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"content": "\u003cp>In the opening pages of the 1994 Canadian novel \u003cem>Funny Boy\u003c/em>, a young Sri Lankan boy named Arjie refuses to play cricket with the boys as his father insists. He’d rather bedazzle in bridal reds and join the girls’ make-believe wedding.\u003c/p>\n\u003cp>Novelist \u003ca href=\"https://shyamselvadurai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shyam Selvadurai\u003c/a>‘s gay coming of age novel became a critical and commercial sensation in Canada when it was first published, enduring as a pioneering story of queerness, politics, and South Asian history. As the new film adaptation opens with the sound of the ocean—establishing the lush seafront tropical landscape of Sri Lanka—a group of girls run across the screen, with Arjie’s veil billowing in the wind, gender non-conforming and proudly leading the way.\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is directed by Oscar-nominated filmmaker \u003ca href=\"https://www.npr.org/2013/05/09/182334238/an-epic-of-india-gets-a-canvas-its-own-size\" target=\"_blank\" rel=\"noopener noreferrer\">Deepa Mehta\u003c/a>, who has previously explored what it means to be an outsider in South Asian culture in a trilogy of acclaimed and controversial historical dramas: \u003cem>Fire\u003c/em>, \u003cem>Earth\u003c/em> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5373830\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Water\u003c/em>\u003c/a>. Like author Shyam Selvadurai, Mehta is also an immigrant to Canada and she says it was Selvadurai’s interwoven narrative of being both a migrant and a queer outsider in his own culture that made it such a powerfully layered story of selfhood.\u003c/p>\n\u003cp>“It felt like a double whammy,” she says. “Not only was it about what it’s like to leave your homeland but it combines the feeling of looking different with actually being different all your life, which was queer. It was something I’d never read before.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> tells Arjie’s coming of age story as a privileged Tamil young man against the backdrop of the late 1970s and 1980s, as ethnic tensions between Sri Lanka’s Sinhalese majority and Tamil minority explode into \u003ca href=\"https://hir.harvard.edu/sri-lankan-civil-war/\" target=\"_blank\" rel=\"noopener noreferrer\">full blown conflict\u003c/a>. As Arjie falls in love with a queer Sinhalese classmate, he’s forced to confront the hardening borders and violence of ethnic difference. The devastating Sri Lankan civil war lasted for more than two decades and displaced generations, including author Shyam Selvadurai’s own blended Tamil-Sinhalese family who went to Toronto as refugees in 1983. Selvadurai says although he found his creative community in Canada among fellow queer immigrant writers, he never came across published novels that reflected their experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Our story needed to be told and I thought there was nothing for me, so I thought, ‘Wouldn’t it be wonderful to give a young Sri Lankan or South Asian queer writer a book where they could see themselves?’…So that was the start of the novel,” Selvadurai says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oQOlnuJxU4Y\u003c/p>\n\u003cp>Mehta says she first read \u003cem>Funny Boy\u003c/em> 24 years ago around the same time she released her own breakthrough queer drama \u003cem>Fire\u003c/em>. That film told the story of two unhappily married Delhi housewives who defy both tradition and laws in the act of love. The film’s lesbian relationship was a groundbreaking subject for mainstream South Asian cinema and the film’s release ignited violent backlash from conservative groups.\u003c/p>\n\u003cp>As cinemas burned in India amid protests and debates over the film’s themes, Mehta became known as a critical and brave feminist voice in world cinema, says queer cinema scholar B. Ruby Rich. “The impact of that film was such that it entered the curriculum for feminist classes, film classes, globalization classes in all kinds of places around the world,” she says.\u003c/p>\n\u003cp>Mehta says her intention wasn’t to make a “lesbian story” but to explore the boundaries of women’s lives and freedom in her culture. “It is what is expected of women or what is expected of men, what is expected of us as human beings,” she says. “Why can’t we be what we want to be… and that’s what intrigues me.” Selvadurai says because of Mehta’s queer politics and filmmaking skills he knew she could do justice to his own \u003cem>Funny Boy\u003c/em>. “I really knew she was the person for it. I mean I gave them the rights to the movie for a dollar,” he says.\u003c/p>\n\u003cp>Despite the fact that homosexuality is illegal in Sri Lanka and the trauma of the civil war remains a deeply sensitive subject, Mehta and her international cast were able to shoot \u003cem>Funny Boy\u003c/em> entirely on location—amid the homes and lush coastline of the tropical island nation. Although official filming permissions were rescinded and returned over a tumultuous production year in 2019, Mehta describes the entire process as a miraculous triumph, especially given filming was completed before the coronavirus pandemic closed international borders.\u003c/p>\n\u003cp>But ever since the first trailer for \u003cem>Funny Boy\u003c/em> appeared online, some in the Tamil diaspora have attacked Mehta for casting non-Tamil and non-Sri Lankan actors in major roles and for Tamil dialogue delivered with audibly foreign accents. Although she has had some of the dialogue re-recorded by native Tamil speakers in weeks leading up to the release, the controversy around casting and representation has continued online and the attacks against Mehta have grown more personal and pointed. Selvadurai says while he thinks it’s okay not to like the film and disagree with the casting choices, he’s found the online outrage against the film both “violent and disrespectful.”\u003c/p>\n\u003cp>Mehta, who has had film sets in addition to cinemas attacked in the past, says she never sets out to court controversy and wonders whether she’s just a “sucker for punishment.” Mehta says that for her, the collaboration with Selvadurai was born of a desire to better understand the roots of Sri Lanka’s sectarian conflict and the possibility of reconciliation through love across lines.\u003c/p>\n\u003cp>“Why do I make the films I make? I do make them because I’m curious. I’m curious about things I really want to know more about. Why do we hang on to hatred? We have to heal. The world just can’t carry on the way it is right now,” she says. As for the debate around her filmmaking choices, she says while she may not have made a perfect film, “I do feel that a conversation is essential to have. Let them see the film, let the dialogue and the healing begin, if they wish it.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is being distributed by filmmaker Ava DuVernay’s ARRAY films, which focuses on bringing movies from underrepresented artists to wider audiences. As the film adaptation arrives on Netflix this month, \u003cem>Funny Boy\u003c/em> has already been selected to represent Canada as the country’s official Oscar entry. Selvadurai says writing—and sharing—Arjie’s story helped him heal from the wounds he carried to Canada as a refugee, and as a young gay man, and he hopes the film can do the same for others.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The beginning of talking about trauma is telling the story, and I really hope that the film opens up the story for our community,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Funny+Boy%2C%27+A+Young+Sri+Lankan+Gay+Man+Comes+Of+Age+As+Ethnic+Tensions+Explode&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our story needed to be told and I thought there was nothing for me, so I thought, ‘Wouldn’t it be wonderful to give a young Sri Lankan or South Asian queer writer a book where they could see themselves?’…So that was the start of the novel,” Selvadurai says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oQOlnuJxU4Y'\n title='//www.youtube.com/embed/oQOlnuJxU4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mehta says she first read \u003cem>Funny Boy\u003c/em> 24 years ago around the same time she released her own breakthrough queer drama \u003cem>Fire\u003c/em>. That film told the story of two unhappily married Delhi housewives who defy both tradition and laws in the act of love. The film’s lesbian relationship was a groundbreaking subject for mainstream South Asian cinema and the film’s release ignited violent backlash from conservative groups.\u003c/p>\n\u003cp>As cinemas burned in India amid protests and debates over the film’s themes, Mehta became known as a critical and brave feminist voice in world cinema, says queer cinema scholar B. Ruby Rich. “The impact of that film was such that it entered the curriculum for feminist classes, film classes, globalization classes in all kinds of places around the world,” she says.\u003c/p>\n\u003cp>Mehta says her intention wasn’t to make a “lesbian story” but to explore the boundaries of women’s lives and freedom in her culture. “It is what is expected of women or what is expected of men, what is expected of us as human beings,” she says. “Why can’t we be what we want to be… and that’s what intrigues me.” Selvadurai says because of Mehta’s queer politics and filmmaking skills he knew she could do justice to his own \u003cem>Funny Boy\u003c/em>. “I really knew she was the person for it. I mean I gave them the rights to the movie for a dollar,” he says.\u003c/p>\n\u003cp>Despite the fact that homosexuality is illegal in Sri Lanka and the trauma of the civil war remains a deeply sensitive subject, Mehta and her international cast were able to shoot \u003cem>Funny Boy\u003c/em> entirely on location—amid the homes and lush coastline of the tropical island nation. Although official filming permissions were rescinded and returned over a tumultuous production year in 2019, Mehta describes the entire process as a miraculous triumph, especially given filming was completed before the coronavirus pandemic closed international borders.\u003c/p>\n\u003cp>But ever since the first trailer for \u003cem>Funny Boy\u003c/em> appeared online, some in the Tamil diaspora have attacked Mehta for casting non-Tamil and non-Sri Lankan actors in major roles and for Tamil dialogue delivered with audibly foreign accents. Although she has had some of the dialogue re-recorded by native Tamil speakers in weeks leading up to the release, the controversy around casting and representation has continued online and the attacks against Mehta have grown more personal and pointed. Selvadurai says while he thinks it’s okay not to like the film and disagree with the casting choices, he’s found the online outrage against the film both “violent and disrespectful.”\u003c/p>\n\u003cp>Mehta, who has had film sets in addition to cinemas attacked in the past, says she never sets out to court controversy and wonders whether she’s just a “sucker for punishment.” Mehta says that for her, the collaboration with Selvadurai was born of a desire to better understand the roots of Sri Lanka’s sectarian conflict and the possibility of reconciliation through love across lines.\u003c/p>\n\u003cp>“Why do I make the films I make? I do make them because I’m curious. I’m curious about things I really want to know more about. Why do we hang on to hatred? We have to heal. The world just can’t carry on the way it is right now,” she says. As for the debate around her filmmaking choices, she says while she may not have made a perfect film, “I do feel that a conversation is essential to have. Let them see the film, let the dialogue and the healing begin, if they wish it.”\u003c/p>\n\u003cp>\u003cem>Funny Boy\u003c/em> is being distributed by filmmaker Ava DuVernay’s ARRAY films, which focuses on bringing movies from underrepresented artists to wider audiences. As the film adaptation arrives on Netflix this month, \u003cem>Funny Boy\u003c/em> has already been selected to represent Canada as the country’s official Oscar entry. Selvadurai says writing—and sharing—Arjie’s story helped him heal from the wounds he carried to Canada as a refugee, and as a young gay man, and he hopes the film can do the same for others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When listeners in Fort Wayne, Indiana, tuned into Majic 95.1 in July, they heard something both unexpected and all-too-familiar. The station was playing Christmas music. In the heat of summer.\u003c/p>\n\u003cp>With the pandemic making life miserable for people, the station was looking for a way to appeal to listeners and boost its ratings, and Christmas songs can be a dependable way of doing so.\u003c/p>\n\u003cp>“We knew that the world was topsy-turvy and we just knew from playing Christmas music over the years that there’s something special about it that people connect with,” says Chris Didier, operations manager at Majic 95.1, whose on-air name is Captain Chris.\u003c/p>\n\u003cp>All over the country this year, stations have been playing Christmas music much earlier than normal. One Memphis station started doing it right after Halloween. Another in Youngstown, Ohio, was decking the halls in September.\u003c/p>\n\u003cp>The radio industry has been hit hard by the pandemic, with ratings falling as much as 50% at first, although they have since rebounded somewhat, says Mike McVay, a radio industry veteran who now works as a consultant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was an incredible drop in listening, mainly because of listening habits. A lot of people who listen to radio listen in their car, and suddenly if you’re working at home and not commuting, that changed that,” he says.\u003c/p>\n\u003cp>Station officials figured that starting the holidays a bit early might be a way to lure listeners back home.\u003c/p>\n\u003cp>After all, Christmas music has been a reliable source of ratings gold since around 1990, when 99.9 KEZ, an adult contemporary station in Phoenix, created the format.\u003c/p>\n\u003cp>“We had every consultant, every research person that I could think of, before we did it told us, ‘You are crazy. Do not do it.'” says Jerry Ryan, former vice president and general manager at the radio station.\u003c/p>\n\u003cp>But the format turned out to be an enormous success, and within a few years hundreds of stations were playing non-stop Christmas music for 24 hours a day.\u003c/p>\n\u003cp>As the industry discovered, Christmas music can create a powerful emotional bond with an audience, bringing in listeners of all demographics, who want to hear vintage tunes like “\u003ca href=\"https://www.youtube.com/watch?v=1FuF7H0uJww\" target=\"_blank\" rel=\"noopener noreferrer\">Rudolph the Red-Nosed Reindeer\u003c/a>” and Elvis Presley’s “\u003ca href=\"https://www.youtube.com/watch?v=3KK6sMo8NBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Christmas\u003c/a>.”\u003c/p>\n\u003cp>Still, there have traditionally been limits to how far radio stations have been willing to go.\u003c/p>\n\u003cp>KEZ, the Phoenix radio station, traditionally began to air Christmas songs right after Thanksgiving, and Ryan says doing so much earlier than that can be jarring for an audience.\u003c/p>\n\u003cp>“I don’t think there’s a heck of a lot of emotional value to Christmas music outside of that particular time,” Ryan says.\u003c/p>\n\u003cp>Not this year, however.\u003c/p>\n\u003cp>In an unprecedented year marked by the pandemic, many stations say the earlier start to airing Christmas songs has actually been a success with listeners.\u003c/p>\n\u003cp>Take Majic 95.1, for example.\u003c/p>\n\u003cp>“We got incredible feedback. Lots of calls, lots of emails, people saying, ‘Yes, thank you for doing this, we really love the Christmas music,'” says Captain Chris of Majic 95.1 of its decision to play holiday music in July.\u003c/p>\n\u003cp>Emily Boldon, vice president of adult contemporary radio at Cumulus Media, which has some two dozen stations employing the holiday format, says she’s seen a similar response.\u003c/p>\n\u003cp>And she has a theory about what’s happening. She says listeners associate Christmas with the year ending, and this has been a really terrible year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think everybody is trying to rush the holiday this year just so we can get beyond it,” Boldon says. “I really truly believe the audience was just ready to get to the end of 2020 as fast as possible this year.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pandemic%2C+The+Most+Wonderful+Time+For+Christmas+Songs+Turned+Out+To+Be+...+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When listeners in Fort Wayne, Indiana, tuned into Majic 95.1 in July, they heard something both unexpected and all-too-familiar. The station was playing Christmas music. In the heat of summer.\u003c/p>\n\u003cp>With the pandemic making life miserable for people, the station was looking for a way to appeal to listeners and boost its ratings, and Christmas songs can be a dependable way of doing so.\u003c/p>\n\u003cp>“We knew that the world was topsy-turvy and we just knew from playing Christmas music over the years that there’s something special about it that people connect with,” says Chris Didier, operations manager at Majic 95.1, whose on-air name is Captain Chris.\u003c/p>\n\u003cp>All over the country this year, stations have been playing Christmas music much earlier than normal. One Memphis station started doing it right after Halloween. Another in Youngstown, Ohio, was decking the halls in September.\u003c/p>\n\u003cp>The radio industry has been hit hard by the pandemic, with ratings falling as much as 50% at first, although they have since rebounded somewhat, says Mike McVay, a radio industry veteran who now works as a consultant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was an incredible drop in listening, mainly because of listening habits. A lot of people who listen to radio listen in their car, and suddenly if you’re working at home and not commuting, that changed that,” he says.\u003c/p>\n\u003cp>Station officials figured that starting the holidays a bit early might be a way to lure listeners back home.\u003c/p>\n\u003cp>After all, Christmas music has been a reliable source of ratings gold since around 1990, when 99.9 KEZ, an adult contemporary station in Phoenix, created the format.\u003c/p>\n\u003cp>“We had every consultant, every research person that I could think of, before we did it told us, ‘You are crazy. Do not do it.'” says Jerry Ryan, former vice president and general manager at the radio station.\u003c/p>\n\u003cp>But the format turned out to be an enormous success, and within a few years hundreds of stations were playing non-stop Christmas music for 24 hours a day.\u003c/p>\n\u003cp>As the industry discovered, Christmas music can create a powerful emotional bond with an audience, bringing in listeners of all demographics, who want to hear vintage tunes like “\u003ca href=\"https://www.youtube.com/watch?v=1FuF7H0uJww\" target=\"_blank\" rel=\"noopener noreferrer\">Rudolph the Red-Nosed Reindeer\u003c/a>” and Elvis Presley’s “\u003ca href=\"https://www.youtube.com/watch?v=3KK6sMo8NBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Christmas\u003c/a>.”\u003c/p>\n\u003cp>Still, there have traditionally been limits to how far radio stations have been willing to go.\u003c/p>\n\u003cp>KEZ, the Phoenix radio station, traditionally began to air Christmas songs right after Thanksgiving, and Ryan says doing so much earlier than that can be jarring for an audience.\u003c/p>\n\u003cp>“I don’t think there’s a heck of a lot of emotional value to Christmas music outside of that particular time,” Ryan says.\u003c/p>\n\u003cp>Not this year, however.\u003c/p>\n\u003cp>In an unprecedented year marked by the pandemic, many stations say the earlier start to airing Christmas songs has actually been a success with listeners.\u003c/p>\n\u003cp>Take Majic 95.1, for example.\u003c/p>\n\u003cp>“We got incredible feedback. Lots of calls, lots of emails, people saying, ‘Yes, thank you for doing this, we really love the Christmas music,'” says Captain Chris of Majic 95.1 of its decision to play holiday music in July.\u003c/p>\n\u003cp>Emily Boldon, vice president of adult contemporary radio at Cumulus Media, which has some two dozen stations employing the holiday format, says she’s seen a similar response.\u003c/p>\n\u003cp>And she has a theory about what’s happening. She says listeners associate Christmas with the year ending, and this has been a really terrible year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think everybody is trying to rush the holiday this year just so we can get beyond it,” Boldon says. “I really truly believe the audience was just ready to get to the end of 2020 as fast as possible this year.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pandemic%2C+The+Most+Wonderful+Time+For+Christmas+Songs+Turned+Out+To+Be+...+In+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Actress, Dancer, Choreographer Ann Reinking Dies at 71",
