener noreferrer\">Larry David\u003c/a>‘s HBO series, \u003ca href=\"https://www.npr.org/2017/09/29/554262873/curb-your-enthusiasm-returns-and-larry-david-is-back-to-playing-himself\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Curb Your Enthusiasm\u003c/em>\u003c/a>\u003cem>.\u003c/em> He’s still doing that. And in the decade that just ended, Danson also starred for four years on another brilliant sitcom, NBC’s \u003ca href=\"https://www.npr.org/2020/01/31/801540105/a-goodbye-to-the-good-place\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Place\u003c/em>\u003c/a>. And now, \u003cem>Mr. Mayor.\u003c/em> I’m in awe of that run—not only for its quantity and longevity, but also for its quality.\u003c/p>\n\u003cp>In \u003cem>Mr. Mayor, \u003c/em>Danson takes the spotlight and shines once again, playing a character who’s clearly delighted by the job he ran for, and won, on a whim. Mayor Bremer’s relationship with his 15-year-old daughter Orly, played by Kyla Kenedy, gives the show as much comic potential as the political workplace. Especially since Danson, as a father frustrated by his inability to connect with his teen daughter, takes the script and sticks every landing on every line—even the absurdly inappropriate toss-aways.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mr. Mayor \u003c/em>has other secret weapons, too, including Holly Hunter, who begins the series as the mayor’s most vocal adversary. She’s wonderful. So is former \u003cem>SNL\u003c/em> player \u003ca href=\"https://www.npr.org/2014/01/26/265698086/for-snl-cast-member-the-waiting-was-the-hardest-part\" target=\"_blank\" rel=\"noopener noreferrer\">Bobby Moynihan \u003c/a>as one of the mayor’s political aides—and, basically, so is this entire show. NBC is premiering two episodes of \u003cem>Mr. Mayor \u003c/em>on Thursday, the night once reserved for such great, must-see TV sitcoms as \u003cem>Cheers\u003c/em>, which began its run there almost 40 years ago. To start 2021 on a very good note, NBC has done it again. And so has Ted Danson.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+%27Mr.+Mayor%2C%27+Ted+Danson+Sustains+His+Stellar+Sitcom+Streak&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/2011/04/13/135247195/tina-fey-reveals-all-and-then-some-in-bossypants\" target=\"_blank\" rel=\"noopener noreferrer\">Tina Fey\u003c/a> and Robert Carlock, the creators of NBC’s new sitcom \u003cem>Mr. Mayor\u003c/em>, were deep into the run of their hit \u003cem>30 Rock \u003c/em>when they came up with a promising idea for a spinoff. How about taking Jack Donaghy, the corporate executive played by \u003ca href=\"https://www.npr.org/2017/04/05/522712736/alec-baldwin-on-career-highs-and-lows-and-playing-a-larger-than-life-trump\" target=\"_blank\" rel=\"noopener noreferrer\">Alec Baldwin\u003c/a>, and have him run for mayor—and win?\u003c/p>\n\u003cp>That didn’t happen, and Baldwin ended up playing a much more powerful politician, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/12/514800509/melissa-mccarthys-spicey-and-alec-baldwins-trump-return-to-snl\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly and hilariously\u003c/a>, on Tina Fey’s old stomping grounds, \u003cem>Saturday Night Live. \u003c/em>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that comic concept—of a celebrity mayor surrounded, and often defended by, an eager, yet weary, staff—was too good to let go. After all, it worked for years on ABC’s \u003cem>Spin City, \u003c/em>with \u003ca href=\"https://www.npr.org/2020/12/21/947962393/michael-j-fox-reflects-on-life-with-parkinsons-in-no-time-like-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">Michael J. Fox \u003c/a>playing the political assistant of a clueless mayor. And Mayor Jack Donaghy wouldn’t have been clueless—just arrogant and very, very vocal.\u003c/p>\n\u003cp>But with Donaghy out, Fey and Carlock dumped the spinoff idea and reshaped it into \u003cem>Mr. Mayor.\u003c/em> Where \u003cem>30 Rock\u003c/em> was set in and perfectly captured New York, the new sitcom is set in Los Angeles—and Neil Bremer, the newly elected mayor, isn’t a corporate executive, or even a TV celebrity.\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/4Iq7pZDK4cE'\n title='//www.youtube.com/embed/4Iq7pZDK4cE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, Bremer is a retired millionaire who made his fortune plastering billboards all along Southern California’s streets and highways. He’s not clueless or arrogant, but he does come to the job without credentials or experience. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=112884242\" target=\"_blank\" rel=\"noopener noreferrer\">Ted Danson\u003c/a>, the actor who plays Bremer, is the exact opposite—with so many credentials, and so much experience at starring in TV sitcoms, that it’s almost ridiculous. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NBC’s launch of \u003cem>Mr. Mayor \u003c/em>extends Danson’s astounding streak of starring in sitcoms to five consecutive decades. In the 1980s, he had an 11-year run starring as Sam Malone on NBC’s \u003cem>Cheers\u003c/em>. In the ’90s, he was still starring in \u003cem>Cheers\u003c/em>, then began a six-season run as the star of \u003cem>Becker \u003c/em>on CBS. In the 2000s, he finished up \u003cem>Becker\u003c/em> and started playing an exaggerated version of himself as a recurring character on \u003ca href=\"https://www.npr.org/2015/03/05/390948906/larry-davids-first-time-on-broadway-its-not-so-easy\" target=\"_blank\" rel=\"noopener noreferrer\">Larry David\u003c/a>‘s HBO series, \u003ca href=\"https://www.npr.org/2017/09/29/554262873/curb-your-enthusiasm-returns-and-larry-david-is-back-to-playing-himself\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Curb Your Enthusiasm\u003c/em>\u003c/a>\u003cem>.\u003c/em> He’s still doing that. And in the decade that just ended, Danson also starred for four years on another brilliant sitcom, NBC’s \u003ca href=\"https://www.npr.org/2020/01/31/801540105/a-goodbye-to-the-good-place\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Place\u003c/em>\u003c/a>. And now, \u003cem>Mr. Mayor.\u003c/em> I’m in awe of that run—not only for its quantity and longevity, but also for its quality.\u003c/p>\n\u003cp>In \u003cem>Mr. Mayor, \u003c/em>Danson takes the spotlight and shines once again, playing a character who’s clearly delighted by the job he ran for, and won, on a whim. Mayor Bremer’s relationship with his 15-year-old daughter Orly, played by Kyla Kenedy, gives the show as much comic potential as the political workplace. Especially since Danson, as a father frustrated by his inability to connect with his teen daughter, takes the script and sticks every landing on every line—even the absurdly inappropriate toss-aways.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mr. Mayor \u003c/em>has other secret weapons, too, including Holly Hunter, who begins the series as the mayor’s most vocal adversary. She’s wonderful. So is former \u003cem>SNL\u003c/em> player \u003ca href=\"https://www.npr.org/2014/01/26/265698086/for-snl-cast-member-the-waiting-was-the-hardest-part\" target=\"_blank\" rel=\"noopener noreferrer\">Bobby Moynihan \u003c/a>as one of the mayor’s political aides—and, basically, so is this entire show. NBC is premiering two episodes of \u003cem>Mr. Mayor \u003c/em>on Thursday, the night once reserved for such great, must-see TV sitcoms as \u003cem>Cheers\u003c/em>, which began its run there almost 40 years ago. To start 2021 on a very good note, NBC has done it again. And so has Ted Danson.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+%27Mr.+Mayor%2C%27+Ted+Danson+Sustains+His+Stellar+Sitcom+Streak&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘A Bumper Crop’ of Books, Movies and Music Just Entered the Public Domain",
"headTitle": "‘A Bumper Crop’ of Books, Movies and Music Just Entered the Public Domain | KQED",
