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"content": "\u003cp>Former\u003cem> Jeopardy!\u003c/em> champion, author and know-it-all kind of guy, Ken Jennings, will be the first guest host of the long-running trivia game show, officials said Monday.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/Jeopardy/status/1330996342865293313\" target=\"_blank\" rel=\"noopener noreferrer\">announcement\u003c/a>, two weeks after much-loved host Alex Trebek died of pancreatic cancer on Nov. 8, explained that “a series of interim guest hosts from the Jeopardy! family” will take over the show, which Trebek hosted from 1984 until earlier this year.\u003c/p>\n\u003cp>“We will resume production on 11/30,” the show’s official Twitter account said, noting that additional guest hosts will be announced at a later time.\u003c/p>\n\u003cp>https://twitter.com/Jeopardy/status/1330996342865293313\u003c/p>\n\u003cp>Jennings responded to the tweet with one of his own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There will only ever be one Alex Trebek, but I’m honored to be helping Jeopardy! out with this in January,” he \u003ca href=\"https://twitter.com/KenJennings/status/1331003293674323970\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a>.\u003c/p>\n\u003cp>Jennings made show history after winning 74 straight games in 2004 and into 2005. The record-breaking streak earned him $\u003ca href=\"https://6abc.com/alex-trebek-jeopardt-jeopardy-tournament-james-holzhauer-back-on/5705003/\" target=\"_blank\" rel=\"noopener noreferrer\">3,370,700\u003c/a>. (Brad Rutter is the highest money winner of all time across any television game show, with total \u003cem>Jeopardy! \u003c/em>winnings of $4,688,436, according to \u003ca href=\"https://6abc.com/alex-trebek-jeopardt-jeopardy-tournament-james-holzhauer-back-on/5705003/\" target=\"_blank\" rel=\"noopener noreferrer\">ABC News\u003c/a>.)\u003c/p>\n\u003cp>Years later, Jennings \u003ca href=\"https://www.npr.org/blogs/thetwo-way/2011/01/13/132902908/are-you-smarter-than-a-computer-the-size-of-10-refrigerators\" target=\"_blank\" rel=\"noopener noreferrer\">took on Watson\u003c/a>, an IBM supercomputer the size of 10 refrigerators. In the televised version of man versus machine, machine won.\u003c/p>\n\u003cp>“Alex believed in the importance of \u003cem>Jeopardy!\u003c/em> and always said that he wanted the show to go on after him. We will honor his legacy by continuing to produce the show he loved,” executive producer Mike Richards said.\u003c/p>\n\u003cp>Trebek’s more than three decades at the helm of the program earned him a spot in the \u003cem>Guinness Book of World Records\u003c/em> for most game show episodes hosted by the same presenter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A permanent replacement host for Trebek has yet to be named.\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=Ken+Jennings%3A+Who+Is+1st+%27Jeopardy%21%27+Guest+Host%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Who could’ve predicted chess sets might become as difficult to find as toilet paper during the early weeks of the pandemic? Not Gerrick Johnson. The toy analyst with BMO Capital Markets found himself stymied while searching for a particular Cardinal chess set a few weeks ago.\u003c/p>\n\u003cp>“It was sold out everywhere I went,” he says.\u003c/p>\n\u003cp>Sales of chess sets have skyrocketed, says Mary Higbe, director of marketing at Goliath Games. The company sells six different kinds of chess sets, including those familiar red-boxed Pressman sets you’ve probably seen in the toy aisle at Walmart.\u003c/p>\n\u003cp>“Our October sales for chess were up 178% over the same period last year,” Higbe says. That’s a big increase. But something else unexpected happened at the end of the month. Now, she says, “our chess sales are up \u003cem>1,048%.\u003c/em>”\u003c/p>\n\u003cp>Every so often a game comes along that captures the popular imagination. In November 2020, that game is chess. The reason? A Netflix period drama that debuted in late October.