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"content": "\u003cp>Tony-winning legend and dance icon Ann Reinking died on Saturday, family members confirmed to news outlets on Monday. She was 71.\u003c/p>\n\u003cp>“The world and our family have lost a vibrant, amazing talent and beautiful soul. Ann was the heart of our family and the life of the party,” her family said in a statement, as \u003ca href=\"https://variety.com/2020/legit/news/ann-reinking-dead-chicago-1234853416/\" target=\"_blank\" rel=\"noopener noreferrer\">reported \u003c/a>by \u003cem>Variety. \u003c/em>\u003c/p>\n\u003cp>“She was visiting our brother in Washington state when she went to sleep and never woke up. We will miss her more than we can say. Heaven has the best choreographer available now. I’m sure they are dancing up a storm up there! Annie, we will love and miss you always!!!”\u003c/p>\n\u003cp>Born in Seattle, Reinking trained in ballet, but ended up in the chorus lines of many musicals, including \u003cem>Cabaret \u003c/em>and \u003cem>Pippin\u003c/em>.\u003c/p>\n\u003cp>She graduated to lead roles in shows such as \u003cem>Goodtime Charley\u003c/em>, with Joel Grey. In 1977, she took on her most famous role when she replaced Gwen Verdon in \u003cem>Chicago\u003c/em>, directed and choreographed by Bob Fosse. Fosse hired her for \u003cem>Dancin’ \u003c/em>and \u003cem>Sweet Charity\u003c/em>, and she even played a version of herself in Fosse’s film, \u003cem>All That Jazz. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1996, nearly two decades after first dazzling audiences as Roxie Hart in \u003cem>Chicago\u003c/em>, she did it again in a revival she hoped would help audiences “\u003ca href=\"https://www.nytimes.com/1996/11/10/theater/two-decades-later-just-right-for-the-role.html\" target=\"_blank\" rel=\"noopener noreferrer\">rediscover what theater was\u003c/a>.” She won a \u003ca href=\"https://www.tonyawards.com/winners/year/1997/category/choreography/show/any/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Award for Best Choreography\u003c/a> for her efforts the following year.\u003c/p>\n\u003cp>https://twitter.com/LesNesman5/status/1338866178513461255\u003c/p>\n\u003cp>A mainstay in Broadway musicals for decades, Reinking was both a muse and lover to Fosse\u003cem>.\u003c/em>\u003c/p>\n\u003cp>That relationship was a pivotal plot line—though somewhat fictionalized—in FX’s recent limited series production, \u003cem>Fosse/Verdon. \u003c/em>Fosse was married to Gwen Verdon. Reinking consulted on the project, serving as a personal sounding board to actress Margaret Qualley, who portrayed the famous dancer.\u003c/p>\n\u003cp>“I was really nervous because I wanted to do right by her,” Qualley \u003ca href=\"https://www.indiewire.com/2019/08/fosse-verdon-margaret-qualley-ann-reinking-1202168945/\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003c/a>\u003cem>IndieWire\u003c/em> of the experience. “I looked up to her for so long, was so familiar with her. More than anything, I wanted her to like it. I didn’t even know her yet, but I was already thinking about that.”\u003c/p>\n\u003cp>On Monday, choreographer Christopher Dean, whom \u003cem>Variety\u003c/em> reports teaches Reinking’s niece, mourned the death of the actress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The lights on Broadway are forever more dim this morning and there is one less star in the sky,” he wrote in \u003ca href=\"https://www.facebook.com/thechristopherdean\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook post\u003c/a>. “The good news is that heaven has the very best choreographer on earth now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actress%2C+Dancer%2C+Choreographer+Ann+Reinking+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony-winning legend and dance icon Ann Reinking died on Saturday, family members confirmed to news outlets on Monday. She was 71.\u003c/p>\n\u003cp>“The world and our family have lost a vibrant, amazing talent and beautiful soul. Ann was the heart of our family and the life of the party,” her family said in a statement, as \u003ca href=\"https://variety.com/2020/legit/news/ann-reinking-dead-chicago-1234853416/\" target=\"_blank\" rel=\"noopener noreferrer\">reported \u003c/a>by \u003cem>Variety. \u003c/em>\u003c/p>\n\u003cp>“She was visiting our brother in Washington state when she went to sleep and never woke up. We will miss her more than we can say. Heaven has the best choreographer available now. I’m sure they are dancing up a storm up there! Annie, we will love and miss you always!!!”\u003c/p>\n\u003cp>Born in Seattle, Reinking trained in ballet, but ended up in the chorus lines of many musicals, including \u003cem>Cabaret \u003c/em>and \u003cem>Pippin\u003c/em>.\u003c/p>\n\u003cp>She graduated to lead roles in shows such as \u003cem>Goodtime Charley\u003c/em>, with Joel Grey. In 1977, she took on her most famous role when she replaced Gwen Verdon in \u003cem>Chicago\u003c/em>, directed and choreographed by Bob Fosse. Fosse hired her for \u003cem>Dancin’ \u003c/em>and \u003cem>Sweet Charity\u003c/em>, and she even played a version of herself in Fosse’s film, \u003cem>All That Jazz. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1996, nearly two decades after first dazzling audiences as Roxie Hart in \u003cem>Chicago\u003c/em>, she did it again in a revival she hoped would help audiences “\u003ca href=\"https://www.nytimes.com/1996/11/10/theater/two-decades-later-just-right-for-the-role.html\" target=\"_blank\" rel=\"noopener noreferrer\">rediscover what theater was\u003c/a>.” She won a \u003ca href=\"https://www.tonyawards.com/winners/year/1997/category/choreography/show/any/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Award for Best Choreography\u003c/a> for her efforts the following year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A mainstay in Broadway musicals for decades, Reinking was both a muse and lover to Fosse\u003cem>.\u003c/em>\u003c/p>\n\u003cp>That relationship was a pivotal plot line—though somewhat fictionalized—in FX’s recent limited series production, \u003cem>Fosse/Verdon. \u003c/em>Fosse was married to Gwen Verdon. Reinking consulted on the project, serving as a personal sounding board to actress Margaret Qualley, who portrayed the famous dancer.\u003c/p>\n\u003cp>“I was really nervous because I wanted to do right by her,” Qualley \u003ca href=\"https://www.indiewire.com/2019/08/fosse-verdon-margaret-qualley-ann-reinking-1202168945/\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003c/a>\u003cem>IndieWire\u003c/em> of the experience. “I looked up to her for so long, was so familiar with her. More than anything, I wanted her to like it. I didn’t even know her yet, but I was already thinking about that.”\u003c/p>\n\u003cp>On Monday, choreographer Christopher Dean, whom \u003cem>Variety\u003c/em> reports teaches Reinking’s niece, mourned the death of the actress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The lights on Broadway are forever more dim this morning and there is one less star in the sky,” he wrote in \u003ca href=\"https://www.facebook.com/thechristopherdean\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook post\u003c/a>. “The good news is that heaven has the very best choreographer on earth now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actress%2C+Dancer%2C+Choreographer+Ann+Reinking+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“We must do what we’re told!”\u003c/p>\n\u003cp>“But why, Father? Why?”\u003c/p>\n\u003cp>“… I’m afraid.”\u003c/p>\n\u003cp>That sudden, self-lacerating epiphany comes near the end of the animated film \u003cem>Wolfwalkers\u003c/em>, debuting on AppleTV+ on Friday.\u003c/p>\n\u003cp>It’s not the kind of tidy object-lesson generally served up in movies made for kids, which tend to run more in the \u003cem>Believe in Yourself/Follow Your Passion/You are Special\u003c/em> vein.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s tough to imagine Jiminy Cricket, say, singing a little ditty summing up this film’s comparatively thornier message that adults follow—and enforce—rules because they don’t know what they’re doing, and are frightened of the consequences.\u003c/p>\n\u003cp>But \u003cem>Wolfwalkers\u003c/em>, from Cartoon Saloon, the production company behind 2009’s \u003cem>The Secret of Kells \u003c/em>and 2014’s\u003cem> Song of the Sea,\u003c/em> isn’t made for kids. Or at least, not \u003cem>just \u003c/em>for kids.\u003c/p>\n\u003cp>Because there are a lot of other thematic elements jostling for elbow room in this tale of young English girl Robyn (voiced by Honor Kneafsey) and her father (voiced by Sean Bean) trying to make a go of it in the pre-colonial Irish town of Kilkenny.\u003c/p>\n\u003cp>Layered over the anti-authoritarian theme is an ecological one: The town is growing, and Robyn’s father has been hired by the Lord Protector Oliver Cromwell (voiced by Simon McBurney) to clear the wolves out of the rapidly vanishing forest nearby. There’s a healthy dose of feminism in the mix, as well: Robyn only wants to help her father hunt, but her status as a young woman gets her consigned to menial scullery duties. You don’t have to scratch the film’s surface terribly hard to find a queer reading, either: Robyn and her father are desperately trying to blend in, but Robyn’s need for freedom (and her drive to point out to her father that his white-knuckle grip on their assigned hierarchical roles is wrong) endangers them both.\u003c/p>\n\u003cp>That’s a lot of topical balls to juggle, and I haven’t even gotten to Robyn’s friendship with the feral Mebh (voiced by Eva Whittaker), a young girl who lives in the woods. Mebh represents the freedom Robyn aches for—plus she can take the form of a wolf and telepathically command the pack she lives with, which is nice.\u003c/p>\n\u003cp>There’s an endangered parent tossed into the mix as well, because it’s an animated film, and that’s the law.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_Z_tybgPgg\u003c/p>\n\u003cp>The film succeeds by hanging all those disparate tones and motifs along a clean and direct narrative, which is to say: You and your kids will see every turn in the plot coming. But in an era when Disney/Pixar tend to overload their animated films with expositional dumps of lore that must first be internalized before you can follow the story, \u003cem>Wolfwalkers \u003c/em>does its world-building through emotional voice-work, through lush, hand-drawn animation, and through visual style for days.\u003c/p>\n\u003cp>The movie takes very evident pride in its status as a film animated by hand. As a wolf lopes through the woods, the muscles along its flanks roil under its fur—but a closer look reveals that those muscles are delineated by the rough, sketchy lines of its preliminary drawing: The finished figure exists alongside the work it took to create it. Every frame is an tiny act of time-travel.\u003c/p>\n\u003cp>You won’t need to be reminded of the effort involved, however, because the film has the quality of something painstakingly wrought, with an artisan’s eye. The gray town of Kilkenny is stylistically rendered in the kind of flat, two-dimensional perspective seen in the art of the era the film is set in. Forest scenes, on the other hand, burst with a natural—a supernatural, technically—fullness. Vivid autumnal colors dazzle the eyes, waterfalls shimmer magically and animals move with swift, fluid grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of the film’s densely packed themes, you can pick and choose which particular “message” you’ll take away from \u003cem>Wolfwalkers\u003c/em>. But whichever you pick, the \u003cem>feel \u003c/em>of this hauntingly rich visual feast will stay with you much longer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Wolfwalkers%27+Is+A+Rich%2C+Densely+Packed+Visual+Feast&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“We must do what we’re told!”\u003c/p>\n\u003cp>“But why, Father? Why?”\u003c/p>\n\u003cp>“… I’m afraid.”\u003c/p>\n\u003cp>That sudden, self-lacerating epiphany comes near the end of the animated film \u003cem>Wolfwalkers\u003c/em>, debuting on AppleTV+ on Friday.\u003c/p>\n\u003cp>It’s not the kind of tidy object-lesson generally served up in movies made for kids, which tend to run more in the \u003cem>Believe in Yourself/Follow Your Passion/You are Special\u003c/em> vein.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s tough to imagine Jiminy Cricket, say, singing a little ditty summing up this film’s comparatively thornier message that adults follow—and enforce—rules because they don’t know what they’re doing, and are frightened of the consequences.\u003c/p>\n\u003cp>But \u003cem>Wolfwalkers\u003c/em>, from Cartoon Saloon, the production company behind 2009’s \u003cem>The Secret of Kells \u003c/em>and 2014’s\u003cem> Song of the Sea,\u003c/em> isn’t made for kids. Or at least, not \u003cem>just \u003c/em>for kids.\u003c/p>\n\u003cp>Because there are a lot of other thematic elements jostling for elbow room in this tale of young English girl Robyn (voiced by Honor Kneafsey) and her father (voiced by Sean Bean) trying to make a go of it in the pre-colonial Irish town of Kilkenny.\u003c/p>\n\u003cp>Layered over the anti-authoritarian theme is an ecological one: The town is growing, and Robyn’s father has been hired by the Lord Protector Oliver Cromwell (voiced by Simon McBurney) to clear the wolves out of the rapidly vanishing forest nearby. There’s a healthy dose of feminism in the mix, as well: Robyn only wants to help her father hunt, but her status as a young woman gets her consigned to menial scullery duties. You don’t have to scratch the film’s surface terribly hard to find a queer reading, either: Robyn and her father are desperately trying to blend in, but Robyn’s need for freedom (and her drive to point out to her father that his white-knuckle grip on their assigned hierarchical roles is wrong) endangers them both.\u003c/p>\n\u003cp>That’s a lot of topical balls to juggle, and I haven’t even gotten to Robyn’s friendship with the feral Mebh (voiced by Eva Whittaker), a young girl who lives in the woods. Mebh represents the freedom Robyn aches for—plus she can take the form of a wolf and telepathically command the pack she lives with, which is nice.\u003c/p>\n\u003cp>There’s an endangered parent tossed into the mix as well, because it’s an animated film, and that’s the law.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d_Z_tybgPgg'\n title='//www.youtube.com/embed/d_Z_tybgPgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film succeeds by hanging all those disparate tones and motifs along a clean and direct narrative, which is to say: You and your kids will see every turn in the plot coming. But in an era when Disney/Pixar tend to overload their animated films with expositional dumps of lore that must first be internalized before you can follow the story, \u003cem>Wolfwalkers \u003c/em>does its world-building through emotional voice-work, through lush, hand-drawn animation, and through visual style for days.\u003c/p>\n\u003cp>The movie takes very evident pride in its status as a film animated by hand. As a wolf lopes through the woods, the muscles along its flanks roil under its fur—but a closer look reveals that those muscles are delineated by the rough, sketchy lines of its preliminary drawing: The finished figure exists alongside the work it took to create it. Every frame is an tiny act of time-travel.\u003c/p>\n\u003cp>You won’t need to be reminded of the effort involved, however, because the film has the quality of something painstakingly wrought, with an artisan’s eye. The gray town of Kilkenny is stylistically rendered in the kind of flat, two-dimensional perspective seen in the art of the era the film is set in. Forest scenes, on the other hand, burst with a natural—a supernatural, technically—fullness. Vivid autumnal colors dazzle the eyes, waterfalls shimmer magically and animals move with swift, fluid grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of the film’s densely packed themes, you can pick and choose which particular “message” you’ll take away from \u003cem>Wolfwalkers\u003c/em>. But whichever you pick, the \u003cem>feel \u003c/em>of this hauntingly rich visual feast will stay with you much longer.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Wolfwalkers%27+Is+A+Rich%2C+Densely+Packed+Visual+Feast&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Grease,' 'Shrek' and a Record Number of Women Directors Join National Film Registry",
"headTitle": "‘Grease,’ ‘Shrek’ and a Record Number of Women Directors Join National Film Registry | KQED",
"content": "\u003cp>The Library of Congress tries to raise awareness of film conservation every year by adding 25 movies to the National Film Registry to preserve for posterity.\u003c/p>\n\u003cp>As usual, 2020’s lineup includes attention-grabbing Hollywood blockbusters of relatively recent vintage (\u003cem>The Dark Knight\u003c/em> and \u003cem>Shrek\u003c/em>), widely beloved older features (\u003cem>Grease, The Blues Brothers, A Clockwork Orange\u003c/em>), respected documentaries (\u003cem>The Buena Vista Social Club, Wattstax, Freedom Riders\u003c/em>), venerable silent films (\u003cem>Kid Auto Races At Venice\u003c/em>, apparently one of the few Charlie Chaplin movies not already inducted) and films from Hollywood’s Golden Age, underground movies, influential but lesser-known films and early work from seminal directors.\u003c/p>\n\u003cp>This year an unprecedented number of these films are by women, from the domestic drama \u003cem>Suspense\u003c/em> (1913), an early silent film co-directed by and starring Lois Weber as a housewife fending off an intruder, to 2008’s \u003cem>The Hurt Locker\u003c/em>. Kathryn Bigelow’s harrowing war movie remains the only film to have won a Best Director Oscar for a woman.\u003c/p>\n\u003cfigure id=\"attachment_13890381\" class=\"wp-caption aligncenter\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg\" alt='Adventurer and filmmaker Aloha Wanderwell working on her 1929 film \"With Car and Camera Around the World,\" which joined the National Film Registry this year.' width=\"521\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b-160x120.jpg 160w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">Adventurer and filmmaker Aloha Wanderwell working on her 1929 film “With Car and Camera Around the World,” which joined the National Film Registry this year. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nine films in total this year were directed by women, including Ida May Park’s \u003cem>Bread, \u003c/em>from 1918\u003cem>, \u003c/em>about a woman struggling to pull herself out of poverty; the 1929 film \u003cem>With Car and Camera Around the World, \u003c/em>co-directed by Aloha Wanderwell; Ida Lupino’s 1950 film, \u003cem>Outrage, \u003c/em>about sexual assault; two 1982 movies by Black women filmmakers—Kathleen Collins’ semi-autobiographical feature film\u003cem> Losing Ground\u003c/em> and an early student film by Julie Dash (best known for \u003cem>Daughters of the Dust\u003c/em>, which was inducted in 2004); the 1994 film \u003cem>The Devil Never Sleep\u003c/em> by Lourdes Portillo and 2006’s \u003cem>Mauna Kea: Temple Under Siege \u003c/em>co-directed by Joan Lander.\u003c/p>\n\u003cp>Librarian of Congress Carla Hayden has been working to draw attention to the accomplishments of women filmmakers: Last year, she added seven to the still overwhelmingly male list of 800 names.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The National Film Registry is an important record of American history, culture and creativity, captured through one of the great American artforms, our cinematic experience,” Hayden said in a statement. “With the inclusion of diverse filmmakers, we are not trying to set records but rather to set the record straight by spotlighting the astonishing contributions women and people of color have made to American cinema, despite facing often-overwhelming hurdles.”\u003c/p>\n\u003cp>Seven movies added to the National Film Registry this year were directed by people of color, including Wayne Wang’s \u003cem>The Joy Luck Club\u003c/em> (1993) and Melvin Van Peebles’ blaxpolitation classic\u003cem>, Sweet Sweetback’s Baadasssss Song \u003c/em>(1971). The complete list of films selected for the 2020 National Film Registry, in chronological order, follows:\u003c/p>\n\u003cp>1. Suspense (1913)\u003c/p>\n\u003cp>2. Kid Auto Races at Venice (1914)\u003c/p>\n\u003cp>3. Bread (1918)\u003c/p>\n\u003cp>4. The Battle of the Century (1927)\u003c/p>\n\u003cp>5. With Car and Camera Around the World (1929)\u003c/p>\n\u003cp>6. Cabin in the Sky (1943)\u003c/p>\n\u003cp>7. Outrage (1950)\u003c/p>\n\u003cp>8. The Man with the Golden Arm (1955)\u003c/p>\n\u003cp>9. Lilies of the Field (1963)\u003c/p>\n\u003cp>10. A Clockwork Orange (1971)\u003c/p>\n\u003cp>11. Sweet Sweetback’s Baadasssss Song (1971)\u003c/p>\n\u003cp>12. Wattstax (1973)\u003c/p>\n\u003cp>13. Grease (1978)\u003c/p>\n\u003cp>14. The Blues Brothers (1980)\u003c/p>\n\u003cp>15. Losing Ground (1982)\u003c/p>\n\u003cp>16. Illusions (1982)\u003c/p>\n\u003cp>17. The Joy Luck Club (1993)\u003c/p>\n\u003cp>18. The Devil Never Sleeps (1994)\u003c/p>\n\u003cp>19. Buena Vista Social Club (1999)\u003c/p>\n\u003cp>20. The Ground (1993-2001)\u003c/p>\n\u003cp>21. Shrek (2001)\u003c/p>\n\u003cp>22. Mauna Kea: Temple Under Siege (2006)\u003c/p>\n\u003cp>23. The Hurt Locker (2008)\u003c/p>\n\u003cp>24. The Dark Knight (2008)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>25. Freedom Riders (2010)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Grease%2C%27+%27Shrek%27+And+A+Record+Number+Of+Women+Directors+Join+National+Film+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Library of Congress tries to raise awareness of film conservation every year by adding 25 movies to the National Film Registry to preserve for posterity.\u003c/p>\n\u003cp>As usual, 2020’s lineup includes attention-grabbing Hollywood blockbusters of relatively recent vintage (\u003cem>The Dark Knight\u003c/em> and \u003cem>Shrek\u003c/em>), widely beloved older features (\u003cem>Grease, The Blues Brothers, A Clockwork Orange\u003c/em>), respected documentaries (\u003cem>The Buena Vista Social Club, Wattstax, Freedom Riders\u003c/em>), venerable silent films (\u003cem>Kid Auto Races At Venice\u003c/em>, apparently one of the few Charlie Chaplin movies not already inducted) and films from Hollywood’s Golden Age, underground movies, influential but lesser-known films and early work from seminal directors.\u003c/p>\n\u003cp>This year an unprecedented number of these films are by women, from the domestic drama \u003cem>Suspense\u003c/em> (1913), an early silent film co-directed by and starring Lois Weber as a housewife fending off an intruder, to 2008’s \u003cem>The Hurt Locker\u003c/em>. Kathryn Bigelow’s harrowing war movie remains the only film to have won a Best Director Oscar for a woman.\u003c/p>\n\u003cfigure id=\"attachment_13890381\" class=\"wp-caption aligncenter\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg\" alt='Adventurer and filmmaker Aloha Wanderwell working on her 1929 film \"With Car and Camera Around the World,\" which joined the National Film Registry this year.' width=\"521\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b.jpg 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/with-car-and-camera-1-35da4b31c047f3f5d7dd25a04bd867074ddb786b-160x120.jpg 160w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">Adventurer and filmmaker Aloha Wanderwell working on her 1929 film “With Car and Camera Around the World,” which joined the National Film Registry this year. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nine films in total this year were directed by women, including Ida May Park’s \u003cem>Bread, \u003c/em>from 1918\u003cem>, \u003c/em>about a woman struggling to pull herself out of poverty; the 1929 film \u003cem>With Car and Camera Around the World, \u003c/em>co-directed by Aloha Wanderwell; Ida Lupino’s 1950 film, \u003cem>Outrage, \u003c/em>about sexual assault; two 1982 movies by Black women filmmakers—Kathleen Collins’ semi-autobiographical feature film\u003cem> Losing Ground\u003c/em> and an early student film by Julie Dash (best known for \u003cem>Daughters of the Dust\u003c/em>, which was inducted in 2004); the 1994 film \u003cem>The Devil Never Sleep\u003c/em> by Lourdes Portillo and 2006’s \u003cem>Mauna Kea: Temple Under Siege \u003c/em>co-directed by Joan Lander.\u003c/p>\n\u003cp>Librarian of Congress Carla Hayden has been working to draw attention to the accomplishments of women filmmakers: Last year, she added seven to the still overwhelmingly male list of 800 names.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The National Film Registry is an important record of American history, culture and creativity, captured through one of the great American artforms, our cinematic experience,” Hayden said in a statement. “With the inclusion of diverse filmmakers, we are not trying to set records but rather to set the record straight by spotlighting the astonishing contributions women and people of color have made to American cinema, despite facing often-overwhelming hurdles.”\u003c/p>\n\u003cp>Seven movies added to the National Film Registry this year were directed by people of color, including Wayne Wang’s \u003cem>The Joy Luck Club\u003c/em> (1993) and Melvin Van Peebles’ blaxpolitation classic\u003cem>, Sweet Sweetback’s Baadasssss Song \u003c/em>(1971). The complete list of films selected for the 2020 National Film Registry, in chronological order, follows:\u003c/p>\n\u003cp>1. Suspense (1913)\u003c/p>\n\u003cp>2. Kid Auto Races at Venice (1914)\u003c/p>\n\u003cp>3. Bread (1918)\u003c/p>\n\u003cp>4. The Battle of the Century (1927)\u003c/p>\n\u003cp>5. With Car and Camera Around the World (1929)\u003c/p>\n\u003cp>6. Cabin in the Sky (1943)\u003c/p>\n\u003cp>7. Outrage (1950)\u003c/p>\n\u003cp>8. The Man with the Golden Arm (1955)\u003c/p>\n\u003cp>9. Lilies of the Field (1963)\u003c/p>\n\u003cp>10. A Clockwork Orange (1971)\u003c/p>\n\u003cp>11. Sweet Sweetback’s Baadasssss Song (1971)\u003c/p>\n\u003cp>12. Wattstax (1973)\u003c/p>\n\u003cp>13. Grease (1978)\u003c/p>\n\u003cp>14. The Blues Brothers (1980)\u003c/p>\n\u003cp>15. Losing Ground (1982)\u003c/p>\n\u003cp>16. Illusions (1982)\u003c/p>\n\u003cp>17. The Joy Luck Club (1993)\u003c/p>\n\u003cp>18. The Devil Never Sleeps (1994)\u003c/p>\n\u003cp>19. Buena Vista Social Club (1999)\u003c/p>\n\u003cp>20. The Ground (1993-2001)\u003c/p>\n\u003cp>21. Shrek (2001)\u003c/p>\n\u003cp>22. Mauna Kea: Temple Under Siege (2006)\u003c/p>\n\u003cp>23. The Hurt Locker (2008)\u003c/p>\n\u003cp>24. The Dark Knight (2008)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>25. Freedom Riders (2010)\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Grease%2C%27+%27Shrek%27+And+A+Record+Number+Of+Women+Directors+Join+National+Film+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NPR Critics Pick Their Favorite TV From a Strange 2020",
"headTitle": "NPR Critics Pick Their Favorite TV From a Strange 2020 | KQED",