"content": "\u003cp>What a year it was for Anglo-American literature and the arts!\u003c/p>\n\u003cp>1925 was the year of heralded novels by F. Scott Fitzgerald and Virginia Woolf, seminal works by Sinclair Lewis, Franz Kafka, Gertrude Stein, Agatha Christie, Theodore Dreiser, Edith Wharton, Aldous Huxley … and a banner year for musicians, too. Bessie Smith, Ma Rainey, the Gershwins, Duke Ellington and Fats Waller, among hundreds of others, made important recordings. And 1925 marked the release of canonical movies from silent film comedians Buster Keaton and Harold Lloyd.\u003c/p>\n\u003cp>As of today, every single one of those works has entered the public domain. “That means that copyright has expired,” explains Jennifer Jenkins, a law professor at Duke University who directs its \u003ca href=\"https://web.law.duke.edu/cspd/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for the Study of the Public Domain\u003c/a>. “And all of the works are free for anyone to use, reuse, build upon for anyone—without paying a fee.”\u003c/p>\n\u003cp>On January 1 every year, a new batch of published works is liberated from the constraints of copyright. (For a long time, copyright expired after 75 years, but in 1998, Congress extended the date of copyright expiration for works published between 1923 and 1977 to 95 years.) It’s difficult to overstate the importance of having work in the public domain. For example, can you imagine the holidays without \u003cem>It’s A Wonderful Life\u003c/em>? That movie happened to be unprotected by copyright, so it was able to be shown—a lot—for free, contributing to its establishment as an American Christmas classic.\u003c/p>\n\u003cp>It also means books can be published more cheaply and made available for free online; that old “orphan” films can be preserved by archivists; that scholars can access and publish material more easily; that musicians can sample and experiment with the songs of an earlier generation and that classic characters can be given new life and new interpretations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the most successful creators often leave behind legal estates to manage the care (and finances) of their famous books, plays, operas and so forth, most aren’t so lucky. “For the vast majority of authors from 1925, no one is benefiting from copyright protections,” Jenkins tells NPR. Having their work enter the public domain is a way to keep it circulating in the culture for artists and historians to use for education and inspiration.\u003c/p>\n\u003cp>In \u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">an article about this year’s Public Domain Day\u003c/a>, Jenkins discusses everything from the changes in length of copyright to a fascinating story about the copyright of Hitler’s \u003cem>Mein Kampf\u003c/em>, which also enters the public domain this year. (A dizzyingly exhaustive list of works from 1925 now in the public domain \u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>.)\u003c/p>\n\u003cp>“What a bumper crop!” Jenkins exults. Besides the marquee names traditionally lionized by the literary establishment, she is quick to point out, there’s rich, unplumbed material especially useful to scholars of marginalized communities. And to be able to use and interpret these works—to put them in dialogue with contemporary thoughts and ideas—what a legacy of artistry and inspiration, says Jenkins, with which to begin 2021.\u003c/p>\n\u003cp>\u003cem>Below, you can peruse a selection of works entering the public domain today, hand-picked by Jenkins:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Books\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Great Gatsby \u003c/em>by F. Scott Fitzgerald\u003cem>\u003cbr>\nMrs. Dalloway \u003c/em>by Virginia Woolf\u003cem>\u003cbr>\nIn Our Time \u003c/em>by Ernest Hemingway\u003cem>\u003cbr>\nThe Trial\u003c/em> (in German) by Franz Kafka\u003cbr>\n\u003cem>An American Tragedy \u003c/em>by Theodore Dreiser\u003cbr>\n\u003cem>Manhattan Transfer\u003c/em> by John Dos Passos\u003cbr>\n\u003cem>The New Negro\u003c/em> edited by Alain Locke (collecting works from writers including W.E.B. du Bois, Countee Cullen, Langston Hughes, Zora Neale Hurston, Claude McKay, Jean Toomer and Eric Walrond)\u003cbr>\n\u003cem>Arrowsmith\u003c/em> by Sinclair Lewis\u003cbr>\n\u003cem>The Secret of Chimneys \u003c/em>by Agatha Christie\u003cbr>\n\u003cem>Those Barren Leaves \u003c/em>by Aldous Huxley\u003cbr>\n\u003cem>The Painted Veil \u003c/em>by W. Somerset Maugham\u003cbr>\n\u003cem>On the Trail of Negro Folk-Songs \u003c/em>by Dorothy Scarborough\u003cbr>\n\u003cem>The Writing of Fiction \u003c/em>by Edith Wharton\u003cbr>\n\u003cem>A Daughter of the Samurai \u003c/em>by Etsu Inagaki Sugimoto\u003c/p>\n\u003cp>\u003cstrong>Films\u003c/strong>\u003c/p>\n\u003cp>Harold Lloyd’s \u003cem>The Freshman\u003cbr>\nThe Merry Widow\u003cbr>\nStella Dallas\u003cbr>\n\u003c/em>Buster Keaton’s \u003cem>Go West\u003cbr>\nHis People\u003cbr>\nLovers in Quarantine\u003cbr>\nPretty Ladies\u003cbr>\nThe Unholy Three\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music\u003c/strong>\u003c/p>\n\u003cp>“Always,” by Irving Berlin\u003cbr>\n“Sweet Georgia Brown,” by Ben Bernie, Maceo Pinkard and Kenneth Casey\u003cbr>\nWorks by Gertrude “Ma” Rainey, the “Mother of the Blues,” including “Army Camp Harmony Blues” (with Hooks Tilford) and “Shave ‘Em Dry” (with William Jackson)\u003cbr>\n“Looking for a Boy,” by George and Ira Gershwin (from the musical \u003cem>Tip-Toes\u003c/em>)\u003cbr>\n“Manhattan,” by Lorenz Hart and Richard Rodgers\u003cbr>\n“Ukulele Lady,” by Gus Kahn and Richard Whiting\u003cbr>\n“Yes Sir, That’s My Baby,” by Gus Kahn and Walter Donaldson\u003cbr>\nWorks by “Jelly Roll” Morton, including “Shreveport Stomp” and “Milenberg Joys” (with Paul Mares, Walter Melrose and Leon Roppolo)\u003cbr>\nWorks by W.C. Handy, including “Friendless Blues” (with Mercedes Gilbert), “Bright Star of Hope” (with Lillian A. Thorsten) and “When the Black Man Has a Nation of His Own” (with J.M. Miller)\u003cbr>\nWorks by Duke Ellington, including “Jig Walk” and “With You” (both with Joseph “Jo” Trent)\u003cbr>\nWorks by “Fats” Waller, including “Anybody Here Want To Try My Cabbage” (with Andy Razaf), “Ball and Chain Blues” (with Andy Razaf), and “Campmeetin’ Stomp”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>… plus many, many more. You can find \u003c/em>\u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jenkins’ full list here\u003c/em>\u003c/a>\u003cem>, and the \u003c/em>\u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>exhaustive list of works here\u003c/em>\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Party+Like+It%27s+1925+On+Public+Domain+Day+%28Gatsby+And+Dalloway+Are+In%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "On January 1, the copyright on works by F. Scott Fitzgerald, Virginia Woolf, Franz Kafka, Agatha Christie and many more expired. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What a year it was for Anglo-American literature and the arts!\u003c/p>\n\u003cp>1925 was the year of heralded novels by F. Scott Fitzgerald and Virginia Woolf, seminal works by Sinclair Lewis, Franz Kafka, Gertrude Stein, Agatha Christie, Theodore Dreiser, Edith Wharton, Aldous Huxley … and a banner year for musicians, too. Bessie Smith, Ma Rainey, the Gershwins, Duke Ellington and Fats Waller, among hundreds of others, made important recordings. And 1925 marked the release of canonical movies from silent film comedians Buster Keaton and Harold Lloyd.\u003c/p>\n\u003cp>As of today, every single one of those works has entered the public domain. “That means that copyright has expired,” explains Jennifer Jenkins, a law professor at Duke University who directs its \u003ca href=\"https://web.law.duke.edu/cspd/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for the Study of the Public Domain\u003c/a>. “And all of the works are free for anyone to use, reuse, build upon for anyone—without paying a fee.”\u003c/p>\n\u003cp>On January 1 every year, a new batch of published works is liberated from the constraints of copyright. (For a long time, copyright expired after 75 years, but in 1998, Congress extended the date of copyright expiration for works published between 1923 and 1977 to 95 years.) It’s difficult to overstate the importance of having work in the public domain. For example, can you imagine the holidays without \u003cem>It’s A Wonderful Life\u003c/em>? That movie happened to be unprotected by copyright, so it was able to be shown—a lot—for free, contributing to its establishment as an American Christmas classic.\u003c/p>\n\u003cp>It also means books can be published more cheaply and made available for free online; that old “orphan” films can be preserved by archivists; that scholars can access and publish material more easily; that musicians can sample and experiment with the songs of an earlier generation and that classic characters can be given new life and new interpretations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the most successful creators often leave behind legal estates to manage the care (and finances) of their famous books, plays, operas and so forth, most aren’t so lucky. “For the vast majority of authors from 1925, no one is benefiting from copyright protections,” Jenkins tells NPR. Having their work enter the public domain is a way to keep it circulating in the culture for artists and historians to use for education and inspiration.\u003c/p>\n\u003cp>In \u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">an article about this year’s Public Domain Day\u003c/a>, Jenkins discusses everything from the changes in length of copyright to a fascinating story about the copyright of Hitler’s \u003cem>Mein Kampf\u003c/em>, which also enters the public domain this year. (A dizzyingly exhaustive list of works from 1925 now in the public domain \u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>.)\u003c/p>\n\u003cp>“What a bumper crop!” Jenkins exults. Besides the marquee names traditionally lionized by the literary establishment, she is quick to point out, there’s rich, unplumbed material especially useful to scholars of marginalized communities. And to be able to use and interpret these works—to put them in dialogue with contemporary thoughts and ideas—what a legacy of artistry and inspiration, says Jenkins, with which to begin 2021.\u003c/p>\n\u003cp>\u003cem>Below, you can peruse a selection of works entering the public domain today, hand-picked by Jenkins:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Books\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Great Gatsby \u003c/em>by F. Scott Fitzgerald\u003cem>\u003cbr>\nMrs. Dalloway \u003c/em>by Virginia Woolf\u003cem>\u003cbr>\nIn Our Time \u003c/em>by Ernest Hemingway\u003cem>\u003cbr>\nThe Trial\u003c/em> (in German) by Franz Kafka\u003cbr>\n\u003cem>An American Tragedy \u003c/em>by Theodore Dreiser\u003cbr>\n\u003cem>Manhattan Transfer\u003c/em> by John Dos Passos\u003cbr>\n\u003cem>The New Negro\u003c/em> edited by Alain Locke (collecting works from writers including W.E.B. du Bois, Countee Cullen, Langston Hughes, Zora Neale Hurston, Claude McKay, Jean Toomer and Eric Walrond)\u003cbr>\n\u003cem>Arrowsmith\u003c/em> by Sinclair Lewis\u003cbr>\n\u003cem>The Secret of Chimneys \u003c/em>by Agatha Christie\u003cbr>\n\u003cem>Those Barren Leaves \u003c/em>by Aldous Huxley\u003cbr>\n\u003cem>The Painted Veil \u003c/em>by W. Somerset Maugham\u003cbr>\n\u003cem>On the Trail of Negro Folk-Songs \u003c/em>by Dorothy Scarborough\u003cbr>\n\u003cem>The Writing of Fiction \u003c/em>by Edith Wharton\u003cbr>\n\u003cem>A Daughter of the Samurai \u003c/em>by Etsu Inagaki Sugimoto\u003c/p>\n\u003cp>\u003cstrong>Films\u003c/strong>\u003c/p>\n\u003cp>Harold Lloyd’s \u003cem>The Freshman\u003cbr>\nThe Merry Widow\u003cbr>\nStella Dallas\u003cbr>\n\u003c/em>Buster Keaton’s \u003cem>Go West\u003cbr>\nHis People\u003cbr>\nLovers in Quarantine\u003cbr>\nPretty Ladies\u003cbr>\nThe Unholy Three\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music\u003c/strong>\u003c/p>\n\u003cp>“Always,” by Irving Berlin\u003cbr>\n“Sweet Georgia Brown,” by Ben Bernie, Maceo Pinkard and Kenneth Casey\u003cbr>\nWorks by Gertrude “Ma” Rainey, the “Mother of the Blues,” including “Army Camp Harmony Blues” (with Hooks Tilford) and “Shave ‘Em Dry” (with William Jackson)\u003cbr>\n“Looking for a Boy,” by George and Ira Gershwin (from the musical \u003cem>Tip-Toes\u003c/em>)\u003cbr>\n“Manhattan,” by Lorenz Hart and Richard Rodgers\u003cbr>\n“Ukulele Lady,” by Gus Kahn and Richard Whiting\u003cbr>\n“Yes Sir, That’s My Baby,” by Gus Kahn and Walter Donaldson\u003cbr>\nWorks by “Jelly Roll” Morton, including “Shreveport Stomp” and “Milenberg Joys” (with Paul Mares, Walter Melrose and Leon Roppolo)\u003cbr>\nWorks by W.C. Handy, including “Friendless Blues” (with Mercedes Gilbert), “Bright Star of Hope” (with Lillian A. Thorsten) and “When the Black Man Has a Nation of His Own” (with J.M. Miller)\u003cbr>\nWorks by Duke Ellington, including “Jig Walk” and “With You” (both with Joseph “Jo” Trent)\u003cbr>\nWorks by “Fats” Waller, including “Anybody Here Want To Try My Cabbage” (with Andy Razaf), “Ball and Chain Blues” (with Andy Razaf), and “Campmeetin’ Stomp”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>… plus many, many more. You can find \u003c/em>\u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jenkins’ full list here\u003c/em>\u003c/a>\u003cem>, and the \u003c/em>\u003ca href=\"https://onlinebooks.library.upenn.edu/cce/to1949.html#y1925\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>exhaustive list of works here\u003c/em>\u003c/a>.)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Party+Like+It%27s+1925+On+Public+Domain+Day+%28Gatsby+And+Dalloway+Are+In%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Grammy Contenders Share Outrage at All-White Category, Decline Nominations",
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"content": "\u003cp>Three of the five acts nominated for the 2021 Best Children’s Album Grammy Award are saying “no thanks.” They’re upset that the contenders in their category are all white.\u003c/p>\n\u003cp>One of them is Alastair Moock, whose nominated album, \u003cem>Be A Pain,\u003c/em> is about American heroes who stood up for their principles: Dr. Martin Luther King, Jr., Harvey Milk, Rosa Parks, the Parkland shooting student protestors and others.\u003c/p>\n\u003cp>Upon hearing the news that he was nominated along with three other white male acts and one white woman, Moock smacked his head. “After this year, to have an all-white slate of nominees seemed really tone deaf,” he says.\u003c/p>\n\u003cp>The Boston-based singer-songwriter says he’d love to get a Grammy, “but I don’t want it like this, where the playing field’s not even.”\u003c/p>\n\u003cp>Moock is protesting by turning down his nomination. So are fellow acts Dog on Fleas and the Okee Dokee Brothers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We thought that it was the strongest thing we could do, to stand with people of color whose albums are too often left out of the Grammy nominations,” says Joe Mailander, one of the Okee Dokee Brothers. He hopes to expand notions of what children’s music is. “This is not just white guys with guitars playing for kids. We want to welcome all different types of music to this community.”\u003c/p>\n\u003cp>The Okee Dokee Brothers, Moock and Dog on Fleas—all “white guys with guitars”—sent a letter to the Recording Academy asking that their names be removed from the final Grammy ballots. They wrote they “couldn’t in good conscience benefit from a process that has historically overlooked women and artists of color.”\u003c/p>\n\u003cp>The other Okee Dokee Brother, Justin Lansing, said they felt a special responsibility to ask for change in a genre “tasked with modeling fairness and kindness to kids and families.”\u003c/p>\n\u003cp>Last month, the nominees met with the Recording Academy’s new CEO, Harvey Mason Jr., and its first ever Chief Diversity, Equity and Inclusion officer, Valeisha Butterfield Jones.\u003c/p>\n\u003cp>“We’re an organization that’s ready for change but you know, we’re not unique to the challenges of the world and to the challenges of our industry,” Butterfield Jones says of the 63-year-old organization being revamped. “I think it’s time. You know, we saw in 2020 a racial reckoning. So now, you know, it’s, you know, up to us what we’re going to do to take real and meaningful action.”\u003c/p>\n\u003cp>Butterfield Jones says since she started her job in May, she’s been looking for ways to increase diversity among the Academy’s membership and in the Grammy’s secret nominating committees. The Academy recently partnered with the racial justice group Color of Change to begin holding itself and record labels more accountable. They’re pushing for more transparency at the Academy and support for artists, especially those who are Black.\u003c/p>\n\u003cp>“We have made a very clear and firm commitment to diversity, equity and inclusion as a part of our core values,” Butterfield Jones says. “I think many of the actions that we’ve taken and have put into place are signs of that. But we still have a lot of work left to do.”\u003c/p>\n\u003cp>Family Music Forward, a collective whose mission is to amplify Black voices in children’s music, was also invited to the Recording Academy meetings last month.\u003c/p>\n\u003cp>“We had the floor, and we had the opportunity to voice our concerns. They definitely responded with a sense of urgency,” says Aaron Nigel Smith, a founding member of Family Music Forward.\u003c/p>\n\u003cp>The collective formed in early 2020, inspired by the Black Lives Matter movement. Smith says the Academy seemed open to recommendations such as restructuring the nominating committees.\u003c/p>\n\u003cp>“We left it in a very hopeful tone that we can keep a discussion going and work together to increase membership with people of color in the academy,” Smith says. He hopes the Academy can add more people “voting for projects that don’t necessarily sound like the mainstream, that might sound like [they’ve] got an African vibe or reggae vibe or a hip hop vibe.”\u003c/p>\n\u003cp>All of the musicians interviewed for this story agreed that Pierce Freelon should have been nominated this year for his critically-acclaimed album \u003cem>D.A.D.\u003c/em>, which has elements of hip hop, jazz, electronic and Afro Caribbean rhythms.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jmrbyfL2dSY\u003c/p>\n\u003cp>Freelon appreciated the stance the Grammy nominees took to support diverse artists. “I just couldn’t think of another example in my memory of white men specifically revoking their privilege in this way,” he says.\u003c/p>\n\u003cp>He points to other non-white artists who should be on the Grammy’s radar: Saul Paul, a rapper from Texas; Uno, Dos, Tres Andres, a bilingual singer born in Colombia; and the R&B Soul band Shine and the Moonbeams. He also thought about the 96-year-old folk singer Ella Jenkins.\u003c/p>\n\u003cp>“She’s probably the most prolific and foundational person in children’s music. And she’s a Black woman. But guess what? She’s never won a Grammy Award through the Recording Academy process,” Freelon says. “They had to give her an honorary lifetime achievement award, but she actually never got that recognition from her peers in the industry.”\u003c/p>\n\u003cp>One of the two Grammy nominees who decided to remain on the ballot is Joanie Leeds. Her ninth children’s folk music album is titled \u003cem>For All The Ladies\u003c/em>.