"content": "\u003cp>It has been a momentous year for everything we consider TV.\u003c/p>\n\u003cp>A pandemic, civil rights reckoning, streaming war and presidential election shook up the industry in a dozen different ways. It blurred lines between genres, platforms and story forms, while also encouraging us to develop our own, deep rabbit holes of favorite media. So when our team of four critics sat down to figure out what we liked most onscreen this year, we each had a lot of stuff on our lists no one else did. [aside postid='arts_13890197']\u003c/p>\n\u003cp>That’s why our list crosses a lot of boundaries, including projects technically released as feature films. It’s a powerful example of how much quality entertainment was available this year, even after coronavirus lockdowns shut down productions and upended release schedules.\u003c/p>\n\u003cp>In alphabetical order, here’s our best of 2020—and we know it’s a long list, so you can use these alphabetical links to skip around: \u003ca href=\"#B\">B\u003c/a>, \u003ca href=\"#C\">C\u003c/a>, \u003ca href=\"#D\">D\u003c/a>, \u003ca href=\"#F\">F\u003c/a>, \u003ca href=\"#G\">G\u003c/a>, \u003ca href=\"#H\">H\u003c/a>, \u003ca href=\"#I\">I\u003c/a>, \u003ca href=\"#J\">J\u003c/a>, \u003ca href=\"#L\">L\u003c/a>, \u003ca href=\"#M\">M\u003c/a>, \u003ca href=\"#N\">N\u003c/a>, \u003ca href=\"#O\">O\u003c/a>, \u003ca href=\"#P\">P\u003c/a>, \u003ca href=\"#Q\">Q\u003c/a>, \u003ca href=\"#T\">T\u003c/a>, \u003ca href=\"#W\">W\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Better Call Saul, Season 5 \u003c/em>\u003c/strong>\u003cstrong>(AMC, Amazon Prime rental, earlier seasons on Netflix)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This outstanding FX series long ago rendered pointless any comparisons to \u003cem>Breaking Bad\u003c/em>, of which it is technically a prequel. The story it’s telling is so very much its own—by turns gritty and funny, melancholic and viciously violent. In its penultimate season, the transformation of Jimmy McGill (Bob Odenkirk) into Saul Goodman—a criminal lawyer who’s actually a \u003cem>criminal\u003c/em> lawyer—is just about complete. We finally saw the series’ two disparate plot threads—Jimmy’s and Mike’s (Jonathan Banks)—come together, a richly satisfying consummation for those viewers who’ve complained about the series’ pacing, and who’ve longed for those two characters to share the screen. The fact that it’s all set against the very real, and immensely worrying, potential downfall of the show’s beating heart—Rhea Seehorn’s astonishing performance as Jimmy’s girlfriend Kim—invests us that much deeply in the show’s dangerous and duplicitous world. — \u003cem>Glen Weldon, Aisha Harris, Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Black Is King\u003c/em>\u003c/strong>\u003cstrong> (Disney+)/\u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>In a year that saw lots of reflection on systemic racism and police brutality, these two films offered emotional, effective meditations on Black joy and pain in very different ways. \u003cem>Black Is King\u003c/em> is Beyoncé’s “visual album,” loosely inspired by \u003cem>The Lion King\u003c/em> story, using arresting images and banging tunes to portray the peoples of the African diaspora rediscovering their heritage as leaders and royalty. \u003cem>Between the World and Me\u003c/em> is a different kind of tone poem, centered on passages read by performers like Oprah Winfrey from Ta-Nehisi Coates’ book, which was written as a letter to his teen son. It explores the dangers Black people face from police brutality and the joy which comes from Black love and achievement, perfectly presenting the duality of African American life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>BoJack Horseman, Season 6, Part II \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>After five-plus seasons watching a washed-up sitcom horse wrestle with drug addiction, narcissism, childhood traumas and the traumas he inflicted upon others, BoJack Horseman’s story came to an end that was as satisfying as one could hope. What the show did best (besides insanely clever animal puns and skewering Hollywood) was really question and challenge the arc of redemption for people (or horses) who have caused an immeasurable amount of pain to others. Right up to its final moments, the writers and animators didn’t let up, remaining as inquisitive and creative as ever. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Boys State\u003c/em>\u003c/strong> \u003cstrong>(Apple TV+)\u003c/strong>\u003c/p>\n\u003cp>Set at Boys State in Texas, a program where high school boys run for office and form a mock government, this is a documentary not for the faint of heart. It shows kids whose approach to politics is already hardened, already combative beyond the substance of it. Combative for its own sake. While there are moments that show the promise of young activists and idealists, there are also dark signs that a lot of kids who have grown up in our fractured and nasty political climate have learned plenty from the politicians who have endeavored at every turn to make it worse. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park\u003c/strong>\u003c/em> \u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>This documentary functions, at one level, as a document laying out the details of a very specific time and place: Action Park in New Jersey, famous for being the amusement park where kids got hurt. But with the help of excellent input from Class Action Park patrons and comedian Chris Gethard, it turns into a consideration of nostalgia more generally, and of what it means to know you had a great time doing something that was a very bad idea. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Da 5 Bloods \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Spike Lee’s usage of Marvin Gaye’s \u003cem>What’s Going On?\u003c/em> album is divine; his nods and references to everything from \u003cem>The Treasure of the Sierra Madre \u003c/em>to \u003cem>Rambo \u003c/em>are thoughtful and layered; Chadwick Boseman, in one of his final roles, is a powerful and spiritual presence. But this movie belongs to Delroy Lindo, who cuts an imposing and indelible figure as Paul, a Vietnam War vet worn down by unresolved guilt, wrecked by bitterness, sadness and fear. He finds shades to play with in every feeling and thought, giving one of the great performances in recent memory. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>David Byrne’s American Utopia \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>[aside postid='arts_13890048']\u003c/p>\n\u003cp>It was a year when we were starved for good feelings, a year when mere happiness felt like ecstatic joy, and real ecstatic joy—like that on glorious display on a Broadway stage by a barefoot David Byrne and a cadre of musicians in matching gray suits—could leave you breathless, swooning and profoundly grateful. Directed by Spike Lee, the theatrical concert film spans Byrne’s musical career but—as with any production associated with Byrne—it leaves plenty of room to get enthusiastically weird. Wireless technology allows the musicians to roam the stage, and they do so in lock-step choreography, like the hippest high school marching band imaginable. A special treat for longtime Talking Heads fans: We finally get the live version of “Born Under Punches (The Heat Goes On)” that we didn’t know we’ve been aching for, all this time. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>First Cow \u003c/em>\u003c/strong>\u003cstrong>(Showtime, DIRECTTV, and numerous rental sites) \u003c/strong>\u003c/p>\n\u003cp>It’s astounding how much suspense director Kelly Reichardt is able to derive from the act of milking a cow. In early 19th-century Oregon Territory, skillful cook Otis “Cookie” Figowitz (John Magaro) befriends King-Lu, an enterprising Chinese immigrant (Orion Lee) and outlaw. Together, they conjure up a successful business at a market outpost selling oily cakes to hungry traders; the recipe requires a very scarce commodity around those parts: cow’s milk. It’s one-part heist film and another part buddy adventure, with a tender—and often humorous—friendship at its center. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Flight Attendant\u003c/em>\u003c/strong>\u003cstrong> (HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Based on the novel by Chris Bohjalian, this smart, taut HBO Max thriller stars Kaley Cuoco as, well, a flight attendant who wakes up after a night of partying and realizes something very, very bad happened while she was asleep. Part mystery, part drama about the aftereffects of a traumatic childhood, and part dark comedy, it was one of the most pleasant surprises of the year, impressing with its razor-sharp tone, supporting performances (Zosia Mamet is tremendous as Cuoco’s best friend), and heartfelt work from Cuoco. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Forty-Year-Old Version \u003c/em>\u003c/strong>\u003cstrong>(Netflix) \u003c/strong>\u003c/p>\n\u003cp>Radha Blank’s debut as a feature film director, writer and star is an engaging portrait of an artist at an existential crossroad, professional and personal. This is a refreshingly specific mid-life crisis, one borrowing from Blank’s own life as a born-and-bred New York writer and rapper known as RhadaMUS Prime. It’s funny and poignant, and the banter and characters feel real and alive. Radha the character may lack confidence at times, but real-life Radha the filmmaker is very self-assured. — \u003cem>Aisha Harris, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Good Place, Season 4 \u003c/em>\u003c/strong>\u003cstrong>(NBC, Netflix, Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>The road to this perfectly poignant finale wasn’t smooth. Much of seasons 3 and 4 lacked the bite of the earlier seasons, and as the gang fought to prove that there was a fundamental glitch in the sorting of heaven and hell, it felt almost like Mike Schur and his team were spinning wheels. But they stuck the landing anyway, bringing back some of that subversiveness by daring to suggest there can come a point when you feel as though you’ve done all you wanted to do in (the after)life and it’s time to move on. It’s a dark thing to contemplate, but it’s also honest. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Great \u003c/em>\u003c/strong>\u003cstrong>(Hulu)\u003c/strong>\u003c/p>\n\u003cp>Billed as “An Occasionally True Story,” this series about young Catherine (Elle Fanning) and her ill-fated marriage to Emperor Peter of Russia (Nicholas Hoult) is stuffed with gleefully ahistorical elements that’ll send students of Russian history into aneurysms. Fanning is terrific as an idealistic (and self-satisfied) would-be social reformer, while Hoult’s Peter is a nightmare—a sociopathic boor poured into a pair of tight leather pants. \u003cem>The Great \u003c/em>was created by Tony McNamara, based on his 2008 play. McNamara went on to co-write 2018’s \u003cem>The Favourite\u003c/em>, and if you’ve seen that film, you know what to expect here—yes, bustles and corsets, wigs and snuffboxes, but also crisp ripostes, lacerating insults and dialogue that sizzles with withering wit. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Harley Quinn\u003c/em>\u003c/strong>\u003cstrong> (DC Universe and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Given the sheer tonnage of live action superhero shows on TV, it’s notable that the most gonzo, subversive, hilarious, action packed, explicit and entertaining take on the DC comics universe is actually this animated series. Originally created for the streaming service DC Universe, it now lives on HBO Max, where \u003cem>Big Bang Theory\u003c/em> alum Kaley Cuoco voices the Joker’s former girlfriend as an unpredictable, profanity-slinging romantic who resists the ex who exploited her. It’s a comedy of sorts where even Batman is a bit of a doofus, featuring Harley leading a team of misfit baddies who struggle for recognition as Gotham City’s leading villains, redefining adult-oriented superhero stories in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Haunting of Bly Manor \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>The first installment of this Netflix series\u003cem>, The Haunting of Hill House\u003c/em>, was packed with plenty of good, ghostly scares—but it lagged in the middle, and whiffed the ending. With \u003cem>The Haunting of Bly Manor\u003c/em> creator and showrunner Mike Flanagan hasn’t simply found a new author to riff on (Henry James, instead of Shirley Jackson) he has seriously course-corrected. Though it parcels out the scares more thinly than \u003cem>Hill House \u003c/em>did, \u003cem>Bly Manor\u003c/em>‘s story is tighter, and it nails the all-important dismount in a sincere, humane and bittersweet way that directly addresses the nature, and the purpose, of grief. It’s not overtly tidy or dully expositional—yet it feels, in the best way, inevitable. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>I Hate Suzie\u003c/strong>\u003c/em>\u003cstrong> (HBO Max) \u003c/strong>\u003c/p>\n\u003cp>This British series—just eight episodes, as is their wont—stars the great Billie Piper as an actress whose nudes end up on the Internet after her phone gets hacked. She then proceeds to make a series of \u003cem>wildly\u003c/em> terrible decisions to deal with it—or \u003cem>not\u003c/em> deal with it, as the case may be. It won’t be for everyone. Think of it as the anti-\u003cem>Ted Lasso—\u003c/em>there’s little here that’s comforting or warm. Try it on for size: Watch the first episode, in which a huge crowd comes tromping through her home for a photo shoot just as she’s first finding out about the leaked nudes. She keeps trying to find some privacy—and keep her husband from finding out—in a long stretch of tense, claustrophobic, downright nightmarish scenes, many of which take place entirely in a tight close-up of Piper’s face as she attempts to keep from panicking. If it grabs you, you’ll watch the rest of the episodes through your fingers—but you will watch them, compulsively. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I May Destroy You\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Michaela Coel’s series about a woman exploring the aftermath of a sexual assault shone a spotlight on Coel’s own acting, writing, and in some cases directing. It also became a broader examination of ethics in sex and relationships, from the traumatic to the questionable to the unkind. The supporting cast and dizzying structural turns made the HBO show one of the most exciting of 2020. — \u003cem>Linda Holmes, Aisha Harris, Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Invisible Man \u003c/em>\u003c/strong>\u003cstrong>(HBO, HBO Max and numerous rental sites)\u003c/strong>\u003c/p>\n\u003cp>Elisabeth Moss stars as a woman who begins to fear she’s crazy when she keeps sensing her dead abusive husband everywhere. From there, the film becomes a consideration of paranoia, trauma and ultimately the desire to reclaim a connection to reality that’s come undone as a result of repeated, relentless gaslighting. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>John Mulaney and the Sack Lunch Bunch \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Point of order: This comedy special debuted on Dec. 25, 2019—after we made our annual list—so it slides in here on a technicality. But it certainly belongs—no comedy special has won me over so hard, so completely. Mulaney’s idiosyncratic sensibility might seem an odd fit for what is essentially an extended riff on old children’s television programming, but it works seamlessly here. That’s a product of the writing, which is wry but never cynical, but it’s also an outgrowth of the casting. These kid actors aren’t pushing it—they easily find Mulaney’s particular comedic frequency, and stick to it. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Last Dance\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Basketball legend Michael Jordan looms over every frame of this revealing documentary series first shown on ESPN, and not just because it expertly documents his final championship season with the Chicago Bulls in 1997-98. It’s an incisive look at how that team became a world-crushing, pop-culture-dominating force, with special detail on how Jordan built his legend. Other stories also resonate: How Dennis Rodman nearly committed suicide before he joined the Bulls; how teammate Scottie Pippen was continually underpaid; how Jordan was merciless about pushing his teammates and cultivating grudges to boost his performance. Jordan was involved as a producer and had to approve use of the Bulls’ behind-the-scenes footage, giving him even more control. But despite his influence, this miniseries offers a never-before-seen look at a once in a generation team. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovecraft Country\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Packed to bursting with symbolism, special effects, allegory, social messages, reinvented horror tropes and enough plot to require a YouTube explainer for every episode, this audacious take on Matt Ruff’s 2016 novel is a lot. But its story, placing a Black family at the heart of a pitched battle with a white family of witches in the Jim Crow-era 1950s, is a marvel of ambition and craft. Comparing the horrors of racism to the supernatural horrors found in novels by H.P. Lovecraft—himself an infamous xenophobe and racist—reinvents the genre in unexpected ways. And the work of executive producer/writer/director Misha Green to showcase the power of Black love and family in a series dropping during the summer’s reckoning over systemic racism and police brutality, was exquisitely perfect timing. — \u003cem>Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovers Rock \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>This entry in Steve McQueen’s excellent \u003cem>Small Axe \u003c/em>anthology series will surely make you want to seek out its soundtrack, which is bubbling with classics of the reggae subgenre from which it gets its title. But as you follow these young West Indian Londoners mingling, dancing, flirting and rebuffing aggressive strangers at a lively house party on one evening in 1980, it will also transport you to a realm of beauty and intimacy. It’s a musical reverie that manages to capture the exultation of the arrival of the weekend, and the sanctity of Black community. — \u003cem>Aisha Harris \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mucho Mucho Amor\u003c/em>\u003c/strong> \u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Netflix presented this documentary about legendary astrologer Walter Mercado to an audience that included both people who grew up watching him on television every day and people who knew him hardly at all. It told a story that was alternatively sad and stirring, but it ultimately gave the man his due as a legend who was part of the lives of many families and who found himself poorly treated by some of those close to him. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The New Pope \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>[aside postid='arts_13890093']\u003c/p>\n\u003cp>\u003cem>The New Pope\u003c/em>, like \u003cem>The Young Pope\u003c/em> before it, is all about jockeying for a very earthly kind of power behind the scenes of the Vatican. The vaguely odd, singular tone of that first series persists, as does the many Italian actors’ tendencies to emphasize words that native English speakers wouldn’t necessarily emphasize, and insert long, meaningful pauses (creator Paolo Sorrentino loves his pauses) where native English speakers wouldn’t. It all adds to the sense that you’re watching the show from across a vague, yet palpable cultural divide—the ecclesiastical drama as Mentos commercial. Despite the title change and the swapping out of Jude Law’s Pius XIII for John Malkovich’s Sir John Brannox, Sorrentino’s camera still tracks slowly and languidly through immense arched hallways, vaulted rooms and lush gardens, pausing to alight upon small, telling details. Malkovich revels in his portrayal of Brannox as a louche, mascara-wearing British fop who flounces through life—a man who can be counted upon to find the nearest chaise in any room and recline upon it as if he has just been roughly flung there. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Normal People\u003c/em>\u003c/strong>\u003cstrong> (Hulu)\u003c/strong>\u003c/p>\n\u003cp>The Sally Rooney novel about two young students who fall in love and watch their lives intersect over many years was a hit, and adapting it into a limited series was a challenge since it’s so reliant on the interiority of the lead characters. But leads Daisy Edgar-Jones and Paul Mescal brought their scenes together an intimacy and grace that kept the wide-ranging story in focus. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>On The Record \u003c/em>\u003c/strong>\u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Making a documentary about the reckoning over sexual harassment in music would have been too broad an assignment for any filmmaker. So it makes sense that this one is narrower: It is primarily about allegations against hip-hop mogul Russell Simmons, and even more specifically about Drew Dixon, an A&R executive who says she saw her career founder after being assaulted by Simmons. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ozark, Season 3\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Critics who dismiss this drama about a family juggling internal drama and FBI scrutiny while laundering money for a Mexican drug cartel in the Ozarks (some have dubbed it “Breaking Bad: The Family Edition”) have missed the point. Especially in this year’s powerhouse third season, Ozark raised its game, adding Janet McTeer as a domineering cartel lawyer and Tom Pelphrey in a shamefully under-recognized turn as the bipolar brother of matriarch Wendy Byrde, played by Laura Linney. Pelphrey was heart-rending as the only person who saw how terrible the Byrdes’ activities were, despite his mental illness. And the show’s ability to keep viewers invested in Jason Bateman’s numbers whiz, patriarch Marty Byrde—no matter who he gets killed or rips off—is nothing short of amazing. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>P-Valley \u003c/em>\u003c/strong>\u003cstrong>(STARZ) \u003c/strong>\u003c/p>\n\u003cp>In lesser hands, Uncle Clifford (Nicco Annan)—the towering, flamboyant non-binary strip club owner whose drawl kind of sounds like Katt Williams—could have easily turned out to be little more than sassy caricature. But Katori Hall’s soapy melodrama about a rural Mississippi town and its colorful inhabitants takes its characters seriously, and over the course of this crackling first season they emerge more unique and interesting than their “types” might initially suggest. The show also brings a new level of respect to the artistry and precision of pole dancing—among the highlights are those extensive routines backed by dirty, thumping Southern hip-hop. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Queen’s Gambit\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Before I saw one scene of chess play, I was all in for a miniseries showing a talented, self-possessed woman mastering a game dominated by men in the 1950s and ’60s, knocking them off like clay pigeons on her way to the world championship. But this series, crafted by Scott Frank based on a 1983 novel, also plays like a superhero origin story. In a magnetic performance, Anya Taylor-Joy brings liquid eyes and an inscrutable manner to chess prodigy Beth Harmon, who must overcome substance abuse, the influence of her suicidal mom and a sexist world to reach her goals. Toss in a period-specific, lavish production and direction that actually makes chess look interesting, and you have the ingredients of a modern TV masterpiece. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ted Lasso\u003c/em>\u003c/strong>\u003cstrong> (Apple TV+) \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> alum Jason Sudeikis is funny, bumbling and occasionally heartbreaking as Ted Lasso, a stupendously optimistic American college football coach hired to lead a Premiere League soccer team in England. The owner is actually trying to sabotage the team by hiring Lasso, who knows nothing about soccer—or “football,” as they call it in Britain. But she doesn’t realize his true superpower is that he’s so gosh darned nice. It may sound a little hokey, but \u003cem>Ted Lasso\u003c/em> somehow builds a wonderful comedy around the healing power of niceness—deflating any hokum with a well-timed joke or two. And considering how tough 2020 has been, we all could use a lot of that message right about now. — \u003cem>Eric Deggans, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tiger King\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>The subjects of this docuseries became the butt of a thousand punchlines, as viewers dug into the tawdry tale of Joe Exotic—a publicity-seeking, pistol-packing character running a private zoo in Oklahoma who was convicted of paying a hitman to murder his longtime nemesis, self-styled animal conservationist Carol Baskin. Still, the series itself is an amazing achievement, exploring the eccentric and often exploitive underworld of exotic animal collectors and conservationists. Joe Exotic was the show’s unstable center, given to stunts like running for president and participating in an unofficial, three-way same sex marriage. But the show also featured footage filmed over years, as directors caught crucial moments on film and climbed inside the heart of a devastatingly dysfunctional subculture. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Time \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>There’s a profound sadness at the core of Garrett Bradley’s arresting documentary about Fox Rich, a Louisiana woman who spent decades tirelessly contesting her husband Robert’s 60-year prison sentence for a crime they both committed out of economic desperation. But there’s also a sense of optimism humming beneath it all, particularly in how Rich’s story unfolds on screen: via footage from approximately 100 hours of daily video diaries she made of herself and their children over the years, in the hopes of eventually having the opportunity to show it all to Robert. Bradley and editor Gabriel Rhodes take this treasure of a time capsule and turn out an absorbing masterpiece. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What We Do In The Shadows, Season 2 \u003c/em>\u003c/strong>\u003cstrong>(FX and FX on Hulu)\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As great as the first season of this modern-day-vampire mockumentary series was, it had trouble stepping out of the long … well, \u003cem>shadow\u003c/em> of the 2014 film on which it was based. That’s not to say there weren’t plenty of creative additions—Mark Proksch’s cardigan-clad “energy vampire” Colin Robinson, for example, the embodiment of all things evil … and beige. But in the second season, a stronger, more linear plot involving the show’s secret weapon (Harvey Guillén as Guillermo, the Staten-Island-based vampires’ long-suffering thrall/assistant who discovers as dark, hilarious truth about himself) leaves the viewer with the impression that the show has clicked into its groove. And speaking of groove: If the show did nothing but grace us with the presence of the marvelous Matt Barry at his bombastic best here playing the preternaturally self-impressed vampire Lazlo, it would be enough. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Critics+Pick+Their+Favorite+TV+From+A+Strange+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "If you could watch it at home in 2020, it's here—four NPR critics give their picks for the best in streaming or broadcast TV.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been a momentous year for everything we consider TV.\u003c/p>\n\u003cp>A pandemic, civil rights reckoning, streaming war and presidential election shook up the industry in a dozen different ways. It blurred lines between genres, platforms and story forms, while also encouraging us to develop our own, deep rabbit holes of favorite media. So when our team of four critics sat down to figure out what we liked most onscreen this year, we each had a lot of stuff on our lists no one else did. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s why our list crosses a lot of boundaries, including projects technically released as feature films. It’s a powerful example of how much quality entertainment was available this year, even after coronavirus lockdowns shut down productions and upended release schedules.\u003c/p>\n\u003cp>In alphabetical order, here’s our best of 2020—and we know it’s a long list, so you can use these alphabetical links to skip around: \u003ca href=\"#B\">B\u003c/a>, \u003ca href=\"#C\">C\u003c/a>, \u003ca href=\"#D\">D\u003c/a>, \u003ca href=\"#F\">F\u003c/a>, \u003ca href=\"#G\">G\u003c/a>, \u003ca href=\"#H\">H\u003c/a>, \u003ca href=\"#I\">I\u003c/a>, \u003ca href=\"#J\">J\u003c/a>, \u003ca href=\"#L\">L\u003c/a>, \u003ca href=\"#M\">M\u003c/a>, \u003ca href=\"#N\">N\u003c/a>, \u003ca href=\"#O\">O\u003c/a>, \u003ca href=\"#P\">P\u003c/a>, \u003ca href=\"#Q\">Q\u003c/a>, \u003ca href=\"#T\">T\u003c/a>, \u003ca href=\"#W\">W\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Better Call Saul, Season 5 \u003c/em>\u003c/strong>\u003cstrong>(AMC, Amazon Prime rental, earlier seasons on Netflix)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This outstanding FX series long ago rendered pointless any comparisons to \u003cem>Breaking Bad\u003c/em>, of which it is technically a prequel. The story it’s telling is so very much its own—by turns gritty and funny, melancholic and viciously violent. In its penultimate season, the transformation of Jimmy McGill (Bob Odenkirk) into Saul Goodman—a criminal lawyer who’s actually a \u003cem>criminal\u003c/em> lawyer—is just about complete. We finally saw the series’ two disparate plot threads—Jimmy’s and Mike’s (Jonathan Banks)—come together, a richly satisfying consummation for those viewers who’ve complained about the series’ pacing, and who’ve longed for those two characters to share the screen. The fact that it’s all set against the very real, and immensely worrying, potential downfall of the show’s beating heart—Rhea Seehorn’s astonishing performance as Jimmy’s girlfriend Kim—invests us that much deeply in the show’s dangerous and duplicitous world. — \u003cem>Glen Weldon, Aisha Harris, Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Black Is King\u003c/em>\u003c/strong>\u003cstrong> (Disney+)/\u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>In a year that saw lots of reflection on systemic racism and police brutality, these two films offered emotional, effective meditations on Black joy and pain in very different ways. \u003cem>Black Is King\u003c/em> is Beyoncé’s “visual album,” loosely inspired by \u003cem>The Lion King\u003c/em> story, using arresting images and banging tunes to portray the peoples of the African diaspora rediscovering their heritage as leaders and royalty. \u003cem>Between the World and Me\u003c/em> is a different kind of tone poem, centered on passages read by performers like Oprah Winfrey from Ta-Nehisi Coates’ book, which was written as a letter to his teen son. It explores the dangers Black people face from police brutality and the joy which comes from Black love and achievement, perfectly presenting the duality of African American life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>BoJack Horseman, Season 6, Part II \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>After five-plus seasons watching a washed-up sitcom horse wrestle with drug addiction, narcissism, childhood traumas and the traumas he inflicted upon others, BoJack Horseman’s story came to an end that was as satisfying as one could hope. What the show did best (besides insanely clever animal puns and skewering Hollywood) was really question and challenge the arc of redemption for people (or horses) who have caused an immeasurable amount of pain to others. Right up to its final moments, the writers and animators didn’t let up, remaining as inquisitive and creative as ever. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Boys State\u003c/em>\u003c/strong> \u003cstrong>(Apple TV+)\u003c/strong>\u003c/p>\n\u003cp>Set at Boys State in Texas, a program where high school boys run for office and form a mock government, this is a documentary not for the faint of heart. It shows kids whose approach to politics is already hardened, already combative beyond the substance of it. Combative for its own sake. While there are moments that show the promise of young activists and idealists, there are also dark signs that a lot of kids who have grown up in our fractured and nasty political climate have learned plenty from the politicians who have endeavored at every turn to make it worse. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park\u003c/strong>\u003c/em> \u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>This documentary functions, at one level, as a document laying out the details of a very specific time and place: Action Park in New Jersey, famous for being the amusement park where kids got hurt. But with the help of excellent input from Class Action Park patrons and comedian Chris Gethard, it turns into a consideration of nostalgia more generally, and of what it means to know you had a great time doing something that was a very bad idea. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Da 5 Bloods \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Spike Lee’s usage of Marvin Gaye’s \u003cem>What’s Going On?\u003c/em> album is divine; his nods and references to everything from \u003cem>The Treasure of the Sierra Madre \u003c/em>to \u003cem>Rambo \u003c/em>are thoughtful and layered; Chadwick Boseman, in one of his final roles, is a powerful and spiritual presence. But this movie belongs to Delroy Lindo, who cuts an imposing and indelible figure as Paul, a Vietnam War vet worn down by unresolved guilt, wrecked by bitterness, sadness and fear. He finds shades to play with in every feeling and thought, giving one of the great performances in recent memory. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>David Byrne’s American Utopia \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a year when we were starved for good feelings, a year when mere happiness felt like ecstatic joy, and real ecstatic joy—like that on glorious display on a Broadway stage by a barefoot David Byrne and a cadre of musicians in matching gray suits—could leave you breathless, swooning and profoundly grateful. Directed by Spike Lee, the theatrical concert film spans Byrne’s musical career but—as with any production associated with Byrne—it leaves plenty of room to get enthusiastically weird. Wireless technology allows the musicians to roam the stage, and they do so in lock-step choreography, like the hippest high school marching band imaginable. A special treat for longtime Talking Heads fans: We finally get the live version of “Born Under Punches (The Heat Goes On)” that we didn’t know we’ve been aching for, all this time. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>First Cow \u003c/em>\u003c/strong>\u003cstrong>(Showtime, DIRECTTV, and numerous rental sites) \u003c/strong>\u003c/p>\n\u003cp>It’s astounding how much suspense director Kelly Reichardt is able to derive from the act of milking a cow. In early 19th-century Oregon Territory, skillful cook Otis “Cookie” Figowitz (John Magaro) befriends King-Lu, an enterprising Chinese immigrant (Orion Lee) and outlaw. Together, they conjure up a successful business at a market outpost selling oily cakes to hungry traders; the recipe requires a very scarce commodity around those parts: cow’s milk. It’s one-part heist film and another part buddy adventure, with a tender—and often humorous—friendship at its center. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Flight Attendant\u003c/em>\u003c/strong>\u003cstrong> (HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Based on the novel by Chris Bohjalian, this smart, taut HBO Max thriller stars Kaley Cuoco as, well, a flight attendant who wakes up after a night of partying and realizes something very, very bad happened while she was asleep. Part mystery, part drama about the aftereffects of a traumatic childhood, and part dark comedy, it was one of the most pleasant surprises of the year, impressing with its razor-sharp tone, supporting performances (Zosia Mamet is tremendous as Cuoco’s best friend), and heartfelt work from Cuoco. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Forty-Year-Old Version \u003c/em>\u003c/strong>\u003cstrong>(Netflix) \u003c/strong>\u003c/p>\n\u003cp>Radha Blank’s debut as a feature film director, writer and star is an engaging portrait of an artist at an existential crossroad, professional and personal. This is a refreshingly specific mid-life crisis, one borrowing from Blank’s own life as a born-and-bred New York writer and rapper known as RhadaMUS Prime. It’s funny and poignant, and the banter and characters feel real and alive. Radha the character may lack confidence at times, but real-life Radha the filmmaker is very self-assured. — \u003cem>Aisha Harris, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Good Place, Season 4 \u003c/em>\u003c/strong>\u003cstrong>(NBC, Netflix, Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>The road to this perfectly poignant finale wasn’t smooth. Much of seasons 3 and 4 lacked the bite of the earlier seasons, and as the gang fought to prove that there was a fundamental glitch in the sorting of heaven and hell, it felt almost like Mike Schur and his team were spinning wheels. But they stuck the landing anyway, bringing back some of that subversiveness by daring to suggest there can come a point when you feel as though you’ve done all you wanted to do in (the after)life and it’s time to move on. It’s a dark thing to contemplate, but it’s also honest. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Great \u003c/em>\u003c/strong>\u003cstrong>(Hulu)\u003c/strong>\u003c/p>\n\u003cp>Billed as “An Occasionally True Story,” this series about young Catherine (Elle Fanning) and her ill-fated marriage to Emperor Peter of Russia (Nicholas Hoult) is stuffed with gleefully ahistorical elements that’ll send students of Russian history into aneurysms. Fanning is terrific as an idealistic (and self-satisfied) would-be social reformer, while Hoult’s Peter is a nightmare—a sociopathic boor poured into a pair of tight leather pants. \u003cem>The Great \u003c/em>was created by Tony McNamara, based on his 2008 play. McNamara went on to co-write 2018’s \u003cem>The Favourite\u003c/em>, and if you’ve seen that film, you know what to expect here—yes, bustles and corsets, wigs and snuffboxes, but also crisp ripostes, lacerating insults and dialogue that sizzles with withering wit. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Harley Quinn\u003c/em>\u003c/strong>\u003cstrong> (DC Universe and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Given the sheer tonnage of live action superhero shows on TV, it’s notable that the most gonzo, subversive, hilarious, action packed, explicit and entertaining take on the DC comics universe is actually this animated series. Originally created for the streaming service DC Universe, it now lives on HBO Max, where \u003cem>Big Bang Theory\u003c/em> alum Kaley Cuoco voices the Joker’s former girlfriend as an unpredictable, profanity-slinging romantic who resists the ex who exploited her. It’s a comedy of sorts where even Batman is a bit of a doofus, featuring Harley leading a team of misfit baddies who struggle for recognition as Gotham City’s leading villains, redefining adult-oriented superhero stories in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Haunting of Bly Manor \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>The first installment of this Netflix series\u003cem>, The Haunting of Hill House\u003c/em>, was packed with plenty of good, ghostly scares—but it lagged in the middle, and whiffed the ending. With \u003cem>The Haunting of Bly Manor\u003c/em> creator and showrunner Mike Flanagan hasn’t simply found a new author to riff on (Henry James, instead of Shirley Jackson) he has seriously course-corrected. Though it parcels out the scares more thinly than \u003cem>Hill House \u003c/em>did, \u003cem>Bly Manor\u003c/em>‘s story is tighter, and it nails the all-important dismount in a sincere, humane and bittersweet way that directly addresses the nature, and the purpose, of grief. It’s not overtly tidy or dully expositional—yet it feels, in the best way, inevitable. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>I Hate Suzie\u003c/strong>\u003c/em>\u003cstrong> (HBO Max) \u003c/strong>\u003c/p>\n\u003cp>This British series—just eight episodes, as is their wont—stars the great Billie Piper as an actress whose nudes end up on the Internet after her phone gets hacked. She then proceeds to make a series of \u003cem>wildly\u003c/em> terrible decisions to deal with it—or \u003cem>not\u003c/em> deal with it, as the case may be. It won’t be for everyone. Think of it as the anti-\u003cem>Ted Lasso—\u003c/em>there’s little here that’s comforting or warm. Try it on for size: Watch the first episode, in which a huge crowd comes tromping through her home for a photo shoot just as she’s first finding out about the leaked nudes. She keeps trying to find some privacy—and keep her husband from finding out—in a long stretch of tense, claustrophobic, downright nightmarish scenes, many of which take place entirely in a tight close-up of Piper’s face as she attempts to keep from panicking. If it grabs you, you’ll watch the rest of the episodes through your fingers—but you will watch them, compulsively. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I May Destroy You\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Michaela Coel’s series about a woman exploring the aftermath of a sexual assault shone a spotlight on Coel’s own acting, writing, and in some cases directing. It also became a broader examination of ethics in sex and relationships, from the traumatic to the questionable to the unkind. The supporting cast and dizzying structural turns made the HBO show one of the most exciting of 2020. — \u003cem>Linda Holmes, Aisha Harris, Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Invisible Man \u003c/em>\u003c/strong>\u003cstrong>(HBO, HBO Max and numerous rental sites)\u003c/strong>\u003c/p>\n\u003cp>Elisabeth Moss stars as a woman who begins to fear she’s crazy when she keeps sensing her dead abusive husband everywhere. From there, the film becomes a consideration of paranoia, trauma and ultimately the desire to reclaim a connection to reality that’s come undone as a result of repeated, relentless gaslighting. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>John Mulaney and the Sack Lunch Bunch \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Point of order: This comedy special debuted on Dec. 25, 2019—after we made our annual list—so it slides in here on a technicality. But it certainly belongs—no comedy special has won me over so hard, so completely. Mulaney’s idiosyncratic sensibility might seem an odd fit for what is essentially an extended riff on old children’s television programming, but it works seamlessly here. That’s a product of the writing, which is wry but never cynical, but it’s also an outgrowth of the casting. These kid actors aren’t pushing it—they easily find Mulaney’s particular comedic frequency, and stick to it. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Last Dance\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Basketball legend Michael Jordan looms over every frame of this revealing documentary series first shown on ESPN, and not just because it expertly documents his final championship season with the Chicago Bulls in 1997-98. It’s an incisive look at how that team became a world-crushing, pop-culture-dominating force, with special detail on how Jordan built his legend. Other stories also resonate: How Dennis Rodman nearly committed suicide before he joined the Bulls; how teammate Scottie Pippen was continually underpaid; how Jordan was merciless about pushing his teammates and cultivating grudges to boost his performance. Jordan was involved as a producer and had to approve use of the Bulls’ behind-the-scenes footage, giving him even more control. But despite his influence, this miniseries offers a never-before-seen look at a once in a generation team. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovecraft Country\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Packed to bursting with symbolism, special effects, allegory, social messages, reinvented horror tropes and enough plot to require a YouTube explainer for every episode, this audacious take on Matt Ruff’s 2016 novel is a lot. But its story, placing a Black family at the heart of a pitched battle with a white family of witches in the Jim Crow-era 1950s, is a marvel of ambition and craft. Comparing the horrors of racism to the supernatural horrors found in novels by H.P. Lovecraft—himself an infamous xenophobe and racist—reinvents the genre in unexpected ways. And the work of executive producer/writer/director Misha Green to showcase the power of Black love and family in a series dropping during the summer’s reckoning over systemic racism and police brutality, was exquisitely perfect timing. — \u003cem>Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovers Rock \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>This entry in Steve McQueen’s excellent \u003cem>Small Axe \u003c/em>anthology series will surely make you want to seek out its soundtrack, which is bubbling with classics of the reggae subgenre from which it gets its title. But as you follow these young West Indian Londoners mingling, dancing, flirting and rebuffing aggressive strangers at a lively house party on one evening in 1980, it will also transport you to a realm of beauty and intimacy. It’s a musical reverie that manages to capture the exultation of the arrival of the weekend, and the sanctity of Black community. — \u003cem>Aisha Harris \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mucho Mucho Amor\u003c/em>\u003c/strong> \u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Netflix presented this documentary about legendary astrologer Walter Mercado to an audience that included both people who grew up watching him on television every day and people who knew him hardly at all. It told a story that was alternatively sad and stirring, but it ultimately gave the man his due as a legend who was part of the lives of many families and who found himself poorly treated by some of those close to him. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The New Pope \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The New Pope\u003c/em>, like \u003cem>The Young Pope\u003c/em> before it, is all about jockeying for a very earthly kind of power behind the scenes of the Vatican. The vaguely odd, singular tone of that first series persists, as does the many Italian actors’ tendencies to emphasize words that native English speakers wouldn’t necessarily emphasize, and insert long, meaningful pauses (creator Paolo Sorrentino loves his pauses) where native English speakers wouldn’t. It all adds to the sense that you’re watching the show from across a vague, yet palpable cultural divide—the ecclesiastical drama as Mentos commercial. Despite the title change and the swapping out of Jude Law’s Pius XIII for John Malkovich’s Sir John Brannox, Sorrentino’s camera still tracks slowly and languidly through immense arched hallways, vaulted rooms and lush gardens, pausing to alight upon small, telling details. Malkovich revels in his portrayal of Brannox as a louche, mascara-wearing British fop who flounces through life—a man who can be counted upon to find the nearest chaise in any room and recline upon it as if he has just been roughly flung there. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Normal People\u003c/em>\u003c/strong>\u003cstrong> (Hulu)\u003c/strong>\u003c/p>\n\u003cp>The Sally Rooney novel about two young students who fall in love and watch their lives intersect over many years was a hit, and adapting it into a limited series was a challenge since it’s so reliant on the interiority of the lead characters. But leads Daisy Edgar-Jones and Paul Mescal brought their scenes together an intimacy and grace that kept the wide-ranging story in focus. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>On The Record \u003c/em>\u003c/strong>\u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Making a documentary about the reckoning over sexual harassment in music would have been too broad an assignment for any filmmaker. So it makes sense that this one is narrower: It is primarily about allegations against hip-hop mogul Russell Simmons, and even more specifically about Drew Dixon, an A&R executive who says she saw her career founder after being assaulted by Simmons. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ozark, Season 3\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Critics who dismiss this drama about a family juggling internal drama and FBI scrutiny while laundering money for a Mexican drug cartel in the Ozarks (some have dubbed it “Breaking Bad: The Family Edition”) have missed the point. Especially in this year’s powerhouse third season, Ozark raised its game, adding Janet McTeer as a domineering cartel lawyer and Tom Pelphrey in a shamefully under-recognized turn as the bipolar brother of matriarch Wendy Byrde, played by Laura Linney. Pelphrey was heart-rending as the only person who saw how terrible the Byrdes’ activities were, despite his mental illness. And the show’s ability to keep viewers invested in Jason Bateman’s numbers whiz, patriarch Marty Byrde—no matter who he gets killed or rips off—is nothing short of amazing. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>P-Valley \u003c/em>\u003c/strong>\u003cstrong>(STARZ) \u003c/strong>\u003c/p>\n\u003cp>In lesser hands, Uncle Clifford (Nicco Annan)—the towering, flamboyant non-binary strip club owner whose drawl kind of sounds like Katt Williams—could have easily turned out to be little more than sassy caricature. But Katori Hall’s soapy melodrama about a rural Mississippi town and its colorful inhabitants takes its characters seriously, and over the course of this crackling first season they emerge more unique and interesting than their “types” might initially suggest. The show also brings a new level of respect to the artistry and precision of pole dancing—among the highlights are those extensive routines backed by dirty, thumping Southern hip-hop. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Queen’s Gambit\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Before I saw one scene of chess play, I was all in for a miniseries showing a talented, self-possessed woman mastering a game dominated by men in the 1950s and ’60s, knocking them off like clay pigeons on her way to the world championship. But this series, crafted by Scott Frank based on a 1983 novel, also plays like a superhero origin story. In a magnetic performance, Anya Taylor-Joy brings liquid eyes and an inscrutable manner to chess prodigy Beth Harmon, who must overcome substance abuse, the influence of her suicidal mom and a sexist world to reach her goals. Toss in a period-specific, lavish production and direction that actually makes chess look interesting, and you have the ingredients of a modern TV masterpiece. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ted Lasso\u003c/em>\u003c/strong>\u003cstrong> (Apple TV+) \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> alum Jason Sudeikis is funny, bumbling and occasionally heartbreaking as Ted Lasso, a stupendously optimistic American college football coach hired to lead a Premiere League soccer team in England. The owner is actually trying to sabotage the team by hiring Lasso, who knows nothing about soccer—or “football,” as they call it in Britain. But she doesn’t realize his true superpower is that he’s so gosh darned nice. It may sound a little hokey, but \u003cem>Ted Lasso\u003c/em> somehow builds a wonderful comedy around the healing power of niceness—deflating any hokum with a well-timed joke or two. And considering how tough 2020 has been, we all could use a lot of that message right about now. — \u003cem>Eric Deggans, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tiger King\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>The subjects of this docuseries became the butt of a thousand punchlines, as viewers dug into the tawdry tale of Joe Exotic—a publicity-seeking, pistol-packing character running a private zoo in Oklahoma who was convicted of paying a hitman to murder his longtime nemesis, self-styled animal conservationist Carol Baskin. Still, the series itself is an amazing achievement, exploring the eccentric and often exploitive underworld of exotic animal collectors and conservationists. Joe Exotic was the show’s unstable center, given to stunts like running for president and participating in an unofficial, three-way same sex marriage. But the show also featured footage filmed over years, as directors caught crucial moments on film and climbed inside the heart of a devastatingly dysfunctional subculture. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Time \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>There’s a profound sadness at the core of Garrett Bradley’s arresting documentary about Fox Rich, a Louisiana woman who spent decades tirelessly contesting her husband Robert’s 60-year prison sentence for a crime they both committed out of economic desperation. But there’s also a sense of optimism humming beneath it all, particularly in how Rich’s story unfolds on screen: via footage from approximately 100 hours of daily video diaries she made of herself and their children over the years, in the hopes of eventually having the opportunity to show it all to Robert. Bradley and editor Gabriel Rhodes take this treasure of a time capsule and turn out an absorbing masterpiece. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What We Do In The Shadows, Season 2 \u003c/em>\u003c/strong>\u003cstrong>(FX and FX on Hulu)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As great as the first season of this modern-day-vampire mockumentary series was, it had trouble stepping out of the long … well, \u003cem>shadow\u003c/em> of the 2014 film on which it was based. That’s not to say there weren’t plenty of creative additions—Mark Proksch’s cardigan-clad “energy vampire” Colin Robinson, for example, the embodiment of all things evil … and beige. But in the second season, a stronger, more linear plot involving the show’s secret weapon (Harvey Guillén as Guillermo, the Staten-Island-based vampires’ long-suffering thrall/assistant who discovers as dark, hilarious truth about himself) leaves the viewer with the impression that the show has clicked into its groove. And speaking of groove: If the show did nothing but grace us with the presence of the marvelous Matt Barry at his bombastic best here playing the preternaturally self-impressed vampire Lazlo, it would be enough. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Critics+Pick+Their+Favorite+TV+From+A+Strange+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cameras, Chaos And Cognac: How Bob Gruen Photographed the Spirit of Rock 'N' Roll",
"headTitle": "Cameras, Chaos And Cognac: How Bob Gruen Photographed the Spirit of Rock ‘N’ Roll | KQED",
"content": "\u003cp>Photographer Bob Gruen spent decades capturing the lives and performances of rock stars of the ’60s, ’70s and ’80s, including John Lennon, the Rolling Stones, Chuck Berry, Tina Turner—and many more.\u003c/p>\n\u003cp>Gruen put in many hours backstage, in studios and on the road, sometimes doing drugs and drinking until dawn with his subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890097 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png\" alt=\"\" width=\"297\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM-160x226.png 160w\" sizes=\"(max-width: 297px) 100vw, 297px\">“I carried a little flask of cognac in my camera case. It was part of my equipment. That’s the way it was in the ’70s,” he says. “I don’t know how I survived, because I crave peace and quiet—but I actually thrive in chaos.”\u003c/p>\n\u003cp>Gruen approached his subjects collaboratively, often soliciting their opinion about a photograph instead of trying to catch them off guard. He describes his work as an effort to capture the feeling and passion of music—not just the facts.\u003c/p>\n\u003cp>“For me, rock ‘n’ roll is all about freedom. It’s about the freedom to express your feelings very loudly in public,” he says. “I try to capture that moment of freedom, that moment when everybody’s yelling ‘Yay!’ and nobody’s thinking about paying the rent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gruen looks back on his career in the new memoir, \u003cem>Right Place, Right Time: The Life of a Rock & Roll Photographer. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On taking his now-famous photo of Tina Turner\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890088 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg\" alt=\"\" width=\"576\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122-160x240.jpg 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/p>\n\u003cp>Tina was just amazing. I was sitting right in front, taking pictures. And at the end of the show, a strobe light flashes and Tina kind of dances off of multiple images in the strobe light. And I just had a few frames left in the camera, and I thought, I wonder what will happen if I take a one-second picture and get a few of these flashes in the same frame? And I took, like, four or five pictures and three or four of them are useless—and one of them is one of the best pictures I’ve ever taken. And it just captures Tina in five images that just captures the excitement and the energy that’s Tina Turner.\u003c/p>\n\u003cp>\u003cstrong>On how the culture of drinking and doing drugs was part of the work \u003c/strong>\u003c/p>\n\u003cp>It is so hard to understand in the sober light of today what it was like back then, that you would go into a record company office and the guy would take out some coke. You share a couple lines if his were better than yours. You kind of discuss, light a joint, open a beer and then do some business, talk business. … I don’t remember seeing bottles of water, but we had lots of cans of beer. If there was orange juice around, it was for the vodka.\u003c/p>\n\u003cp>Thinking back, that’s the way it was. I couldn’t do it today. I don’t know how I operated on that level back then because the world isn’t drunk anymore. It’s pretty sober nowadays, but at the time it just seemed so normal. … I didn’t think I was impaired. We kind of thought that was improving our performance. It was getting us in the mood. It was getting us to enjoy the feeling. Rock ‘n’ roll was supposed to be [about] having fun.\u003c/p>\n\u003cp>\u003cstrong>On John Lennon bringing him along for the final legal meeting to dissolve the Beatles\u003c/strong>\u003c/p>\n\u003cp>They had been suing [business manager] Allen Klein to get out of the contract that they had made with him in the late ’60s. … They had taken over the whole floor of the Plaza Hotel, and they were negotiating the last bits of the contract and each Beatle had several lawyers and Allen had several lawyers. There must be 15 or 20 lawyers in the picture. And they had a whole room for the secretaries, because in those days they didn’t have the kind of fax machines or data processing we have now. And every time they changed a word, they did type it on 20 different copies of the new agreement. And actually, when it was signed, John told me that the original agreement with Allen Klein had been three paragraphs on one page and to break up that agreement took an 87-page contract. But he was very, very happy to finally sign that contract and get it done. Allen was funny. Allen Klein went to Zabar’s while they were typing up the last changes and he brought a giant, 2-foot-long rye bread. And so that when we took the picture of them with the contract, it was on top of the rye bread. And the caption said, “They’re splitting the bread.” …\u003c/p>\n\u003cp>It was a moment in history, the moment that the Beatles got free of their contract, and it was a big newsworthy event that they finally finished this several-year lawsuit going back and forth. All their money was in escrow. At one point, somebody [came up to John on the street and said], “You look like John Lennon!” And John said, “I wish I had his money.” And he wasn’t joking. It was true. They didn’t have their money. It was in escrow. So it was a big moment when they signed that contract. And it was after that he was free. He had no record contract. He had no management contract. He was on his own, had no responsibilities towards anybody. So he retreated to, you know, to his apartment and spent all his time raising Sean for the next five years.\u003c/p>\n\u003cp>\u003cstrong>On choosing Lennon’s memorial photo \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13890090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg\" alt=\"\" width=\"627\" height=\"857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b-160x219.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>[The promoter] called to ask me for a picture to put there for people to focus on and think about John. And I thought about all the different ones I had. There was one from Madison Square Garden where he was obviously a rock musician, but I thought he was more than that. And it was one where he looked very intellectual that had been on the cover of \u003cem>The New York Times\u003c/em>. But I thought he was more than that, too. And there was a picture of him just looking open and friendly with the New York City T-shirt on, and Yoko had published a piece that day, actually, [saying] don’t blame New York City for what happened to John, that the person who killed him came from the other side of the world and would come to wherever they lived. And I’ve always felt that John died in New York because he lived in New York. He died going home. And so I used the picture of John with the New York City T-shirt, and it became kind of the centerpiece of that memorial.\u003c/p>\n\u003cp>\u003cstrong>On his tense relationship with Bob Dylan \u003c/strong>\u003c/p>\n\u003cp>I’m such an admirer, but it just never really worked out. I mean, one time I took a picture right in his face at the Bottom Line [nightclub in New York City], I don’t think he appreciated that very much. But then when he had the Rolling Thunder tour, he was banning photography. He had one photographer that he had hired, and he was going to approve those pictures and he didn’t want any other pictures. But I took it as a challenge as a journalist who thought it was an important news event that had to be covered. And I literally put cameras in my boots and a lens in my hood and I snuck my equipment into the concert. And during the encore, when everybody was standing on their seats and chaos was reigning, I would jump up and take a whole bunch of pictures. And then a lot of them were published in magazines and newspapers. And I didn’t realize that Bob Dylan was going to take that as a personal offense since he had tried to ban photography.\u003c/p>\n\u003cp>I guess it was about a year later, he was playing in Berlin and … he said, “I know you. I saw your name next to all those pictures you took. And I always thought I was going to beat you up when I met you.” And he had a cane with a silver head and he’s, like, waving his cane in front. … And I started apologizing, trying to defend it saying I took really good pictures. It was kind of like meeting God and finding out that he wanted to kill me. And, in a sense, that made me stronger, because I no longer had a hero that I could really look up to for any kind of protection.\u003c/p>\n\u003cp>\u003cstrong>On publishing his first photograph when he was 13\u003c/strong>\u003c/p>\n\u003cp>My mom was an attorney, but her hobby was photography. She taught me to develop and print my own pictures when I was very little, and I started taking pictures around the house and around the neighborhood and in school. And then, when I was coming home from school, I saw firemen arriving at a fire. And I ran over and I took pictures of them and ran out of film and ran home, got more film and ran back and actually climbed up in a building behind the fire onto the roof of a six-story building behind it and got it—almost like an aerial shot of the whole scene—and then went back home, developed it right away and brought it down to the local newspaper. And they liked it, and they actually printed it on the cover and they were impressed with me. I was 13. …\u003c/p>\n\u003cp>[I learned] something that I followed the rest of my life, [which was] to get a different angle, because there was a local photographer out front taking pictures of the fire. And I went and found a different angle that showed the whole scene, and I often do that in concert to get something different than everybody else.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cameras%2C+Chaos+And+Cognac%3A+How+Bob+Gruen+Photographed+The+Spirit+Of+Rock+%27N%27+Roll&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer Bob Gruen spent decades capturing the lives and performances of rock stars of the ’60s, ’70s and ’80s, including John Lennon, the Rolling Stones, Chuck Berry, Tina Turner—and many more.\u003c/p>\n\u003cp>Gruen put in many hours backstage, in studios and on the road, sometimes doing drugs and drinking until dawn with his subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890097 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png\" alt=\"\" width=\"297\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM.png 297w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-08-at-10.56.25-AM-160x226.png 160w\" sizes=\"(max-width: 297px) 100vw, 297px\">“I carried a little flask of cognac in my camera case. It was part of my equipment. That’s the way it was in the ’70s,” he says. “I don’t know how I survived, because I crave peace and quiet—but I actually thrive in chaos.”\u003c/p>\n\u003cp>Gruen approached his subjects collaboratively, often soliciting their opinion about a photograph instead of trying to catch them off guard. He describes his work as an effort to capture the feeling and passion of music—not just the facts.\u003c/p>\n\u003cp>“For me, rock ‘n’ roll is all about freedom. It’s about the freedom to express your feelings very loudly in public,” he says. “I try to capture that moment of freedom, that moment when everybody’s yelling ‘Yay!’ and nobody’s thinking about paying the rent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gruen looks back on his career in the new memoir, \u003cem>Right Place, Right Time: The Life of a Rock & Roll Photographer. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On taking his now-famous photo of Tina Turner\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890088 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg\" alt=\"\" width=\"576\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-50_tinaturner1970_gruen-72_custom-fe45c8af27696871a37e2b7ddb8842d798931122-160x240.jpg 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/p>\n\u003cp>Tina was just amazing. I was sitting right in front, taking pictures. And at the end of the show, a strobe light flashes and Tina kind of dances off of multiple images in the strobe light. And I just had a few frames left in the camera, and I thought, I wonder what will happen if I take a one-second picture and get a few of these flashes in the same frame? And I took, like, four or five pictures and three or four of them are useless—and one of them is one of the best pictures I’ve ever taken. And it just captures Tina in five images that just captures the excitement and the energy that’s Tina Turner.\u003c/p>\n\u003cp>\u003cstrong>On how the culture of drinking and doing drugs was part of the work \u003c/strong>\u003c/p>\n\u003cp>It is so hard to understand in the sober light of today what it was like back then, that you would go into a record company office and the guy would take out some coke. You share a couple lines if his were better than yours. You kind of discuss, light a joint, open a beer and then do some business, talk business. … I don’t remember seeing bottles of water, but we had lots of cans of beer. If there was orange juice around, it was for the vodka.\u003c/p>\n\u003cp>Thinking back, that’s the way it was. I couldn’t do it today. I don’t know how I operated on that level back then because the world isn’t drunk anymore. It’s pretty sober nowadays, but at the time it just seemed so normal. … I didn’t think I was impaired. We kind of thought that was improving our performance. It was getting us in the mood. It was getting us to enjoy the feeling. Rock ‘n’ roll was supposed to be [about] having fun.\u003c/p>\n\u003cp>\u003cstrong>On John Lennon bringing him along for the final legal meeting to dissolve the Beatles\u003c/strong>\u003c/p>\n\u003cp>They had been suing [business manager] Allen Klein to get out of the contract that they had made with him in the late ’60s. … They had taken over the whole floor of the Plaza Hotel, and they were negotiating the last bits of the contract and each Beatle had several lawyers and Allen had several lawyers. There must be 15 or 20 lawyers in the picture. And they had a whole room for the secretaries, because in those days they didn’t have the kind of fax machines or data processing we have now. And every time they changed a word, they did type it on 20 different copies of the new agreement. And actually, when it was signed, John told me that the original agreement with Allen Klein had been three paragraphs on one page and to break up that agreement took an 87-page contract. But he was very, very happy to finally sign that contract and get it done. Allen was funny. Allen Klein went to Zabar’s while they were typing up the last changes and he brought a giant, 2-foot-long rye bread. And so that when we took the picture of them with the contract, it was on top of the rye bread. And the caption said, “They’re splitting the bread.” …\u003c/p>\n\u003cp>It was a moment in history, the moment that the Beatles got free of their contract, and it was a big newsworthy event that they finally finished this several-year lawsuit going back and forth. All their money was in escrow. At one point, somebody [came up to John on the street and said], “You look like John Lennon!” And John said, “I wish I had his money.” And he wasn’t joking. It was true. They didn’t have their money. It was in escrow. So it was a big moment when they signed that contract. And it was after that he was free. He had no record contract. He had no management contract. He was on his own, had no responsibilities towards anybody. So he retreated to, you know, to his apartment and spent all his time raising Sean for the next five years.\u003c/p>\n\u003cp>\u003cstrong>On choosing Lennon’s memorial photo \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13890090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg\" alt=\"\" width=\"627\" height=\"857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b.jpg 627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/r-2_jlennon1974_gruen-72_custom-f48d22bcd30ac31c4d79ac5d19448c3756c11e5b-160x219.jpg 160w\" sizes=\"(max-width: 627px) 100vw, 627px\">\u003c/p>\n\u003cp>[The promoter] called to ask me for a picture to put there for people to focus on and think about John. And I thought about all the different ones I had. There was one from Madison Square Garden where he was obviously a rock musician, but I thought he was more than that. And it was one where he looked very intellectual that had been on the cover of \u003cem>The New York Times\u003c/em>. But I thought he was more than that, too. And there was a picture of him just looking open and friendly with the New York City T-shirt on, and Yoko had published a piece that day, actually, [saying] don’t blame New York City for what happened to John, that the person who killed him came from the other side of the world and would come to wherever they lived. And I’ve always felt that John died in New York because he lived in New York. He died going home. And so I used the picture of John with the New York City T-shirt, and it became kind of the centerpiece of that memorial.\u003c/p>\n\u003cp>\u003cstrong>On his tense relationship with Bob Dylan \u003c/strong>\u003c/p>\n\u003cp>I’m such an admirer, but it just never really worked out. I mean, one time I took a picture right in his face at the Bottom Line [nightclub in New York City], I don’t think he appreciated that very much. But then when he had the Rolling Thunder tour, he was banning photography. He had one photographer that he had hired, and he was going to approve those pictures and he didn’t want any other pictures. But I took it as a challenge as a journalist who thought it was an important news event that had to be covered. And I literally put cameras in my boots and a lens in my hood and I snuck my equipment into the concert. And during the encore, when everybody was standing on their seats and chaos was reigning, I would jump up and take a whole bunch of pictures. And then a lot of them were published in magazines and newspapers. And I didn’t realize that Bob Dylan was going to take that as a personal offense since he had tried to ban photography.\u003c/p>\n\u003cp>I guess it was about a year later, he was playing in Berlin and … he said, “I know you. I saw your name next to all those pictures you took. And I always thought I was going to beat you up when I met you.” And he had a cane with a silver head and he’s, like, waving his cane in front. … And I started apologizing, trying to defend it saying I took really good pictures. It was kind of like meeting God and finding out that he wanted to kill me. And, in a sense, that made me stronger, because I no longer had a hero that I could really look up to for any kind of protection.\u003c/p>\n\u003cp>\u003cstrong>On publishing his first photograph when he was 13\u003c/strong>\u003c/p>\n\u003cp>My mom was an attorney, but her hobby was photography. She taught me to develop and print my own pictures when I was very little, and I started taking pictures around the house and around the neighborhood and in school. And then, when I was coming home from school, I saw firemen arriving at a fire. And I ran over and I took pictures of them and ran out of film and ran home, got more film and ran back and actually climbed up in a building behind the fire onto the roof of a six-story building behind it and got it—almost like an aerial shot of the whole scene—and then went back home, developed it right away and brought it down to the local newspaper. And they liked it, and they actually printed it on the cover and they were impressed with me. I was 13. …\u003c/p>\n\u003cp>[I learned] something that I followed the rest of my life, [which was] to get a different angle, because there was a local photographer out front taking pictures of the fire. And I went and found a different angle that showed the whole scene, and I often do that in concert to get something different than everybody else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cameras%2C+Chaos+And+Cognac%3A+How+Bob+Gruen+Photographed+The+Spirit+Of+Rock+%27N%27+Roll&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "David Fincher's 'Mank' is a Lushly Rendered Cinematic Landscape",