\u003c/p>\n\u003cp>“I didn’t decline because my album is really about empowering young women. I mean, I have 20 women on my album. So for us, it was like it was kind of counter to our empowering women message to step down,” Leeds says. “I know that this is really about the guys that dropped out, but I feel like a lot of times women are kind of left on the side. It’s a shame. I wish there was more equality with women.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The other nominees and Family Music Forward say they support Leeds’s decision. Next year, they expect to see more women and people of color up for Grammy Awards.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Grammy+Contenders+Share+Outrage+At+All-White+Category%2C+Decline+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three of the five acts nominated for the 2021 Best Children’s Album Grammy Award are saying “no thanks.” They’re upset that the contenders in their category are all white.\u003c/p>\n\u003cp>One of them is Alastair Moock, whose nominated album, \u003cem>Be A Pain,\u003c/em> is about American heroes who stood up for their principles: Dr. Martin Luther King, Jr., Harvey Milk, Rosa Parks, the Parkland shooting student protestors and others.\u003c/p>\n\u003cp>Upon hearing the news that he was nominated along with three other white male acts and one white woman, Moock smacked his head. “After this year, to have an all-white slate of nominees seemed really tone deaf,” he says.\u003c/p>\n\u003cp>The Boston-based singer-songwriter says he’d love to get a Grammy, “but I don’t want it like this, where the playing field’s not even.”\u003c/p>\n\u003cp>Moock is protesting by turning down his nomination. So are fellow acts Dog on Fleas and the Okee Dokee Brothers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We thought that it was the strongest thing we could do, to stand with people of color whose albums are too often left out of the Grammy nominations,” says Joe Mailander, one of the Okee Dokee Brothers. He hopes to expand notions of what children’s music is. “This is not just white guys with guitars playing for kids. We want to welcome all different types of music to this community.”\u003c/p>\n\u003cp>The Okee Dokee Brothers, Moock and Dog on Fleas—all “white guys with guitars”—sent a letter to the Recording Academy asking that their names be removed from the final Grammy ballots. They wrote they “couldn’t in good conscience benefit from a process that has historically overlooked women and artists of color.”\u003c/p>\n\u003cp>The other Okee Dokee Brother, Justin Lansing, said they felt a special responsibility to ask for change in a genre “tasked with modeling fairness and kindness to kids and families.”\u003c/p>\n\u003cp>Last month, the nominees met with the Recording Academy’s new CEO, Harvey Mason Jr., and its first ever Chief Diversity, Equity and Inclusion officer, Valeisha Butterfield Jones.\u003c/p>\n\u003cp>“We’re an organization that’s ready for change but you know, we’re not unique to the challenges of the world and to the challenges of our industry,” Butterfield Jones says of the 63-year-old organization being revamped. “I think it’s time. You know, we saw in 2020 a racial reckoning. So now, you know, it’s, you know, up to us what we’re going to do to take real and meaningful action.”\u003c/p>\n\u003cp>Butterfield Jones says since she started her job in May, she’s been looking for ways to increase diversity among the Academy’s membership and in the Grammy’s secret nominating committees. The Academy recently partnered with the racial justice group Color of Change to begin holding itself and record labels more accountable. They’re pushing for more transparency at the Academy and support for artists, especially those who are Black.\u003c/p>\n\u003cp>“We have made a very clear and firm commitment to diversity, equity and inclusion as a part of our core values,” Butterfield Jones says. “I think many of the actions that we’ve taken and have put into place are signs of that. But we still have a lot of work left to do.”\u003c/p>\n\u003cp>Family Music Forward, a collective whose mission is to amplify Black voices in children’s music, was also invited to the Recording Academy meetings last month.\u003c/p>\n\u003cp>“We had the floor, and we had the opportunity to voice our concerns. They definitely responded with a sense of urgency,” says Aaron Nigel Smith, a founding member of Family Music Forward.\u003c/p>\n\u003cp>The collective formed in early 2020, inspired by the Black Lives Matter movement. Smith says the Academy seemed open to recommendations such as restructuring the nominating committees.\u003c/p>\n\u003cp>“We left it in a very hopeful tone that we can keep a discussion going and work together to increase membership with people of color in the academy,” Smith says. He hopes the Academy can add more people “voting for projects that don’t necessarily sound like the mainstream, that might sound like [they’ve] got an African vibe or reggae vibe or a hip hop vibe.”\u003c/p>\n\u003cp>All of the musicians interviewed for this story agreed that Pierce Freelon should have been nominated this year for his critically-acclaimed album \u003cem>D.A.D.\u003c/em>, which has elements of hip hop, jazz, electronic and Afro Caribbean rhythms.\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/jmrbyfL2dSY'\n title='//www.youtube.com/embed/jmrbyfL2dSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Freelon appreciated the stance the Grammy nominees took to support diverse artists. “I just couldn’t think of another example in my memory of white men specifically revoking their privilege in this way,” he says.\u003c/p>\n\u003cp>He points to other non-white artists who should be on the Grammy’s radar: Saul Paul, a rapper from Texas; Uno, Dos, Tres Andres, a bilingual singer born in Colombia; and the R&B Soul band Shine and the Moonbeams. He also thought about the 96-year-old folk singer Ella Jenkins.\u003c/p>\n\u003cp>“She’s probably the most prolific and foundational person in children’s music. And she’s a Black woman. But guess what? She’s never won a Grammy Award through the Recording Academy process,” Freelon says. “They had to give her an honorary lifetime achievement award, but she actually never got that recognition from her peers in the industry.”\u003c/p>\n\u003cp>One of the two Grammy nominees who decided to remain on the ballot is Joanie Leeds. Her ninth children’s folk music album is titled \u003cem>For All The Ladies\u003c/em>.\u003c/p>\n\u003cp>“I didn’t decline because my album is really about empowering young women. I mean, I have 20 women on my album. So for us, it was like it was kind of counter to our empowering women message to step down,” Leeds says. “I know that this is really about the guys that dropped out, but I feel like a lot of times women are kind of left on the side. It’s a shame. I wish there was more equality with women.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other nominees and Family Music Forward say they support Leeds’s decision. Next year, they expect to see more women and people of color up for Grammy Awards.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+Grammy+Contenders+Share+Outrage+At+All-White+Category%2C+Decline+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Wonder Woman 1984' and the One-Villain-Too-Many Problem",
"headTitle": "‘Wonder Woman 1984’ and the One-Villain-Too-Many Problem | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Wonder Woman 1984\u003c/strong>\u003c/em>\u003cstrong> premieres in theaters and on HBO Max on December 25.\u003c/strong>\u003c/p>\n\u003cp>As much as 2017’s \u003cem>Wonder Woman\u003c/em> came steeped in muddy browns and muted grays, every frame of its sequel \u003cem>Wonder Woman 1984, \u003c/em>radiates bright, retina-sizzling neons and pastels. That stark contrast goes beyond their respective visuals—it extends to their very different emotional landscapes and narrative drives.\u003c/p>\n\u003cp>Where \u003cem>Wonder Woman\u003c/em> was an origin story set largely amid the soggy trenches and bombed-out European villages of World War I, \u003cem>WW84\u003c/em> relocates Diana (Gal Gadot) to the broad white boulevards of Washington, DC in the middle of the Greed Decade. As a kind of mission statement, director Patty Jenkins stages the film’s first (of, it should be noted, surprisingly few) action set-pieces in that most consumerist, \u003cem>I-Love-The-’80s\u003c/em> location possible: A mall. (As you watch that scene play itself out, try to keep yourself from knowing that all of Wonder Woman’s feats of jumping and punching and Magic Lasso-ing are unfolding in a place that smells strongly of hot dogs and cinnamon rolls and orange chicken; just try.) [aside postid='pop_101858']\u003c/p>\n\u003cp>As intentionally grimy as \u003cem>Wonder Woman\u003c/em> looked, its story was clean and linear: Diana left her home on the Amazon hideaway of Themyscira to stop a war engineered by a god who fed on the senseless destruction it wreaked.\u003c/p>\n\u003cp>You perhaps spot a contradiction already: She fights … to keep people from fighting?