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"content": "\u003cp>A cardinal sin too many biopics indulge in is checking off the beat-by-beat life excerpts, ignoring a specified vision for depicting their real-life protagonists in favor of broad strokes. \u003cem>Mank\u003c/em>, directed by David Fincher and based on a screenplay written by his late father Jack, is no such kind of biopic, thankfully. Inspired by Pauline Kael’s spicy (and since widely discredited) \u003cem>New Yorker \u003c/em>tome “\u003ca href=\"https://www.newyorker.com/magazine/1971/02/20/raising-kane-i\" target=\"_blank\" rel=\"noopener noreferrer\">Raising Kane\u003c/a>,” which argued Herman J. Mankiewicz deserved sole credit for the \u003cem>Citizen Kane \u003c/em>script, not Orson Welles, the film is as much about Hollywood’s immersion in politics as it is about a writer struggling to finish what would become known as his masterpiece.\u003c/p>\n\u003cp>“You cannot capture a man’s entire life in two hours, you can only hope to leave the impression of one,” pronounces Mankiewicz (Gary Oldman)—explaining his circuitous, complex approach to writing \u003cem>Kane\u003c/em>, but also, implicitly, Fincher’s approach to making \u003cem>Mank.\u003c/em>\u003c/p>\n\u003cp>Homages to \u003cem>Kane \u003c/em>abound. The story unfolds non-linearly: In 1940, as a bed-ridden Mank settles in to write the script from a rented ranch house, and in flashbacks to various points in his earlier career working within the Hollywood studio system. (In a nice writerly touch, screenplay slug lines like “Ext. Paramount Studios—Day—1930 (Flashback),” mark time jumps, useful to the viewer following along.) It’s also gorgeously rendered in black and white by cinematographer Erik Messerschmidt and colorist Eric Weidt while deploying visual techniques (such as deep focus) most heavily associated with \u003cem>Kane\u003c/em>.\u003c/p>\n\u003cp>As a movie about a movie—and one that has been propped up as the greatest of all time and included on every Film History 101 syllabus, no less—it could easily fall into the stale trap of navel-gazing and doe-eyed optimism about the magic and power of The Cinema™. On the former, it does stumble a bit, as I can imagine most viewers who aren’t cinephiles may have a hard time following the action of the first 45 minutes or so. (Many long-forgotten Hollywood stars and filmmakers of the 1930s are introduced or name-checked in scene after scene.)\u003c/p>\n\u003cp>But Fincher, whose creative eye tends to be drawn to the dark and macabre, manages to avoid putting Hollywood on too high of a pedestal, even as he clearly demonstrates his affection for it through his own painstaking techniques. While Mank’s prickly relationship with M-G-M executives Louis B. Mayer (Arliss Howard) and Irving Thalberg (Ferdinand Kingsley), told in flashbacks, has shades of the familiar art-vs.-commerce banter—”If you want a message, call Western Union,” Mayer grunts in one scene, evincing his entire approach to filmmaking—Fincher isn’t so interested in telling a story in which the “art” triumphs. Instead, amidst the clever aesthetic details, there’s sharp attention to deglamorization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aSfX-nrg-lI\u003c/p>\n\u003cp>Much of the plot concerns Mayer and Thalberg’s open support for the incumbent California governor Frank Merriam’s re-election campaign against journalist Upton Sinclair, alongside media mogul William Randolph Hearst (Charles Dance). Hearst, of course, is considered the thinly veiled inspiration for the power-hungry Charles Foster Kane, and Mank’s attendance at Hearst’s lavish dinner party salons, and their eventual falling out, serve as the creative spark he needs to write.\u003c/p>\n\u003cp>As Mank, Oldman is a crochety but witty alcoholic, who is generally respected but labeled by many to be difficult; the real-life Mankiewicz was \u003ca href=\"https://www.newyorker.com/culture/the-front-row/herman-mankiewicz-pauline-kael-and-the-battle-over-citizen-kane\" target=\"_blank\" rel=\"noopener noreferrer\">notoriously disdainful\u003c/a> toward the art of moviemaking, in part because he believed its inherently collaborative nature diluted the input of everyone involved. This type of character could lend itself quite well to scenery chewing of the \u003ca href=\"https://www.npr.org/2017/11/23/565935388/darkest-hour-is-a-grand-ham-fisted-showpiece-for-gary-oldman-s-churchill\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Darkest Hour \u003c/em>variety\u003c/a>, but mercifully, Oldman is a touch more subtle here, playing disaffected handily. His best scenes are with Amanda Seyfried as the actress Marion Davies—Seyfried is outstanding here, infusing Hearst’s longtime mistress with pluck and self-awareness that allows her to carry on thoughtful conversations with Mank, the only person who seems to take her seriously.\u003c/p>\n\u003cp>While there is much to admire about this movie, I find it easier to appreciate than to love. Many of the scenes at the ranch encounter the problem that often arises when trying to depict the writing process—how to render what is so often an internal exercise in visual form? Unfortunately, they can’t help feeling inert at times, functioning as lay-up for the meat of the narrative arc told in flashbacks. And \u003cem>Mank\u003c/em> still can’t quite escape some trappings of the genre, like the exasperated but understanding wife of the tortured genius (Sara Mankiewicz, the thankless role played by Tuppence Middleton) or the frequent extolling of the tortured genius’s genius (some version of \u003cem>Kane \u003c/em>being the “best thing” Mank has ever written is repeated several times).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s a beautiful and bold exercise that amounts to more than what it might have been in lesser hands than Fincher’s. And if you care at all about movie history and the intersection of politics, or you just want to watch a filmmaker at the top of his craft, \u003cem>Mank \u003c/em>is a must-see.\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=%27Mank%27+Is+A+Lushly+Rendered+Cinematic+Landscape&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A cardinal sin too many biopics indulge in is checking off the beat-by-beat life excerpts, ignoring a specified vision for depicting their real-life protagonists in favor of broad strokes. \u003cem>Mank\u003c/em>, directed by David Fincher and based on a screenplay written by his late father Jack, is no such kind of biopic, thankfully. Inspired by Pauline Kael’s spicy (and since widely discredited) \u003cem>New Yorker \u003c/em>tome “\u003ca href=\"https://www.newyorker.com/magazine/1971/02/20/raising-kane-i\" target=\"_blank\" rel=\"noopener noreferrer\">Raising Kane\u003c/a>,” which argued Herman J. Mankiewicz deserved sole credit for the \u003cem>Citizen Kane \u003c/em>script, not Orson Welles, the film is as much about Hollywood’s immersion in politics as it is about a writer struggling to finish what would become known as his masterpiece.\u003c/p>\n\u003cp>“You cannot capture a man’s entire life in two hours, you can only hope to leave the impression of one,” pronounces Mankiewicz (Gary Oldman)—explaining his circuitous, complex approach to writing \u003cem>Kane\u003c/em>, but also, implicitly, Fincher’s approach to making \u003cem>Mank.\u003c/em>\u003c/p>\n\u003cp>Homages to \u003cem>Kane \u003c/em>abound. The story unfolds non-linearly: In 1940, as a bed-ridden Mank settles in to write the script from a rented ranch house, and in flashbacks to various points in his earlier career working within the Hollywood studio system. (In a nice writerly touch, screenplay slug lines like “Ext. Paramount Studios—Day—1930 (Flashback),” mark time jumps, useful to the viewer following along.) It’s also gorgeously rendered in black and white by cinematographer Erik Messerschmidt and colorist Eric Weidt while deploying visual techniques (such as deep focus) most heavily associated with \u003cem>Kane\u003c/em>.\u003c/p>\n\u003cp>As a movie about a movie—and one that has been propped up as the greatest of all time and included on every Film History 101 syllabus, no less—it could easily fall into the stale trap of navel-gazing and doe-eyed optimism about the magic and power of The Cinema™. On the former, it does stumble a bit, as I can imagine most viewers who aren’t cinephiles may have a hard time following the action of the first 45 minutes or so. (Many long-forgotten Hollywood stars and filmmakers of the 1930s are introduced or name-checked in scene after scene.)\u003c/p>\n\u003cp>But Fincher, whose creative eye tends to be drawn to the dark and macabre, manages to avoid putting Hollywood on too high of a pedestal, even as he clearly demonstrates his affection for it through his own painstaking techniques. While Mank’s prickly relationship with M-G-M executives Louis B. Mayer (Arliss Howard) and Irving Thalberg (Ferdinand Kingsley), told in flashbacks, has shades of the familiar art-vs.-commerce banter—”If you want a message, call Western Union,” Mayer grunts in one scene, evincing his entire approach to filmmaking—Fincher isn’t so interested in telling a story in which the “art” triumphs. Instead, amidst the clever aesthetic details, there’s sharp attention to deglamorization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aSfX-nrg-lI'\n title='//www.youtube.com/embed/aSfX-nrg-lI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Much of the plot concerns Mayer and Thalberg’s open support for the incumbent California governor Frank Merriam’s re-election campaign against journalist Upton Sinclair, alongside media mogul William Randolph Hearst (Charles Dance). Hearst, of course, is considered the thinly veiled inspiration for the power-hungry Charles Foster Kane, and Mank’s attendance at Hearst’s lavish dinner party salons, and their eventual falling out, serve as the creative spark he needs to write.\u003c/p>\n\u003cp>As Mank, Oldman is a crochety but witty alcoholic, who is generally respected but labeled by many to be difficult; the real-life Mankiewicz was \u003ca href=\"https://www.newyorker.com/culture/the-front-row/herman-mankiewicz-pauline-kael-and-the-battle-over-citizen-kane\" target=\"_blank\" rel=\"noopener noreferrer\">notoriously disdainful\u003c/a> toward the art of moviemaking, in part because he believed its inherently collaborative nature diluted the input of everyone involved. This type of character could lend itself quite well to scenery chewing of the \u003ca href=\"https://www.npr.org/2017/11/23/565935388/darkest-hour-is-a-grand-ham-fisted-showpiece-for-gary-oldman-s-churchill\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Darkest Hour \u003c/em>variety\u003c/a>, but mercifully, Oldman is a touch more subtle here, playing disaffected handily. His best scenes are with Amanda Seyfried as the actress Marion Davies—Seyfried is outstanding here, infusing Hearst’s longtime mistress with pluck and self-awareness that allows her to carry on thoughtful conversations with Mank, the only person who seems to take her seriously.\u003c/p>\n\u003cp>While there is much to admire about this movie, I find it easier to appreciate than to love. Many of the scenes at the ranch encounter the problem that often arises when trying to depict the writing process—how to render what is so often an internal exercise in visual form? Unfortunately, they can’t help feeling inert at times, functioning as lay-up for the meat of the narrative arc told in flashbacks. And \u003cem>Mank\u003c/em> still can’t quite escape some trappings of the genre, like the exasperated but understanding wife of the tortured genius (Sara Mankiewicz, the thankless role played by Tuppence Middleton) or the frequent extolling of the tortured genius’s genius (some version of \u003cem>Kane \u003c/em>being the “best thing” Mank has ever written is repeated several times).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s a beautiful and bold exercise that amounts to more than what it might have been in lesser hands than Fincher’s. And if you care at all about movie history and the intersection of politics, or you just want to watch a filmmaker at the top of his craft, \u003cem>Mank \u003c/em>is a must-see.\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=%27Mank%27+Is+A+Lushly+Rendered+Cinematic+Landscape&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you have the sense you’re seeing fewer women on TV than you encounter in everyday life, a new study by the Nielsen company may offer an explanation.\u003c/p>\n\u003cp>The study is titled \u003ca href=\"https://www.nielsen.com/us/en/about-us/diversity-and-inclusion/inclusion-analytics/\" target=\"_blank\" rel=\"noopener noreferrer\">“Being Seen On Screen: Diverse Representation and Inclusion on TV.”\u003c/a>\u003c/p>\n\u003cp>Researchers at Nielsen, the company which also provides TV viewership ratings, looked at the top 100 TV shows each in broadcast, cable and streaming, excluding sports, movies and animated shows.\u003c/p>\n\u003cp>In an analysis of diversity and inclusion among those 300 programs in 2019, Nielsen found women, Native Americans and Latinx people were among the most underrepresented groups relative to their numbers in the general population.\u003c/p>\n\u003cp>For example, women make up 52 percent of the U.S. population, but they show up onscreen 37.9 percent of the time, according to Nielsen’s study. It uses a metric called “share of screen”—the percentage of time members of specific groups appear as recurring cast members—to measure how often TV viewers actually see these types of people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The numbers get worse for women over age 50. This group is 20 percent of the population, but only gets 8 percent of screen time. Men over age 50, who are 17 percent of the population, get a 14 percent share of screen time—closer to their actual numbers in real life.\u003c/p>\n\u003cp>Latinos and non-white Hispanics were among the most underrepresented non-white racial groups—a trend also noted in other studies about \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/08/06/338324139/why-arent-top-films-diverse-as-the-real-world-they-miss-hispanics\" target=\"_blank\" rel=\"noopener noreferrer\">diversity in Hollywood.\u003c/a>\u003c/p>\n\u003cp>Nielsen found this disparity was consistent across broadcast, cable and streaming services, drawing a total 5.5 percent of screen time, though they are 18.8 percent of the population.\u003c/p>\n\u003cp>Native Americans’ share of screen time was less than one quarter of their presence in the population, totaling just .4 percent across broadcast, cable and streaming.\u003c/p>\n\u003cp>Black people—whose depictions in media became a focus of concern amid the worldwide reckoning over civil rights this summer—were actually slightly overrepresented with 18.1 percent of screen time, while comprising 14 percent of the population.\u003c/p>\n\u003cp>Nielsen found a TV landscape where representation has risen for some groups, as the number of media platforms continually increase and viewers look for content that tells their stories.\u003c/p>\n\u003cp>But overall, many groups who are marginalized in the real world remain underrepresented in media depictions—especially on cable TV, where white characters got 88 percent of screen time, despite comprising 60 percent of the population.\u003c/p>\n\u003cp>The study doesn’t offer many clues as to why the diversity issues play out the way they do. Nielsen, which sells its ratings services to media companies, didn’t name specific shows or media platforms which may be among the worst offenders or best performers.\u003c/p>\n\u003cp>But company officials said the study does indicate areas where inclusion and diversity work should be focused, as the audience demands media depictions which better reflect the world they live in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The content we consume should reflect the growing diversity of our country, and we know that diverse audiences look for diverse content,” wrote David Kenney, Nielsen CEO and Chief Diversity Officer, in the study’s foreword. “As our nation’s demographic become more diverse, the call for more authentic content, reflecting real people and real life, is louder than ever.”\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=More+Evidence+TV+Doesn%27t+Reflect+Real+Life+Diversity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you have the sense you’re seeing fewer women on TV than you encounter in everyday life, a new study by the Nielsen company may offer an explanation.\u003c/p>\n\u003cp>The study is titled \u003ca href=\"https://www.nielsen.com/us/en/about-us/diversity-and-inclusion/inclusion-analytics/\" target=\"_blank\" rel=\"noopener noreferrer\">“Being Seen On Screen: Diverse Representation and Inclusion on TV.”\u003c/a>\u003c/p>\n\u003cp>Researchers at Nielsen, the company which also provides TV viewership ratings, looked at the top 100 TV shows each in broadcast, cable and streaming, excluding sports, movies and animated shows.\u003c/p>\n\u003cp>In an analysis of diversity and inclusion among those 300 programs in 2019, Nielsen found women, Native Americans and Latinx people were among the most underrepresented groups relative to their numbers in the general population.\u003c/p>\n\u003cp>For example, women make up 52 percent of the U.S. population, but they show up onscreen 37.9 percent of the time, according to Nielsen’s study. It uses a metric called “share of screen”—the percentage of time members of specific groups appear as recurring cast members—to measure how often TV viewers actually see these types of people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The numbers get worse for women over age 50. This group is 20 percent of the population, but only gets 8 percent of screen time. Men over age 50, who are 17 percent of the population, get a 14 percent share of screen time—closer to their actual numbers in real life.\u003c/p>\n\u003cp>Latinos and non-white Hispanics were among the most underrepresented non-white racial groups—a trend also noted in other studies about \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/08/06/338324139/why-arent-top-films-diverse-as-the-real-world-they-miss-hispanics\" target=\"_blank\" rel=\"noopener noreferrer\">diversity in Hollywood.\u003c/a>\u003c/p>\n\u003cp>Nielsen found this disparity was consistent across broadcast, cable and streaming services, drawing a total 5.5 percent of screen time, though they are 18.8 percent of the population.\u003c/p>\n\u003cp>Native Americans’ share of screen time was less than one quarter of their presence in the population, totaling just .4 percent across broadcast, cable and streaming.\u003c/p>\n\u003cp>Black people—whose depictions in media became a focus of concern amid the worldwide reckoning over civil rights this summer—were actually slightly overrepresented with 18.1 percent of screen time, while comprising 14 percent of the population.\u003c/p>\n\u003cp>Nielsen found a TV landscape where representation has risen for some groups, as the number of media platforms continually increase and viewers look for content that tells their stories.\u003c/p>\n\u003cp>But overall, many groups who are marginalized in the real world remain underrepresented in media depictions—especially on cable TV, where white characters got 88 percent of screen time, despite comprising 60 percent of the population.\u003c/p>\n\u003cp>The study doesn’t offer many clues as to why the diversity issues play out the way they do. Nielsen, which sells its ratings services to media companies, didn’t name specific shows or media platforms which may be among the worst offenders or best performers.\u003c/p>\n\u003cp>But company officials said the study does indicate areas where inclusion and diversity work should be focused, as the audience demands media depictions which better reflect the world they live in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The content we consume should reflect the growing diversity of our country, and we know that diverse audiences look for diverse content,” wrote David Kenney, Nielsen CEO and Chief Diversity Officer, in the study’s foreword. “As our nation’s demographic become more diverse, the call for more authentic content, reflecting real people and real life, is louder than ever.”\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=More+Evidence+TV+Doesn%27t+Reflect+Real+Life+Diversity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Documentary 'Billie' Explores Mysteries of Billie Holiday and Her Biographer",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/14894617/billie-holiday\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Holiday\u003c/a>‘s life and artistry have been analyzed, scrutinized, interpreted and embellished more than any other jazz singer in history. But the first biographer to fully immerse herself in the world of Lady Day was a New York journalist and avid Holiday fan named Linda Lipnack Kuehl. For some eight years in the 1970s, Kuehl interviewed everyone she could find who had a personal association with Holiday—musicians, managers, childhood friends, lovers and FBI agents among them. Then, before she could finish her biography, Kuehl died: In 1978, her body was found on a Washington, D.C. street. Her death was ruled a suicide.\u003c/p>\n\u003cfigure id=\"attachment_13889923\" class=\"wp-caption alignright\" style=\"max-width: 270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png\" alt=\"Linda Lipnack Kuehl, who spent eight years trying to write the definitive biography of Billie Holiday.\" width=\"270\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png 270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM-160x124.png 160w\" sizes=\"(max-width: 270px) 100vw, 270px\">\u003cfigcaption class=\"wp-caption-text\">Linda Lipnack Kuehl spent eight years trying to write the definitive biography of Billie Holiday. \u003ccite>(Courtesy of the Kuehl family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kuehl left behind a trove of notes, transcripts and some 200 hours of interviews on cassette tapes—mostly in shoeboxes, some labeled, some not. That archive is where director James Erskine first began pulling together the story Kuehl was never able to finish. His new documentary, \u003cem>Billie (\u003c/em>out Dec. 4 on VOD and in select theaters), is about both Holiday—as told through the voices of people who knew her—and Kuehl’s obsession with crafting her biography.\u003c/p>\n\u003cp>“I’d like to write something that is real,” we hear Kuehl tell one of her interviewees in the film, “that is really Lady Day, and people who don’t see her in any sentimental way, you know? Really, as she is.”\u003c/p>\n\u003cp>Erskine describes Kuehl as “a brilliant interviewer” who tracked down everybody from various stages of Holiday’s life. “What was extraordinary was it felt like an archaeological journey,” he says, “because it felt like we were excavating voices lost to the past.” Those now-deceased jazz voices include Count Basie, Charles Mingus, John Hammond, Jo Jones and Sylvia Syms.\u003c/p>\n\u003cp>“She excited me with just three notes,” drummer Roy Harte tells Kuehl. “She looked like a panther. It’s the only way I can describe it. With the most unbelievable face in the world,” marvels Syms, singer and Holiday’s friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To give the documentary a cohesive structure—and to make sense out of the 200 hours of interview material—Erskine says, “We had a discipline that people speaking in the film should only be speaking about an event that they actually witnessed … because otherwise the material was just sort of overwhelming\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hKimh-iPd_0\u003c/p>\n\u003cp>One of most provocative moments in the documentary is Kuehl speaking with Jones, a jazz drummer who toured the country with Holiday when they were both in Basie’s band. Jones questions whether Kuehl, a white woman, is capable of understanding the racism they faced.\u003c/p>\n\u003cp>“Miss Billie Holiday didn’t have the privilege of using a toilet. The boys at least could go out in the woods,” Jones tells Kuehl. “You don’t know anything about it because you never had to subjugate yourself to it. Never.”\u003c/p>\n\u003cp>For \u003ca href=\"https://afamstudies.columbia.edu/content/farah-jasmine-griffin\" target=\"_blank\" rel=\"noopener noreferrer\">Farah Jasmine Griffin\u003c/a>, author of \u003cem>If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday,\u003c/em> Kuehl’s interview with Jones is “extraordinary.”\u003c/p>\n\u003cp>“I found his passion, his truth-telling, all of his wisdom … his honesty, his courage—I found him so compelling,” Griffin says. “And I was very happy that the filmmakers gave him as much space as they did.”\u003c/p>\n\u003cp>The film reaffirms some oft-told legends about Billie Holiday: She could curse up a storm; had affairs with men and women (according to some, Tallulah Bankhead among them); liked to get high from cannabis, heroin and cocaine; and often surrounded herself with men who treated her horribly.\u003c/p>\n\u003cp>We’re also reminded that when Holiday sang “Strange Fruit,” she was “fighting inequality before Martin Luther King, Jr,” as Mingus puts it. (Holiday sang the haunting indictment of lynching to white and Black audiences as early as 1939.) Mingus tells Kuehl, “That might be why the cops were against her. Not just junk”—alluding to Holiday’s arrest, in 1947, for narcotics possession, another event in Holiday’s life that Kuehl probed.\u003c/p>\n\u003cp>In her interview with Jimmy Fletcher, the narcotics agent assigned to conduct surveillance of Holiday, Kuehl asks him whether a big star like Holiday “would have been a target because it would have been a lot of publicity for an agent.” Fletcher concedes, “Well, not just for an agent. For the Bureau of Narcotics.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Erskine, Kuehl’s tireless efforts to uncover the truth about Holiday lead to all kinds of revelations. “You certainly get the sense that the more interviews Linda did, the closer she did get to this sort of underground, seedy world,” he says. In the documentary, Kuehl’s sister says the family does not believe she died by suicide. Erskine isn’t sure. “You do start to wonder,” he says, “if she was maybe doing a lot more than just uncovering Billie’s life, but also the political forces that wanted to silence her.”\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=New+Documentary+%27Billie%27+Explores+Mysteries+Of+Billie+Holiday+And+Her+Biographer&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/artists/14894617/billie-holiday\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Holiday\u003c/a>‘s life and artistry have been analyzed, scrutinized, interpreted and embellished more than any other jazz singer in history. But the first biographer to fully immerse herself in the world of Lady Day was a New York journalist and avid Holiday fan named Linda Lipnack Kuehl. For some eight years in the 1970s, Kuehl interviewed everyone she could find who had a personal association with Holiday—musicians, managers, childhood friends, lovers and FBI agents among them. Then, before she could finish her biography, Kuehl died: In 1978, her body was found on a Washington, D.C. street. Her death was ruled a suicide.\u003c/p>\n\u003cfigure id=\"attachment_13889923\" class=\"wp-caption alignright\" style=\"max-width: 270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png\" alt=\"Linda Lipnack Kuehl, who spent eight years trying to write the definitive biography of Billie Holiday.\" width=\"270\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png 270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM-160x124.png 160w\" sizes=\"(max-width: 270px) 100vw, 270px\">\u003cfigcaption class=\"wp-caption-text\">Linda Lipnack Kuehl spent eight years trying to write the definitive biography of Billie Holiday. \u003ccite>(Courtesy of the Kuehl family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kuehl left behind a trove of notes, transcripts and some 200 hours of interviews on cassette tapes—mostly in shoeboxes, some labeled, some not. That archive is where director James Erskine first began pulling together the story Kuehl was never able to finish. His new documentary, \u003cem>Billie (\u003c/em>out Dec. 4 on VOD and in select theaters), is about both Holiday—as told through the voices of people who knew her—and Kuehl’s obsession with crafting her biography.\u003c/p>\n\u003cp>“I’d like to write something that is real,” we hear Kuehl tell one of her interviewees in the film, “that is really Lady Day, and people who don’t see her in any sentimental way, you know? Really, as she is.”\u003c/p>\n\u003cp>Erskine describes Kuehl as “a brilliant interviewer” who tracked down everybody from various stages of Holiday’s life. “What was extraordinary was it felt like an archaeological journey,” he says, “because it felt like we were excavating voices lost to the past.” Those now-deceased jazz voices include Count Basie, Charles Mingus, John Hammond, Jo Jones and Sylvia Syms.\u003c/p>\n\u003cp>“She excited me with just three notes,” drummer Roy Harte tells Kuehl. “She looked like a panther. It’s the only way I can describe it. With the most unbelievable face in the world,” marvels Syms, singer and Holiday’s friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To give the documentary a cohesive structure—and to make sense out of the 200 hours of interview material—Erskine says, “We had a discipline that people speaking in the film should only be speaking about an event that they actually witnessed … because otherwise the material was just sort of overwhelming\u003cem>.”\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hKimh-iPd_0'\n title='//www.youtube.com/embed/hKimh-iPd_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of most provocative moments in the documentary is Kuehl speaking with Jones, a jazz drummer who toured the country with Holiday when they were both in Basie’s band. Jones questions whether Kuehl, a white woman, is capable of understanding the racism they faced.\u003c/p>\n\u003cp>“Miss Billie Holiday didn’t have the privilege of using a toilet. The boys at least could go out in the woods,” Jones tells Kuehl. “You don’t know anything about it because you never had to subjugate yourself to it. Never.”\u003c/p>\n\u003cp>For \u003ca href=\"https://afamstudies.columbia.edu/content/farah-jasmine-griffin\" target=\"_blank\" rel=\"noopener noreferrer\">Farah Jasmine Griffin\u003c/a>, author of \u003cem>If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday,\u003c/em> Kuehl’s interview with Jones is “extraordinary.”\u003c/p>\n\u003cp>“I found his passion, his truth-telling, all of his wisdom … his honesty, his courage—I found him so compelling,” Griffin says. “And I was very happy that the filmmakers gave him as much space as they did.”\u003c/p>\n\u003cp>The film reaffirms some oft-told legends about Billie Holiday: She could curse up a storm; had affairs with men and women (according to some, Tallulah Bankhead among them); liked to get high from cannabis, heroin and cocaine; and often surrounded herself with men who treated her horribly.\u003c/p>\n\u003cp>We’re also reminded that when Holiday sang “Strange Fruit,” she was “fighting inequality before Martin Luther King, Jr,” as Mingus puts it. (Holiday sang the haunting indictment of lynching to white and Black audiences as early as 1939.) Mingus tells Kuehl, “That might be why the cops were against her. Not just junk”—alluding to Holiday’s arrest, in 1947, for narcotics possession, another event in Holiday’s life that Kuehl probed.\u003c/p>\n\u003cp>In her interview with Jimmy Fletcher, the narcotics agent assigned to conduct surveillance of Holiday, Kuehl asks him whether a big star like Holiday “would have been a target because it would have been a lot of publicity for an agent.” Fletcher concedes, “Well, not just for an agent. For the Bureau of Narcotics.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Erskine, Kuehl’s tireless efforts to uncover the truth about Holiday lead to all kinds of revelations. “You certainly get the sense that the more interviews Linda did, the closer she did get to this sort of underground, seedy world,” he says. In the documentary, Kuehl’s sister says the family does not believe she died by suicide. Erskine isn’t sure. “You do start to wonder,” he says, “if she was maybe doing a lot more than just uncovering Billie’s life, but also the political forces that wanted to silence her.”\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=New+Documentary+%27Billie%27+Explores+Mysteries+Of+Billie+Holiday+And+Her+Biographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Spoilers ahead for Season 1 of \u003c/em>Industry.\u003c/p>\n\u003cp>An exceptionally bleak finance drama is not necessarily what many of us, myself included, may be itching to consume in 2020, the Year of Bleak. HBO’s \u003cem>Industry\u003c/em> follows a group of young grads competing to prove they are the “right fit” for permanent positions at the fictional London bank Pierpoint & Co., and in the premiere episode one of those grads literally works himself to death, succumbing in an office bathroom stall after staying up for days and taking a lot of drugs to complete a project.\u003c/p>\n\u003cp>His demise looms over the entire eight-episode season, now streaming on HBO Max, and the writers are not at all subtle in conveying the significant moral (and mental health) compromises each character makes. In between all of the befriending, flirting, hooking up, snorting coke, backstabbing and sucking up to bosses, this sprawling bunch of hot overachievers wrestles frequently with the selling of their souls.\u003c/p>\n\u003cp>But what ultimately makes creators Mickey Down and Konrad Kay’s series so arresting is one bought soul in particular: Harper (Myha’la Herrold), a young woman who is every bit an outsider amongst her peers—a Black American who went to a “s*** uni[versity],” as one grad puts it. Harper is the embodiment of the old adage handed down to generations of Black youth everywhere, “You must be twice as good as any white person in order to succeed,” and she knows it. This creates an inherent chip on her shoulder, a personal arc she must contend with while fighting through this high-stakes program, not unlike, say, the brilliant, real-life Black women depicted in the 2016 biopic \u003cem>Hidden Figures\u003c/em>.\u003c/p>\n\u003cp>The thing about \u003cem>Industry\u003c/em>, though, is that it dares to call into question whether or not this protagonist (or anti-hero?) is actually underestimated unjustifiably. What if she’s not really \u003cem>as good \u003c/em>as the others, much less twice as good? Harper’s default mode is guarded and wary, and from the very first episode, it’s clear she has at least one glaring skeleton in her closet—she didn’t exactly graduate from that “s*** uni”—for personal reasons only partially explained in a later episode—and so she summons an ex to create a fake transcript for Pierpoint & Co. She can be timid and hesitant, stammering and shaking when dealing with shrewd, high-powered clients (and potential clients), giving off the impression she has no idea what she’s doing. Her uber bro-y boss and mentor Eric (Ken Leung), who also happens to be an American, chastises her for being too “quiet and nice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She takes this criticism to heart. Harper can also be dangerously impulsive, flouting workplace etiquette and going behind managers’ backs with risky moves which threaten the bank’s longstanding accounts. She spends the fourth episode a jittery mess, attempting to cover up an error that could put Pierpoint & Co. at a significant loss. (As someone whose eyes glaze over at the mere mention of dividends and short-selling, I won’t even pretend to understand the details of how this happens, but the extreme close-ups on Harper’s frightened face and the desperation in her voice effectively translate the DRAMA.)\u003c/p>\n\u003cp>It’s a rookie move, but it’s what Harper does next that transports her from the realm of relatively innocent precocious go-getter to a baby \u003ca href=\"https://www.nytimes.com/2020/05/14/opinion/viola-davis-how-to-get-away-with-murder.html\" target=\"_blank\" rel=\"noopener noreferrer\">Annalise Keating\u003c/a>—messy, conniving, and brutal in her quest for survival. Trying to buy time to fix it before Eric finds out, she bribes the older, white lower-level employee who discovered her mistake with an offer to help him move to the front office, in exchange for his keeping quiet for just a few hours more. “You’re offering \u003cem>me\u003c/em> a job?” he scoffs, insulted by her hubris. “Do you even know how long I’ve worked here?”\u003c/p>\n\u003cp>As he begins to walk away, she blurts out, “Just f****** help me!” And then, she switches gears and gets vulnerable, begging him to save a young person who is only four months into her career. He reluctantly agrees to hold off on informing Eric.\u003c/p>\n\u003cp>It’s a brilliantly staged power play on the part of the script, one of many scenes in which Harper oscillates between seemingly internalizing her imposter syndrome and showing off the calculated confidence of \u003cem>Succession\u003c/em>‘s Shiv Roy. She possesses a keen ability to exhaust every possible tactic in order to keep her head above water. She knows how to subvert and manipulate others’ expectations of her, even if the execution is haphazard and erratic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PbM84z4XYgc\u003c/p>\n\u003cp>Such faux pas and dastardly tactics would in all likelihood be career suicide for a real Black woman at her level within the corporate space; as Harper tells a white colleague in her program, “I’m not allowed to make any mistakes, people like \u003cem>you \u003c/em>are allowed to make mistakes.” Yet curiously, she stays afloat, scolded by whichever boss or mentor uncovers her latest rash act of deception, and then sent on her way to woo the next client. The things she’s able to get away with might require some suspension of disbelief, but this is an office drama set firmly in the present, where the managers and executives tacitly acknowledge the media’s reporting in recent years on hostile work environments for women, people of color and queer people. They are, for the most part, fully aware of optics and afraid of negative press, and this certainly plays a part in their repeatedly giving Harper the benefit of the doubt.\u003c/p>\n\u003cp>This tension lives fascinatingly at the center of Harper’s narrative. With every higher-up she encounters, she asks some version of the same question: “Do you think I deserve to be here?” The responses are telling—in most cases, they evade the question; once, the editing does the evading for them, letting it linger ominously by ending the scene soon after it’s asked.\u003c/p>\n\u003cp>But both the question and non-answers are moot points. “Deserve” is a loaded term, one that’s too easily leveraged against people who look like Harper, to imply that the only reason they’ve made it into these lily-white spaces is because of a hand-out as a diversity hire. It ignores the fact that every other person in Harper’s program got there for a reason other than just talent or hard work; they have connections, they went to top schools, they come from wealth, or some combination of all three.\u003c/p>\n\u003cp>To have a Black woman find her own way there by pluck and deceit, and not necessarily by being the “best” or the “brightest” is a bold move, and challenges the viewer’s allegiance to her. She’s a risk-taker and unrelenting salesperson, the kind of individual who corners clients in the bathroom or in the audience during their niece’s school play in order to show initiative. It’s the kind of behavior usually celebrated and admired in the Old Boys Club corners of business, and the same mindset Eric ascribes to.\u003c/p>\n\u003cp>But in 2020, in a post-#MeToo and so-called racial reckoning era, corporations have to at least seem like they care about changing the culture. Daria (Freya Mavor), the vice president of consumer portfolio sales, just might actually be the real deal on this front, and attempts to take Harper under her wing so as to convince her she can succeed without being underhanded and resorting to “text-book narcissism.”\u003c/p>\n\u003cp>It’s easy to imagine a script where Harper chooses to align herself with Daria and learns to rise in the ranks via more ethical and equitable manners than Eric’s tactics. But Daria’s motivations aren’t so clear-cut, either, and some of her actions done under the pretense of “protecting” Harper seem more self-serving than genuine.\u003c/p>\n\u003cp>Harper can sense this and resists Daria’s tutelage, even as Eric makes her uncomfortable with his abusive language and disturbing outbursts. He gets her in a way Daria never can: together they are two American minority outsiders at a London bank, who both “come from nothing” and have beaten the odds.\u003c/p>\n\u003cp>In episode four, Eric is unfazed upon learning about Harper’s fake transcript. Merely by being at Pierpoint, he boasts, outsiders like them “intimidate people.” “Hunger is not a birthright,” he adds.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Is Harper good at what she does? Well, she’s definitely hungry. And selfish, cagey, enigmatic, precocious, insecure, rash, inexperienced, astute, analytical, strong-willed. She’s a Black female TV character who’s not easy to love or easy to categorize, yet is compelling because each of her actions are at least understandable, if destructive. Annalise Keating would be proud.\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=HBO%27s+%27Industry%27+Features+The+Most+Fascinating+Character+On+TV+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Spoilers ahead for Season 1 of \u003c/em>Industry.\u003c/p>\n\u003cp>An exceptionally bleak finance drama is not necessarily what many of us, myself included, may be itching to consume in 2020, the Year of Bleak. HBO’s \u003cem>Industry\u003c/em> follows a group of young grads competing to prove they are the “right fit” for permanent positions at the fictional London bank Pierpoint & Co., and in the premiere episode one of those grads literally works himself to death, succumbing in an office bathroom stall after staying up for days and taking a lot of drugs to complete a project.\u003c/p>\n\u003cp>His demise looms over the entire eight-episode season, now streaming on HBO Max, and the writers are not at all subtle in conveying the significant moral (and mental health) compromises each character makes. In between all of the befriending, flirting, hooking up, snorting coke, backstabbing and sucking up to bosses, this sprawling bunch of hot overachievers wrestles frequently with the selling of their souls.\u003c/p>\n\u003cp>But what ultimately makes creators Mickey Down and Konrad Kay’s series so arresting is one bought soul in particular: Harper (Myha’la Herrold), a young woman who is every bit an outsider amongst her peers—a Black American who went to a “s*** uni[versity],” as one grad puts it. Harper is the embodiment of the old adage handed down to generations of Black youth everywhere, “You must be twice as good as any white person in order to succeed,” and she knows it. This creates an inherent chip on her shoulder, a personal arc she must contend with while fighting through this high-stakes program, not unlike, say, the brilliant, real-life Black women depicted in the 2016 biopic \u003cem>Hidden Figures\u003c/em>.\u003c/p>\n\u003cp>The thing about \u003cem>Industry\u003c/em>, though, is that it dares to call into question whether or not this protagonist (or anti-hero?) is actually underestimated unjustifiably. What if she’s not really \u003cem>as good \u003c/em>as the others, much less twice as good? Harper’s default mode is guarded and wary, and from the very first episode, it’s clear she has at least one glaring skeleton in her closet—she didn’t exactly graduate from that “s*** uni”—for personal reasons only partially explained in a later episode—and so she summons an ex to create a fake transcript for Pierpoint & Co. She can be timid and hesitant, stammering and shaking when dealing with shrewd, high-powered clients (and potential clients), giving off the impression she has no idea what she’s doing. Her uber bro-y boss and mentor Eric (Ken Leung), who also happens to be an American, chastises her for being too “quiet and nice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She takes this criticism to heart. Harper can also be dangerously impulsive, flouting workplace etiquette and going behind managers’ backs with risky moves which threaten the bank’s longstanding accounts. She spends the fourth episode a jittery mess, attempting to cover up an error that could put Pierpoint & Co. at a significant loss. (As someone whose eyes glaze over at the mere mention of dividends and short-selling, I won’t even pretend to understand the details of how this happens, but the extreme close-ups on Harper’s frightened face and the desperation in her voice effectively translate the DRAMA.)