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welcome to the character of Wonder Woman, Warrior for Peace, historically difficult needle to thread. Originally created with the best, most morally clear purpose any superhero could possess—namely to punch Nazis in the face, a whole lot, with verve and elan—she represents a fundamental paradox. She exists to embody the capacity for violence (enormous physical power combined with advanced military training) yet she solves problems through compassion, empathy and, mostly, Truth.\u003c/p>\n\u003cp>Sounds a bit gender-essentialist, no? Why can’t a woman be a badass, delivering savage beatdowns to those who deserve them? The good news is that, in recent decades especially, she has been, and she does. Jenkins picked up on this, which is why those scenes in which Diana finally gets to let loose are the most thrilling in either movie; Gadot’s handle on the physical demands of the role is sure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XW2E2Fnh52w\u003c/p>\n\u003cp>All of this feeds into the three reasons why \u003cem>WW84\u003c/em>, while entertaining and frequently funny, lacks the propulsive drive of its predecessor.\u003c/p>\n\u003ch3>1. CGI\u003c/h3>\n\u003cp>It’s a hoary critique of superhero movies that their computer-generated effects look gleamingly artificial and dull. \u003cem>Wonder Woman\u003c/em>‘s focus on practical fight choreography meant it could have dodged (or, more fittingly, deflected) that critical bullet, had its climactic all-CGI fight scene not devolved into visual incoherence.\u003c/p>\n\u003cp>\u003cem>WW84\u003c/em>, however, sets up camp in the uncanny valley in its opening minutes. A sun-drenched flashback on Themyscira features computer-generated figures performing physical feats with a false weightlessness that defies both gravity and sense. The film’s climax—another CGI slugfest—takes place at night, which is a bit more forgiving, though not much.\u003c/p>\n\u003ch3>2. (Superhero Cinematic) History, Repeating\u003c/h3>\n\u003cp>The superhero film genre has been around for at least half a century, depending on whom you ask, and what strikes you watching \u003cem>WW84 \u003c/em>in the year of our lord 2020 is how it still hasn’t learned the most essential lesson of all:\u003c/p>\n\u003cp>When it comes to villains, more is less.\u003c/p>\n\u003cp>Pick one, and stick with it. Give them enough motivation, and screentime, to make an impact. Have them stand in clear moral opposition to the hero, and move the story forward. [aside postid='pop_12290']\u003c/p>\n\u003cp>Loading up on villains \u003cem>can \u003c/em>work, of course, but only under specific conditions: Tim Burton’s 1992 film \u003cem>Batman Returns\u003c/em> famously recruited both Catwoman and the Penguin to great effect—but both of those characters had already established significant cultural footprints: beloved by Nerds, recognizable by Normals.\u003c/p>\n\u003cp>The same, it cannot be said, of \u003cem>WW84\u003c/em>‘s Barbara Minerva (Kristen Wiig) and, especially, Maxwell Lord (a shockingly uncharismatic—nay, \u003cem>acharismatic—\u003c/em>Pedro Pascal). Wiig brings a great comic timing to the film’s first half, when her squirrelly anthropologist befriends Diana and—not uncoincidentally—comes into her power. It’s nothing you haven’t seen her do before, but credit should be given to both the actor and the script for finding a way in to a villain that only a handful of comics writers have managed to make effective.\u003c/p>\n\u003cp>Pascal, on the other hand, flounders as Lord. Granted, that’s part of the character’s whole schtick—a desperate huckster who’s grasping at anything to stay afloat—but Pascal seems wildly miscast, and his willingness to hurl himself bodily into Lord’s tortured distress only exacerbates that impression.\u003c/p>\n\u003ch3>3. Too Many (Grace) Notes\u003c/h3>\n\u003cp>Jenkins and her fellow screenwriters Geoff Johns and Dave Callaham clearly know Diana’s whole Warrior for Peace schtick (Johns, especially, as he’s clocked serious field time with DC and its IP). Which might explain, but not excuse, the script’s tendency to keep slowing down to supply Wiig and Pascal with scenes duly apportioned with emotional beats, psychological motivations and characterizing details. It’s a good impulse, in theory, especially when you keep in mind that they’re in the script to expressly set up Diana’s efforts to defeat these villains. She wins the day, after all, by reaching out to their innermost conflicts, understanding what drives them, and forcing them to confront the Truth about themselves.\u003c/p>\n\u003cp>Again: On paper—on the comics page, especially—it works. In an action movie, however, when you’ve got two villains, each outfitted with their discrete sets of grace notes that must be churned through, those scenes keep piling up and piling up and cannot help but muddy the waters and crowd out the spectacle we clamor for.\u003c/p>\n\u003cp>Still, though: \u003cem>WW84\u003c/em> is entertaining, Gadot nails the character and her contradictory nature, and Chris Pine shows up (never mind how) to reestablish, and further, the two actors’ easy, charming onscreen chemistry. [aside postid='pop_101544']\u003c/p>\n\u003cp>Plus? Not for nothing? If you grew up with the Lynda Carter Wonder Woman, and/or the \u003cem>Super Friends\u003c/em> Saturday morning cartoon, you’ll want to wait for the moment, one hour and ten minutes in to the film’s running time, when something happens. A something that would, in a crowded, opening-night theater, elicit a spontaneous cheer of pure, unfettered nerd-joy—a phenomenon unique to the superhero film genre, and its greatest gift to the world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But just know: That moment retains a not insignificant fraction of its essential power, even if you’re just sitting on your couch scarfing pretzels.\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=%27Wonder+Woman+1984%27+And+The+One-Villain-Too-Many+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Wonder Woman 1984\u003c/strong>\u003c/em>\u003cstrong> premieres in theaters and on HBO Max on December 25.\u003c/strong>\u003c/p>\n\u003cp>As much as 2017’s \u003cem>Wonder Woman\u003c/em> came steeped in muddy browns and muted grays, every frame of its sequel \u003cem>Wonder Woman 1984, \u003c/em>radiates bright, retina-sizzling neons and pastels. That stark contrast goes beyond their respective visuals—it extends to their very different emotional landscapes and narrative drives.\u003c/p>\n\u003cp>Where \u003cem>Wonder Woman\u003c/em> was an origin story set largely amid the soggy trenches and bombed-out European villages of World War I, \u003cem>WW84\u003c/em> relocates Diana (Gal Gadot) to the broad white boulevards of Washington, DC in the middle of the Greed Decade. As a kind of mission statement, director Patty Jenkins stages the film’s first (of, it should be noted, surprisingly few) action set-pieces in that most consumerist, \u003cem>I-Love-The-’80s\u003c/em> location possible: A mall. (As you watch that scene play itself out, try to keep yourself from knowing that all of Wonder Woman’s feats of jumping and punching and Magic Lasso-ing are unfolding in a place that smells strongly of hot dogs and cinnamon rolls and orange chicken; just try.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As intentionally grimy as \u003cem>Wonder Woman\u003c/em> looked, its story was clean and linear: Diana left her home on the Amazon hideaway of Themyscira to stop a war engineered by a god who fed on the senseless destruction it wreaked.\u003c/p>\n\u003cp>You perhaps spot a contradiction already: She fights … to keep people from fighting?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Welcome to the character of Wonder Woman, Warrior for Peace, historically difficult needle to thread. Originally created with the best, most morally clear purpose any superhero could possess—namely to punch Nazis in the face, a whole lot, with verve and elan—she represents a fundamental paradox. She exists to embody the capacity for violence (enormous physical power combined with advanced military training) yet she solves problems through compassion, empathy and, mostly, Truth.\u003c/p>\n\u003cp>Sounds a bit gender-essentialist, no? Why can’t a woman be a badass, delivering savage beatdowns to those who deserve them? The good news is that, in recent decades especially, she has been, and she does. Jenkins picked up on this, which is why those scenes in which Diana finally gets to let loose are the most thrilling in either movie; Gadot’s handle on the physical demands of the role is sure.\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/XW2E2Fnh52w'\n title='//www.youtube.com/embed/XW2E2Fnh52w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this feeds into the three reasons why \u003cem>WW84\u003c/em>, while entertaining and frequently funny, lacks the propulsive drive of its predecessor.\u003c/p>\n\u003ch3>1. CGI\u003c/h3>\n\u003cp>It’s a hoary critique of superhero movies that their computer-generated effects look gleamingly artificial and dull. \u003cem>Wonder Woman\u003c/em>‘s focus on practical fight choreography meant it could have dodged (or, more fittingly, deflected) that critical bullet, had its climactic all-CGI fight scene not devolved into visual incoherence.\u003c/p>\n\u003cp>\u003cem>WW84\u003c/em>, however, sets up camp in the uncanny valley in its opening minutes. A sun-drenched flashback on Themyscira features computer-generated figures performing physical feats with a false weightlessness that defies both gravity and sense. The film’s climax—another CGI slugfest—takes place at night, which is a bit more forgiving, though not much.\u003c/p>\n\u003ch3>2. (Superhero Cinematic) History, Repeating\u003c/h3>\n\u003cp>The superhero film genre has been around for at least half a century, depending on whom you ask, and what strikes you watching \u003cem>WW84 \u003c/em>in the year of our lord 2020 is how it still hasn’t learned the most essential lesson of all:\u003c/p>\n\u003cp>When it comes to villains, more is less.\u003c/p>\n\u003cp>Pick one, and stick with it. Give them enough motivation, and screentime, to make an impact. Have them stand in clear moral opposition to the hero, and move the story forward. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Loading up on villains \u003cem>can \u003c/em>work, of course, but only under specific conditions: Tim Burton’s 1992 film \u003cem>Batman Returns\u003c/em> famously recruited both Catwoman and the Penguin to great effect—but both of those characters had already established significant cultural footprints: beloved by Nerds, recognizable by Normals.\u003c/p>\n\u003cp>The same, it cannot be said, of \u003cem>WW84\u003c/em>‘s Barbara Minerva (Kristen Wiig) and, especially, Maxwell Lord (a shockingly uncharismatic—nay, \u003cem>acharismatic—\u003c/em>Pedro Pascal). Wiig brings a great comic timing to the film’s first half, when her squirrelly anthropologist befriends Diana and—not uncoincidentally—comes into her power. It’s nothing you haven’t seen her do before, but credit should be given to both the actor and the script for finding a way in to a villain that only a handful of comics writers have managed to make effective.\u003c/p>\n\u003cp>Pascal, on the other hand, flounders as Lord. Granted, that’s part of the character’s whole schtick—a desperate huckster who’s grasping at anything to stay afloat—but Pascal seems wildly miscast, and his willingness to hurl himself bodily into Lord’s tortured distress only exacerbates that impression.\u003c/p>\n\u003ch3>3. Too Many (Grace) Notes\u003c/h3>\n\u003cp>Jenkins and her fellow screenwriters Geoff Johns and Dave Callaham clearly know Diana’s whole Warrior for Peace schtick (Johns, especially, as he’s clocked serious field time with DC and its IP). Which might explain, but not excuse, the script’s tendency to keep slowing down to supply Wiig and Pascal with scenes duly apportioned with emotional beats, psychological motivations and characterizing details. It’s a good impulse, in theory, especially when you keep in mind that they’re in the script to expressly set up Diana’s efforts to defeat these villains. She wins the day, after all, by reaching out to their innermost conflicts, understanding what drives them, and forcing them to confront the Truth about themselves.\u003c/p>\n\u003cp>Again: On paper—on the comics page, especially—it works. In an action movie, however, when you’ve got two villains, each outfitted with their discrete sets of grace notes that must be churned through, those scenes keep piling up and piling up and cannot help but muddy the waters and crowd out the spectacle we clamor for.\u003c/p>\n\u003cp>Still, though: \u003cem>WW84\u003c/em> is entertaining, Gadot nails the character and her contradictory nature, and Chris Pine shows up (never mind how) to reestablish, and further, the two actors’ easy, charming onscreen chemistry. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plus? Not for nothing? If you grew up with the Lynda Carter Wonder Woman, and/or the \u003cem>Super Friends\u003c/em> Saturday morning cartoon, you’ll want to wait for the moment, one hour and ten minutes in to the film’s running time, when something happens. A something that would, in a crowded, opening-night theater, elicit a spontaneous cheer of pure, unfettered nerd-joy—a phenomenon unique to the superhero film genre, and its greatest gift to the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just know: That moment retains a not insignificant fraction of its essential power, even if you’re just sitting on your couch scarfing pretzels.\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=%27Wonder+Woman+1984%27+And+The+One-Villain-Too-Many+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Successful, Sentimental and Satirized, 'Love Story' Celebrates 50th Anniversary",
"headTitle": "Successful, Sentimental and Satirized, ‘Love Story’ Celebrates 50th Anniversary | KQED",
"content": "\u003cp>Fifty years ago, a simple but tragic love story became a global sensation that stunned the entertainment industry. \u003cem>Love Story\u003c/em>, the romantic tearjerker starring Ryan O’Neal and Ali MacGraw, broke box office records and the book it was based on was a bestseller that was translated into more than 30 languages.\u003c/p>\n\u003cp>“What can you say about a 25-year-old girl who dies?” So begins the novel and screenplay, both written by Erich Segal.\u003c/p>\n\u003cp>In December, 1970, in the midst of the Vietnam War and the continuing fight for Civil Rights—along came an “unabashedly sentimental” story “about the power of love,” says Segal’s daughter, writer Francesca Segal. It was “genuine and earnest and I think it just struck a chord,” she says. The \u003ca href=\"https://www.harpercollins.com/products/love-story-50th-anniversary-edition-erich-segal?variant=32128735903778\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary edition of the novel\u003c/a> \u003cem>Love Story\u003c/em> includes an introduction by Francesca.\u003c/p>\n\u003cp>Erich Segal was 30 years old and a professor at Yale when he wrote the 131-page \u003cem>Love Story.\u003c/em> The idea came when he learned that one of his former students was just 25 when he lost his wife to cancer. Oliver Barrett IV, played by Ryan O’Neal in the movie, is a sensitive, rich kid and a Harvard hockey player. The \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2013/10/10/al-gore-vs-terry-lenzner-who-was-the-real-oliver-of-love-story/\" target=\"_blank\" rel=\"noopener noreferrer\">inspiration\u003c/a> for Oliver has been the source of intrigue and even controversy. Segal said Oliver was partly modeled after Al Gore, but mostly after Tommy Lee Jones (who also has a part in the movie). Segal got to know both men when they were all students at Harvard together. Some years later, Segal said he modeled Oliver after Watergate investigator \u003ca href=\"https://www.nytimes.com/2020/04/29/us/politics/terry-lenzner-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Lenzner\u003c/a>.\u003c/p>\n\u003cp>Jenny, played by MacGraw, is a sassy, working-class baker’s daughter who goes to Radcliffe and works in the library. In 1970, \u003ca href=\"https://www.nytimes.com/1997/12/14/us/author-of-love-story-disputes-a-gore-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Segal told \u003cem>The New York Times\u003c/em>\u003c/a> Jenny was modeled after a woman he dated while he was a student at Harvard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ollie, you’re a preppie millionaire, and I’m a social zero,” Jenny teases.\u003c/p>\n\u003cp>They were gorgeous to look at as they frolic in the snow, argue, fall deeply in love and marry, despite the disapproval of Oliver’s father. Just as they start a new life together, Jenny learns she has a fatal blood disease and dies. (Only in the book is the disease identified as leukemia.)\u003c/p>\n\u003cp>“It was cliché, but it worked,” says Ali MacGraw. “And everybody was completely flabbergasted when it had the reception that it had, which was right away,” she remembers.\u003c/p>\n\u003cp>People flocked to see \u003cem>Love Story\u003c/em> when it was released widely on Christmas Day, with numerous accounts of people waiting in long lines at the box office. Movie attendance had been down in 1970. \u003cem>The Los Angeles Times \u003c/em>called \u003cem>Love Story\u003c/em> a “phenomenon” that was a “boon” to the “embattled” studio Paramount and “evidence people … still want to go to the movies in vast numbers.” The film, directed by Arthur Hiller, was nominated for seven Oscars, winning one for Francis Lai’s original score. It won five Golden Globes, including Best Drama and Best Actress and Actor for MacGraw and O’Neal respectively. \u003ca href=\"http://www.glamamor.com/2010/10/inspiration-ali-macgraw-in-love-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">MacGraw\u003c/a> quickly became a fashion icon.\u003c/p>\n\u003cp>Bestselling romance writer \u003ca href=\"https://susanelizabethphillips.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Susan Elizabeth Phillips\u003c/a> says just about everyone she knew saw the movie after first reading the book.\u003c/p>\n\u003cp>Phillips, who was in her early 20s when the book and movie came out, also recalls the sobs. “\u003cem>Love Story\u003c/em> was an ugly cry,” she says.