\u003c/p>\n\u003cp>It’s a rookie move, but it’s what Harper does next that transports her from the realm of relatively innocent precocious go-getter to a baby \u003ca href=\"https://www.nytimes.com/2020/05/14/opinion/viola-davis-how-to-get-away-with-murder.html\" target=\"_blank\" rel=\"noopener noreferrer\">Annalise Keating\u003c/a>—messy, conniving, and brutal in her quest for survival. Trying to buy time to fix it before Eric finds out, she bribes the older, white lower-level employee who discovered her mistake with an offer to help him move to the front office, in exchange for his keeping quiet for just a few hours more. “You’re offering \u003cem>me\u003c/em> a job?” he scoffs, insulted by her hubris. “Do you even know how long I’ve worked here?”\u003c/p>\n\u003cp>As he begins to walk away, she blurts out, “Just f****** help me!” And then, she switches gears and gets vulnerable, begging him to save a young person who is only four months into her career. He reluctantly agrees to hold off on informing Eric.\u003c/p>\n\u003cp>It’s a brilliantly staged power play on the part of the script, one of many scenes in which Harper oscillates between seemingly internalizing her imposter syndrome and showing off the calculated confidence of \u003cem>Succession\u003c/em>‘s Shiv Roy. She possesses a keen ability to exhaust every possible tactic in order to keep her head above water. She knows how to subvert and manipulate others’ expectations of her, even if the execution is haphazard and erratic.\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/PbM84z4XYgc'\n title='//www.youtube.com/embed/PbM84z4XYgc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Such faux pas and dastardly tactics would in all likelihood be career suicide for a real Black woman at her level within the corporate space; as Harper tells a white colleague in her program, “I’m not allowed to make any mistakes, people like \u003cem>you \u003c/em>are allowed to make mistakes.” Yet curiously, she stays afloat, scolded by whichever boss or mentor uncovers her latest rash act of deception, and then sent on her way to woo the next client. The things she’s able to get away with might require some suspension of disbelief, but this is an office drama set firmly in the present, where the managers and executives tacitly acknowledge the media’s reporting in recent years on hostile work environments for women, people of color and queer people. They are, for the most part, fully aware of optics and afraid of negative press, and this certainly plays a part in their repeatedly giving Harper the benefit of the doubt.\u003c/p>\n\u003cp>This tension lives fascinatingly at the center of Harper’s narrative. With every higher-up she encounters, she asks some version of the same question: “Do you think I deserve to be here?” The responses are telling—in most cases, they evade the question; once, the editing does the evading for them, letting it linger ominously by ending the scene soon after it’s asked.\u003c/p>\n\u003cp>But both the question and non-answers are moot points. “Deserve” is a loaded term, one that’s too easily leveraged against people who look like Harper, to imply that the only reason they’ve made it into these lily-white spaces is because of a hand-out as a diversity hire. It ignores the fact that every other person in Harper’s program got there for a reason other than just talent or hard work; they have connections, they went to top schools, they come from wealth, or some combination of all three.\u003c/p>\n\u003cp>To have a Black woman find her own way there by pluck and deceit, and not necessarily by being the “best” or the “brightest” is a bold move, and challenges the viewer’s allegiance to her. She’s a risk-taker and unrelenting salesperson, the kind of individual who corners clients in the bathroom or in the audience during their niece’s school play in order to show initiative. It’s the kind of behavior usually celebrated and admired in the Old Boys Club corners of business, and the same mindset Eric ascribes to.\u003c/p>\n\u003cp>But in 2020, in a post-#MeToo and so-called racial reckoning era, corporations have to at least seem like they care about changing the culture. Daria (Freya Mavor), the vice president of consumer portfolio sales, just might actually be the real deal on this front, and attempts to take Harper under her wing so as to convince her she can succeed without being underhanded and resorting to “text-book narcissism.”\u003c/p>\n\u003cp>It’s easy to imagine a script where Harper chooses to align herself with Daria and learns to rise in the ranks via more ethical and equitable manners than Eric’s tactics. But Daria’s motivations aren’t so clear-cut, either, and some of her actions done under the pretense of “protecting” Harper seem more self-serving than genuine.\u003c/p>\n\u003cp>Harper can sense this and resists Daria’s tutelage, even as Eric makes her uncomfortable with his abusive language and disturbing outbursts. He gets her in a way Daria never can: together they are two American minority outsiders at a London bank, who both “come from nothing” and have beaten the odds.\u003c/p>\n\u003cp>In episode four, Eric is unfazed upon learning about Harper’s fake transcript. Merely by being at Pierpoint, he boasts, outsiders like them “intimidate people.” “Hunger is not a birthright,” he adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is Harper good at what she does? Well, she’s definitely hungry. And selfish, cagey, enigmatic, precocious, insecure, rash, inexperienced, astute, analytical, strong-willed. She’s a Black female TV character who’s not easy to love or easy to categorize, yet is compelling because each of her actions are at least understandable, if destructive. Annalise Keating would be proud.\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=HBO%27s+%27Industry%27+Features+The+Most+Fascinating+Character+On+TV+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Wild Minds' Traces the Origins of Animation—From Blackton and McCay to Disney",
"headTitle": "‘Wild Minds’ Traces the Origins of Animation—From Blackton and McCay to Disney | KQED",
"content": "\u003cp>Everything I needed to know for Junior High School I learned from cartoons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889843 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png\" alt=\"\" width=\"276\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png 276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM-160x237.png 160w\" sizes=\"(max-width: 276px) 100vw, 276px\">Twice a day, before and after school, my local TV station delivered three Warner Brothers \u003cem>Looney Tunes\u003c/em> shorts. There, Bugs Bunny gave me master classes in the Brooklyn-accented snark and wise-cracking I aspired to. While my teachers might not have appreciated what I was learning, those dazzling 10-minute comedy masterpieces were also my introduction to what happens at the intersection of animation and excellence.\u003c/p>\n\u003cp>While my 12-year-old self came for the antics of Bugs, Daffy Duck and the rest, even then I could sense that something else, something very adult, was happening in those cartoons. That’s why I’ve remained a fan of the form, finding as much to enjoy in new seasons of \u003cem>Rick and Morty\u003c/em> as in the timeless achievement of Disney’s \u003cem>Fantasia\u003c/em>. It is also the reason for my delight with \u003cem>Wild Minds,\u003c/em> the new history of animation by Reid Mitenbuler.\u003c/p>\n\u003cp>Superficially, \u003cem>Wild Minds:The Artists and Rivalries That Inspired the Golden Age of Animation\u003c/em> is about the origins of \u003cem>Mickey Mouse\u003c/em>, \u003cem>Popeye the Sailor\u003c/em> and \u003cem>Bugs Bunny\u003c/em> cartoons. But Mitenbuler’s real target is a quintessentially American story of daring ambition, personal re-invention and the eternal tug-of-war of between art and business.\u003c/p>\n\u003cp>Animation occupies a particular place in the history of motion pictures. At the dawn of the 20th century, the technology emerged for running a chain of still photographs together to create the illusion of motion. While this new medium of “movies” was startling enough to the public, a handful of visionaries and inventors saw that pictures of the real world were just the beginning. Humans had been imagining the impossible for thousands of years through stories and myth populated by flying dragons, magical elves and talking animals. By chaining together drawings of these, rather than just photographs, such dreams of the imagination could finally be given life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mitenbuler spends the first quarter of the book tracking the history of these pioneers. James Stuart Blackton, a newspaper cartoonist, created the first animated film \u003ca href=\"https://www.youtube.com/watch?v=wGh6maN4l2I\" target=\"_blank\" rel=\"noopener noreferrer\">Humorous Phases of Funny Faces\u003c/a> using nothing more than a blackboard, chalk, an eraser and a camera. Another newspaper cartoonist, Winsor McCay knew Blackton and quickly saw animation’s deeper potential. Looking for an artistic challenge, McCay decided to create a film based on his own highly popular comic strip \u003cem>Little Nemo in Slumberland\u003c/em>. Churning out 4,000 drawings for just a few minutes of animation, McCay’s film \u003ca href=\"https://www.youtube.com/watch?v=2f8tfSHIU_g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Nemo\u003c/em>\u003c/a> was shown in to mesmerized audiences in 1911. The work was so beautiful that decades later Chuck Jones, who created many of my Bugs Bunny favorites, would tell an interviewer: “It was as though the first creature to emerge from the primeval slime was Albert Einstein and the second was an amoeba, because after McCay’s animation it took his followers nearly 20 years to figure out how he did it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2f8tfSHIU_g\u003c/p>\n\u003cp>McCay, with his masterpieces \u003ca href=\"McCay%20with%20his%20masterpiece%20Gertie%20the%20Dinosaur\" target=\"_blank\" rel=\"noopener noreferrer\">Gertie the Dinosaur\u003c/a> and later \u003ca href=\"https://www.youtube.com/watch?v=wq7hMuiz1mI\" target=\"_blank\" rel=\"noopener noreferrer\">The Sinking of the Lusitania\u003c/a>, had indeed set the bar for artistic excellence very high. But art was not all that was at stake in these early years of animation.\u003c/p>\n\u003cp>Once the owners of movie houses and production companies recognized that audiences liked cartoons, the race was on to produce as many of them as fast as possible. As animation companies began to multiply (mostly around New York City even as California became the home to live-action movie studios), fierce competition and bottom-line pressure made working conditions hell. The early studios were basically artistic sweatshops built to churn out drawing after drawing in cramped, roach-infested offices.\u003c/p>\n\u003cp>Mitenbuler peppers the stories of these hard-scrabble years with well-drawn characters like Essie Fleisher, whom he describes as the 5 ft. 3 in., hot-tempered, broken-nosed wife of Max Fleischer. Max was in the midst of building an animation house that would eventually produce the fantastically popular \u003cem>Popeye the Sailor\u003c/em> cartoons. But when we first meet Max, his attempts to get a business started are flailing. Expecting Essie to explode at the news of his latest failure, Max and his brothers are stunned when she hands them $150. This was money she’d saved from her intense gambling habit. “This is for your crazy idea” she tells them and walks off, Mitenbuler recounts.\u003c/p>\n\u003cp>But not every budding animator headed to New York. Mitenbuler focuses the middle of his story on Walter Elias Disney and his magnificent genius. It’s not Disney’s talent as an animator that matters for this story. He was just OK as an artist. Instead, it’s Disney’s capacities as a storyteller with an ability to organize the skills of others that brought animation to higher levels of both artistic and commercial success. The arc of Walt’s journey from the son of an unsuccessful midwestern businessman to the final, cosmic scale success of his California-based empire that represents one of the strongest narrative lines in Mitenbuler’s book.\u003c/p>\n\u003cp>But as a devotee of the great Bugs Bunny, my favorite part of \u003cem>Wild Minds\u003c/em> was the story of Warner Brothers Studio. The animation house began in 1929 with, as Mitenbuler writes, “no great artistic vision.” Instead, its founder Leon Schlesinger had a more singular goal “Disney can make the chicken salad, I wanna make the chicken s–t.” Schlesinger just wanted to make money. Ironically Schlesinger’s disinterest in animation itself contributed to the greatness of his studio’s product. The artists, musicians and directors held Schlesinger in as low regard as he held them and from that emerged the subversive style that Bugs and company would become so famous for. As Mitenbuler writes:\u003c/p>\n\u003cblockquote>\u003cp>“Whereas the Disney animators worshipped their boss, those at Warner Bros. constantly poked fun at theirs, creating an atmosphere of rebellion that quickly became part of the studio’s DNA. In the end, this turned out to their benefit, giving the animators a sharp edge that would define their style. ‘I’ve always felt that it was a vital factor to have people you fight against,’ animator and director Chuck Jones [one of Warner Bros most talented directors] recalled of the antagonistic relationship with his boss.”\u003c/p>\u003c/blockquote>\n\u003cp>Mitenbuler ends the book at the beginning of the 1960s as many of his heroes are growing old or dying and their cherished medium is being transformed into filler for Saturday morning TV. While animation would rise again to find its place in our own era of the long-running \u003cem>Simpsons\u003c/em> and the glorious works of \u003ca href=\"https://www.youtube.com/watch?v=4OiMOHRDs14\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>, Mitenbuler’s book is a gem for anyone wanting to understand animation’s origin story.\u003c/p>\n\u003cp>That’s all folks!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adam Frank is an astrophysics professor at the University of Rochester and author of \u003c/em>\u003ca href=\"https://www.amazon.com/Light-Stars-Alien-Worlds-Earth/dp/0393609014/ref=sr_1_1?s=books&ie=UTF8&qid=1516978619&sr=1-1&keywords=Light+of+the+Stars%3A+Alien+Worlds+and+the+Fate+of+the+Earth\" target=\"_blank\" rel=\"noopener noreferrer\">Light of the Stars: Alien Worlds and the Fate of the Earth\u003c/a>.\u003cem>\u003cem> You can find more from Adam here: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\" target=\"_blank\" rel=\"noopener noreferrer\">@adamfrank4\u003c/a>.\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=%27Wild+Minds%27+Traces+The+Origins+Of+Animation++%E2%80%94+From+Blackton+And+McCay+To+Disney&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everything I needed to know for Junior High School I learned from cartoons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889843 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png\" alt=\"\" width=\"276\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png 276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM-160x237.png 160w\" sizes=\"(max-width: 276px) 100vw, 276px\">Twice a day, before and after school, my local TV station delivered three Warner Brothers \u003cem>Looney Tunes\u003c/em> shorts. There, Bugs Bunny gave me master classes in the Brooklyn-accented snark and wise-cracking I aspired to. While my teachers might not have appreciated what I was learning, those dazzling 10-minute comedy masterpieces were also my introduction to what happens at the intersection of animation and excellence.\u003c/p>\n\u003cp>While my 12-year-old self came for the antics of Bugs, Daffy Duck and the rest, even then I could sense that something else, something very adult, was happening in those cartoons. That’s why I’ve remained a fan of the form, finding as much to enjoy in new seasons of \u003cem>Rick and Morty\u003c/em> as in the timeless achievement of Disney’s \u003cem>Fantasia\u003c/em>. It is also the reason for my delight with \u003cem>Wild Minds,\u003c/em> the new history of animation by Reid Mitenbuler.\u003c/p>\n\u003cp>Superficially, \u003cem>Wild Minds:The Artists and Rivalries That Inspired the Golden Age of Animation\u003c/em> is about the origins of \u003cem>Mickey Mouse\u003c/em>, \u003cem>Popeye the Sailor\u003c/em> and \u003cem>Bugs Bunny\u003c/em> cartoons. But Mitenbuler’s real target is a quintessentially American story of daring ambition, personal re-invention and the eternal tug-of-war of between art and business.\u003c/p>\n\u003cp>Animation occupies a particular place in the history of motion pictures. At the dawn of the 20th century, the technology emerged for running a chain of still photographs together to create the illusion of motion. While this new medium of “movies” was startling enough to the public, a handful of visionaries and inventors saw that pictures of the real world were just the beginning. Humans had been imagining the impossible for thousands of years through stories and myth populated by flying dragons, magical elves and talking animals. By chaining together drawings of these, rather than just photographs, such dreams of the imagination could finally be given life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mitenbuler spends the first quarter of the book tracking the history of these pioneers. James Stuart Blackton, a newspaper cartoonist, created the first animated film \u003ca href=\"https://www.youtube.com/watch?v=wGh6maN4l2I\" target=\"_blank\" rel=\"noopener noreferrer\">Humorous Phases of Funny Faces\u003c/a> using nothing more than a blackboard, chalk, an eraser and a camera. Another newspaper cartoonist, Winsor McCay knew Blackton and quickly saw animation’s deeper potential. Looking for an artistic challenge, McCay decided to create a film based on his own highly popular comic strip \u003cem>Little Nemo in Slumberland\u003c/em>. Churning out 4,000 drawings for just a few minutes of animation, McCay’s film \u003ca href=\"https://www.youtube.com/watch?v=2f8tfSHIU_g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Nemo\u003c/em>\u003c/a> was shown in to mesmerized audiences in 1911. The work was so beautiful that decades later Chuck Jones, who created many of my Bugs Bunny favorites, would tell an interviewer: “It was as though the first creature to emerge from the primeval slime was Albert Einstein and the second was an amoeba, because after McCay’s animation it took his followers nearly 20 years to figure out how he did 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/2f8tfSHIU_g'\n title='//www.youtube.com/embed/2f8tfSHIU_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McCay, with his masterpieces \u003ca href=\"McCay%20with%20his%20masterpiece%20Gertie%20the%20Dinosaur\" target=\"_blank\" rel=\"noopener noreferrer\">Gertie the Dinosaur\u003c/a> and later \u003ca href=\"https://www.youtube.com/watch?v=wq7hMuiz1mI\" target=\"_blank\" rel=\"noopener noreferrer\">The Sinking of the Lusitania\u003c/a>, had indeed set the bar for artistic excellence very high. But art was not all that was at stake in these early years of animation.\u003c/p>\n\u003cp>Once the owners of movie houses and production companies recognized that audiences liked cartoons, the race was on to produce as many of them as fast as possible. As animation companies began to multiply (mostly around New York City even as California became the home to live-action movie studios), fierce competition and bottom-line pressure made working conditions hell. The early studios were basically artistic sweatshops built to churn out drawing after drawing in cramped, roach-infested offices.\u003c/p>\n\u003cp>Mitenbuler peppers the stories of these hard-scrabble years with well-drawn characters like Essie Fleisher, whom he describes as the 5 ft. 3 in., hot-tempered, broken-nosed wife of Max Fleischer. Max was in the midst of building an animation house that would eventually produce the fantastically popular \u003cem>Popeye the Sailor\u003c/em> cartoons. But when we first meet Max, his attempts to get a business started are flailing. Expecting Essie to explode at the news of his latest failure, Max and his brothers are stunned when she hands them $150. This was money she’d saved from her intense gambling habit. “This is for your crazy idea” she tells them and walks off, Mitenbuler recounts.\u003c/p>\n\u003cp>But not every budding animator headed to New York. Mitenbuler focuses the middle of his story on Walter Elias Disney and his magnificent genius. It’s not Disney’s talent as an animator that matters for this story. He was just OK as an artist. Instead, it’s Disney’s capacities as a storyteller with an ability to organize the skills of others that brought animation to higher levels of both artistic and commercial success. The arc of Walt’s journey from the son of an unsuccessful midwestern businessman to the final, cosmic scale success of his California-based empire that represents one of the strongest narrative lines in Mitenbuler’s book.\u003c/p>\n\u003cp>But as a devotee of the great Bugs Bunny, my favorite part of \u003cem>Wild Minds\u003c/em> was the story of Warner Brothers Studio. The animation house began in 1929 with, as Mitenbuler writes, “no great artistic vision.” Instead, its founder Leon Schlesinger had a more singular goal “Disney can make the chicken salad, I wanna make the chicken s–t.” Schlesinger just wanted to make money. Ironically Schlesinger’s disinterest in animation itself contributed to the greatness of his studio’s product. The artists, musicians and directors held Schlesinger in as low regard as he held them and from that emerged the subversive style that Bugs and company would become so famous for. As Mitenbuler writes:\u003c/p>\n\u003cblockquote>\u003cp>“Whereas the Disney animators worshipped their boss, those at Warner Bros. constantly poked fun at theirs, creating an atmosphere of rebellion that quickly became part of the studio’s DNA. In the end, this turned out to their benefit, giving the animators a sharp edge that would define their style. ‘I’ve always felt that it was a vital factor to have people you fight against,’ animator and director Chuck Jones [one of Warner Bros most talented directors] recalled of the antagonistic relationship with his boss.”\u003c/p>\u003c/blockquote>\n\u003cp>Mitenbuler ends the book at the beginning of the 1960s as many of his heroes are growing old or dying and their cherished medium is being transformed into filler for Saturday morning TV. While animation would rise again to find its place in our own era of the long-running \u003cem>Simpsons\u003c/em> and the glorious works of \u003ca href=\"https://www.youtube.com/watch?v=4OiMOHRDs14\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>, Mitenbuler’s book is a gem for anyone wanting to understand animation’s origin story.\u003c/p>\n\u003cp>That’s all folks!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adam Frank is an astrophysics professor at the University of Rochester and author of \u003c/em>\u003ca href=\"https://www.amazon.com/Light-Stars-Alien-Worlds-Earth/dp/0393609014/ref=sr_1_1?s=books&ie=UTF8&qid=1516978619&sr=1-1&keywords=Light+of+the+Stars%3A+Alien+Worlds+and+the+Fate+of+the+Earth\" target=\"_blank\" rel=\"noopener noreferrer\">Light of the Stars: Alien Worlds and the Fate of the Earth\u003c/a>.\u003cem>\u003cem> You can find more from Adam here: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\" target=\"_blank\" rel=\"noopener noreferrer\">@adamfrank4\u003c/a>.\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=%27Wild+Minds%27+Traces+The+Origins+Of+Animation++%E2%80%94+From+Blackton+And+McCay+To+Disney&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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