\u003c/p>\n\u003cp>“I remember when I read it, of course dissolving in tears,” says Phillips. “I read it to my boyfriend at the time, read it out loud to him, sobbing through the whole thing. We’ve now been married for 50 years.” Phillips says her husband doesn’t remember any of this. “So that’s a blessing,” she jokes.\u003c/p>\n\u003cp>As for \u003cem>Love Story’s\u003c/em> very famous, oft-ridiculed line, “Love means never having to say you’re sorry,” even MacGraw says she didn’t know what it meant at the time. But now, years later, she finds truth in it: “Saying sorry isn’t what it’s about. It’s about really feeling badly for the hurt … and then absolutely trying never to do it again. So there’s a lot of work more than, ‘Gee, I’m sorry,’ and then scooting outside to get on your bike and ride into the fall leaves or whatever.”\u003c/p>\n\u003cp>Still, MacGraw wishes she’d asked about the meaning 50 years ago during filming: “It’s an insane line. But I said it. And I live with it!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P-4jKZ3X1zQ&feature=emb_logo\u003c/p>\n\u003cp>MacGraw also lives with the many parodies \u003cem>Love Story\u003c/em> inspired. Her personal favorite is by \u003ca href=\"https://www.youtube.com/watch?v=oJCO3hh7bAg&list=RDoJCO3hh7bAg&start_radio=1&t=270\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Burnett\u003c/a> and Harvey Korman. “Fabulous,” says MacGraw. In an episode of \u003cem>The Simpsons,\u003c/em> Homer and Marge are big fans of the movie and force their kids to watch it. They don’t get it at all. When Bart hears the opening line, “What can you say about a 25-year-old girl who dies,” he blurts out, “I say bury her before she starts to smell!” Homer and Marge are appalled.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oJCO3hh7bAg&feature=emb_log\u003c/p>\n\u003cp>Many a Simpson writer attended Harvard where \u003cem>Love Story\u003c/em> was filmed and where it is \u003ca href=\"https://www.nytimes.com/2010/08/22/movies/22love.html\" target=\"_blank\" rel=\"noopener noreferrer\">still lampooned\u003c/a> to this day. The school’s Crimson Key Society puts on an annual, \u003cem>Rocky Horror\u003c/em>-style screening for first-year students (this year’s was canceled due to the pandemic). Older students dress up like hippies and heckle the screen from beginning to end. Junior Davis Bailey, president of the Crimson Key Society, says they make fun of everything about it. “Basically every ten seconds or so we have a line that, collectively or individually, some of us will shout out at the screen or we do something that we act out,” says Bailey. “Because the movie is definitely very sappy.”\u003c/p>\n\u003cp>“Sappy” is how some critics felt about \u003cem>Love Story\u003c/em> way back in 1970. “Phony,” “cliché,” “contrived” were some of the words they used.\u003c/p>\n\u003cp>And here’s where Erich Segal’s best-known work becomes an example of what happens when popular culture and academia collide.\u003c/p>\n\u003cp>Segal, the son of a rabbi, grew up in New York. While \u003cem>Love Story\u003c/em> was embraced by the masses, Segal also wrote scholarly \u003ca href=\"https://erichsegal.com/scholarship/\" target=\"_blank\" rel=\"noopener noreferrer\">works\u003c/a> on Plato and Plautus and his lectures at Yale were hugely popular. “Electrifying” is how one of his students, \u003ca href=\"https://www.washingtonpost.com/doonesbury/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doonesbury \u003c/em>\u003c/a>creator Garry Trudeau, described him. But in 1972, Segal was denied tenure at Yale. “It wasn’t fair,” Trudeau told the \u003ca href=\"https://yalealumnimagazine.com/articles/2854-erich-segal-s-yale-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yale Alumni Magazine\u003c/em>\u003c/a> in 2010, shortly after Segal’s death, “but you can’t dress up in tight leather pants to chat with starlets on \u003cem>Johnny Carson \u003c/em>Friday night and expect to be taken seriously in a classroom Monday morning.” Yale denies that the popular and commercial success of Segal’s \u003cem>Love Story’s\u003c/em> had anything to do with its decision.\u003c/p>\n\u003cp>Francesca Segal says her father was, “for a long time, completely and absolutely devastated and heartbroken that he didn’t make tenure at Yale.” She believes one of the reasons \u003cem>Love Story\u003c/em> touched so many people is because her father “didn’t have a cynical bone in his body,” and that he wrote from his heart.\u003c/p>\n\u003cp>Romance fiction writer Susan Elizabeth Phillips says critics back in 1970 had an aversion to just about anything that was embraced by the masses. “The fact that a work of art, which that book is, evokes this strong emotion was something that the literati at the time looked down on,” says Phillips. “The experience was supposed to be cerebral. It wasn’t supposed to be emotional.”\u003c/p>\n\u003cp>If nothing else, \u003cem>Love Story\u003c/em> is definitely emotional. Reviewing the film, Roger Ebert called it a “a three-, four-or five-handkerchief movie.” \u003cem>Le Monde\u003c/em> wrote it was the novel that “no one dared to write, but everyone was waiting to read.”\u003c/p>\n\u003cfigure id=\"attachment_13890748\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png\" alt=\"'Love Story' stars Ryan O'Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016.\" width=\"769\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM-160x89.png 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Story’ stars Ryan O’Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016. \u003ccite>(Elise Amendola/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when people could use a good cry, Ali MacGraw wonders if today’s audiences have the patience for a simple story about love and loss.\u003c/p>\n\u003cp>“The terrifying thing about this ever more automaton world that we’re walking into,” she says, is “that we’re functioning as opposed to feeling. And I think there’s a big difference.”\u003c/p>\n\u003cp>Still, MacGraw says, to this day, she hears from people who remember being deeply moved by \u003cem>Love Story\u003c/em>. “Always somebody comes up and says, ‘Oh, you were in that movie, why aren’t you guys making another one?’ Of course, the fact that I’m dead and considerably older probably hasn’t computed,” she laughs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\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=Successful%2C+Sentimental+And+Satirized%2C+%27Love+Story%27+Celebrates+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, a simple but tragic love story became a global sensation that stunned the entertainment industry. \u003cem>Love Story\u003c/em>, the romantic tearjerker starring Ryan O’Neal and Ali MacGraw, broke box office records and the book it was based on was a bestseller that was translated into more than 30 languages.\u003c/p>\n\u003cp>“What can you say about a 25-year-old girl who dies?” So begins the novel and screenplay, both written by Erich Segal.\u003c/p>\n\u003cp>In December, 1970, in the midst of the Vietnam War and the continuing fight for Civil Rights—along came an “unabashedly sentimental” story “about the power of love,” says Segal’s daughter, writer Francesca Segal. It was “genuine and earnest and I think it just struck a chord,” she says. The \u003ca href=\"https://www.harpercollins.com/products/love-story-50th-anniversary-edition-erich-segal?variant=32128735903778\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary edition of the novel\u003c/a> \u003cem>Love Story\u003c/em> includes an introduction by Francesca.\u003c/p>\n\u003cp>Erich Segal was 30 years old and a professor at Yale when he wrote the 131-page \u003cem>Love Story.\u003c/em> The idea came when he learned that one of his former students was just 25 when he lost his wife to cancer. Oliver Barrett IV, played by Ryan O’Neal in the movie, is a sensitive, rich kid and a Harvard hockey player. The \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2013/10/10/al-gore-vs-terry-lenzner-who-was-the-real-oliver-of-love-story/\" target=\"_blank\" rel=\"noopener noreferrer\">inspiration\u003c/a> for Oliver has been the source of intrigue and even controversy. Segal said Oliver was partly modeled after Al Gore, but mostly after Tommy Lee Jones (who also has a part in the movie). Segal got to know both men when they were all students at Harvard together. Some years later, Segal said he modeled Oliver after Watergate investigator \u003ca href=\"https://www.nytimes.com/2020/04/29/us/politics/terry-lenzner-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Lenzner\u003c/a>.\u003c/p>\n\u003cp>Jenny, played by MacGraw, is a sassy, working-class baker’s daughter who goes to Radcliffe and works in the library. In 1970, \u003ca href=\"https://www.nytimes.com/1997/12/14/us/author-of-love-story-disputes-a-gore-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Segal told \u003cem>The New York Times\u003c/em>\u003c/a> Jenny was modeled after a woman he dated while he was a student at Harvard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ollie, you’re a preppie millionaire, and I’m a social zero,” Jenny teases.\u003c/p>\n\u003cp>They were gorgeous to look at as they frolic in the snow, argue, fall deeply in love and marry, despite the disapproval of Oliver’s father. Just as they start a new life together, Jenny learns she has a fatal blood disease and dies. (Only in the book is the disease identified as leukemia.)\u003c/p>\n\u003cp>“It was cliché, but it worked,” says Ali MacGraw. “And everybody was completely flabbergasted when it had the reception that it had, which was right away,” she remembers.\u003c/p>\n\u003cp>People flocked to see \u003cem>Love Story\u003c/em> when it was released widely on Christmas Day, with numerous accounts of people waiting in long lines at the box office. Movie attendance had been down in 1970. \u003cem>The Los Angeles Times \u003c/em>called \u003cem>Love Story\u003c/em> a “phenomenon” that was a “boon” to the “embattled” studio Paramount and “evidence people … still want to go to the movies in vast numbers.” The film, directed by Arthur Hiller, was nominated for seven Oscars, winning one for Francis Lai’s original score. It won five Golden Globes, including Best Drama and Best Actress and Actor for MacGraw and O’Neal respectively. \u003ca href=\"http://www.glamamor.com/2010/10/inspiration-ali-macgraw-in-love-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">MacGraw\u003c/a> quickly became a fashion icon.\u003c/p>\n\u003cp>Bestselling romance writer \u003ca href=\"https://susanelizabethphillips.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Susan Elizabeth Phillips\u003c/a> says just about everyone she knew saw the movie after first reading the book.\u003c/p>\n\u003cp>Phillips, who was in her early 20s when the book and movie came out, also recalls the sobs. “\u003cem>Love Story\u003c/em> was an ugly cry,” she says.\u003c/p>\n\u003cp>“I remember when I read it, of course dissolving in tears,” says Phillips. “I read it to my boyfriend at the time, read it out loud to him, sobbing through the whole thing. We’ve now been married for 50 years.” Phillips says her husband doesn’t remember any of this. “So that’s a blessing,” she jokes.\u003c/p>\n\u003cp>As for \u003cem>Love Story’s\u003c/em> very famous, oft-ridiculed line, “Love means never having to say you’re sorry,” even MacGraw says she didn’t know what it meant at the time. But now, years later, she finds truth in it: “Saying sorry isn’t what it’s about. It’s about really feeling badly for the hurt … and then absolutely trying never to do it again. So there’s a lot of work more than, ‘Gee, I’m sorry,’ and then scooting outside to get on your bike and ride into the fall leaves or whatever.”\u003c/p>\n\u003cp>Still, MacGraw wishes she’d asked about the meaning 50 years ago during filming: “It’s an insane line. But I said it. And I live with it!”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P-4jKZ3X1zQ'\n title='//www.youtube.com/embed/P-4jKZ3X1zQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>MacGraw also lives with the many parodies \u003cem>Love Story\u003c/em> inspired. Her personal favorite is by \u003ca href=\"https://www.youtube.com/watch?v=oJCO3hh7bAg&list=RDoJCO3hh7bAg&start_radio=1&t=270\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Burnett\u003c/a> and Harvey Korman. “Fabulous,” says MacGraw. In an episode of \u003cem>The Simpsons,\u003c/em> Homer and Marge are big fans of the movie and force their kids to watch it. They don’t get it at all. When Bart hears the opening line, “What can you say about a 25-year-old girl who dies,” he blurts out, “I say bury her before she starts to smell!” Homer and Marge are appalled.\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/oJCO3hh7bAg'\n title='//www.youtube.com/embed/oJCO3hh7bAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many a Simpson writer attended Harvard where \u003cem>Love Story\u003c/em> was filmed and where it is \u003ca href=\"https://www.nytimes.com/2010/08/22/movies/22love.html\" target=\"_blank\" rel=\"noopener noreferrer\">still lampooned\u003c/a> to this day. The school’s Crimson Key Society puts on an annual, \u003cem>Rocky Horror\u003c/em>-style screening for first-year students (this year’s was canceled due to the pandemic). Older students dress up like hippies and heckle the screen from beginning to end. Junior Davis Bailey, president of the Crimson Key Society, says they make fun of everything about it. “Basically every ten seconds or so we have a line that, collectively or individually, some of us will shout out at the screen or we do something that we act out,” says Bailey. “Because the movie is definitely very sappy.”\u003c/p>\n\u003cp>“Sappy” is how some critics felt about \u003cem>Love Story\u003c/em> way back in 1970. “Phony,” “cliché,” “contrived” were some of the words they used.\u003c/p>\n\u003cp>And here’s where Erich Segal’s best-known work becomes an example of what happens when popular culture and academia collide.\u003c/p>\n\u003cp>Segal, the son of a rabbi, grew up in New York. While \u003cem>Love Story\u003c/em> was embraced by the masses, Segal also wrote scholarly \u003ca href=\"https://erichsegal.com/scholarship/\" target=\"_blank\" rel=\"noopener noreferrer\">works\u003c/a> on Plato and Plautus and his lectures at Yale were hugely popular. “Electrifying” is how one of his students, \u003ca href=\"https://www.washingtonpost.com/doonesbury/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doonesbury \u003c/em>\u003c/a>creator Garry Trudeau, described him. But in 1972, Segal was denied tenure at Yale. “It wasn’t fair,” Trudeau told the \u003ca href=\"https://yalealumnimagazine.com/articles/2854-erich-segal-s-yale-story\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Yale Alumni Magazine\u003c/em>\u003c/a> in 2010, shortly after Segal’s death, “but you can’t dress up in tight leather pants to chat with starlets on \u003cem>Johnny Carson \u003c/em>Friday night and expect to be taken seriously in a classroom Monday morning.” Yale denies that the popular and commercial success of Segal’s \u003cem>Love Story’s\u003c/em> had anything to do with its decision.\u003c/p>\n\u003cp>Francesca Segal says her father was, “for a long time, completely and absolutely devastated and heartbroken that he didn’t make tenure at Yale.” She believes one of the reasons \u003cem>Love Story\u003c/em> touched so many people is because her father “didn’t have a cynical bone in his body,” and that he wrote from his heart.\u003c/p>\n\u003cp>Romance fiction writer Susan Elizabeth Phillips says critics back in 1970 had an aversion to just about anything that was embraced by the masses. “The fact that a work of art, which that book is, evokes this strong emotion was something that the literati at the time looked down on,” says Phillips. “The experience was supposed to be cerebral. It wasn’t supposed to be emotional.”\u003c/p>\n\u003cp>If nothing else, \u003cem>Love Story\u003c/em> is definitely emotional. Reviewing the film, Roger Ebert called it a “a three-, four-or five-handkerchief movie.” \u003cem>Le Monde\u003c/em> wrote it was the novel that “no one dared to write, but everyone was waiting to read.”\u003c/p>\n\u003cfigure id=\"attachment_13890748\" class=\"wp-caption aligncenter\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png\" alt=\"'Love Story' stars Ryan O'Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016.\" width=\"769\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM.png 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-22-at-4.37.34-PM-160x89.png 160w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Story’ stars Ryan O’Neal and Ali MacGraw walk on the campus of Harvard University in Cambridge, Mass., in Feb. 2016. \u003ccite>(Elise Amendola/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time when people could use a good cry, Ali MacGraw wonders if today’s audiences have the patience for a simple story about love and loss.\u003c/p>\n\u003cp>“The terrifying thing about this ever more automaton world that we’re walking into,” she says, is “that we’re functioning as opposed to feeling. And I think there’s a big difference.”\u003c/p>\n\u003cp>Still, MacGraw says, to this day, she hears from people who remember being deeply moved by \u003cem>Love Story\u003c/em>. “Always somebody comes up and says, ‘Oh, you were in that movie, why aren’t you guys making another one?’ Of course, the fact that I’m dead and considerably older probably hasn’t computed,” she laughs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\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=Successful%2C+Sentimental+And+Satirized%2C+%27Love+Story%27+Celebrates+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"title": "Holiday Rom-Coms Go Beyond Diversity to Center New Christmas Stars",
"headTitle": "Holiday Rom-Coms Go Beyond Diversity to Center New Christmas Stars | KQED",
"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",
"headTitle": "George Clooney Says ‘Midnight Sky’ is About ‘Our Desperate Need’ to Be With Loved Ones | KQED",
"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",
"headTitle": "‘Ma Rainey’s Black Bottom’ Shines a Light on August Wilson’s Vision | KQED",
"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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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