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CDrieqwSdgI\u003c/p>\n\u003cp>“Ever since \u003cem>The Queen’s Gambit\u003c/em> launched, our chess sales have increased triple digits,” marvels Elizabeth LoVecchio, vice-president of marketing at Spin Master. The huge toy company has a division of classic games—such as chess, checkers and backgammon—that owns about 70% of the market share in the United States.\u003c/p>\n\u003cp>LoVecchio says sales of these games started spiking back when people first hunkered down last spring and played games with people in their bubbles to keep themselves entertained. But what’s happening with chess sales since \u003cem>The Queen’s Gambit \u003c/em>is “unprecedented—and we anticipate our sales rising further,” she adds.\u003c/p>\n\u003cp>Chess set sales are rising in the secondary market as well. eBay registered a 215% increase in chess set and accessory sales since \u003cem>The Queen’s Gambit\u003c/em> hit Netflix, with shoppers seeking out wooden chess sets nine times more than plastic, electronic or glass ones, according to an eBay spokesperson. Toy analyst Gerrick Johnson now warns that demand will outstrip supply.\u003c/p>\n\u003cp>“Six months ago, a year ago, these retailers weren’t saying, let’s load up on chess sets,” he notes. “Good luck finding a chess set this holiday!”\u003c/p>\n\u003cp>Both LoVecchio and Higbe agree a chess shortage may be added to 2020’s woes.\u003c/p>\n\u003cp>“Oh, for sure. I believe it,” Higbe says.\u003c/p>\n\u003cp>Chess has long been alluring, even dramatic. But \u003cem>The Queen’s Gambit \u003c/em>makes it seem accessible, Higbe adds. And that just adds to the appeal of a game that’s both eminently affordable and pleasingly different every time you play it.\u003c/p>\n\u003cp>“You have to have patience. You have to really think about strategy. You have to plan ahead,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Valuable skills for playing chess—and getting through the dark few months before us.\u003c/p>\n\u003cfigure id=\"attachment_13889573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_102_unit_01575rc-dcc43554f1f93051bfcc1f4d356e6ea0d29e807a-800x600.jpg\" alt=\"Beth (Anya Taylor-Joy) destroys an opponent (Jacob Fortune-Lloyd) in 'The Queen's Gambit.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Beth (Anya Taylor-Joy) destroys an opponent (Jacob Fortune-Lloyd) in ‘The Queen’s Gambit.’\u003c/figcaption>\u003c/figure>\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=Can%27t+Find+A+Chess+Set%3F+You+Can+Thank+%27The+Queen%27s+Gambit%27+For+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who could’ve predicted chess sets might become as difficult to find as toilet paper during the early weeks of the pandemic? Not Gerrick Johnson. The toy analyst with BMO Capital Markets found himself stymied while searching for a particular Cardinal chess set a few weeks ago.\u003c/p>\n\u003cp>“It was sold out everywhere I went,” he says.\u003c/p>\n\u003cp>Sales of chess sets have skyrocketed, says Mary Higbe, director of marketing at Goliath Games. The company sells six different kinds of chess sets, including those familiar red-boxed Pressman sets you’ve probably seen in the toy aisle at Walmart.\u003c/p>\n\u003cp>“Our October sales for chess were up 178% over the same period last year,” Higbe says. That’s a big increase. But something else unexpected happened at the end of the month. Now, she says, “our chess sales are up \u003cem>1,048%.\u003c/em>”\u003c/p>\n\u003cp>Every so often a game comes along that captures the popular imagination. In November 2020, that game is chess. The reason? A Netflix period drama that debuted in late October.\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/CDrieqwSdgI'\n title='//www.youtube.com/embed/CDrieqwSdgI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Ever since \u003cem>The Queen’s Gambit\u003c/em> launched, our chess sales have increased triple digits,” marvels Elizabeth LoVecchio, vice-president of marketing at Spin Master. The huge toy company has a division of classic games—such as chess, checkers and backgammon—that owns about 70% of the market share in the United States.\u003c/p>\n\u003cp>LoVecchio says sales of these games started spiking back when people first hunkered down last spring and played games with people in their bubbles to keep themselves entertained. But what’s happening with chess sales since \u003cem>The Queen’s Gambit \u003c/em>is “unprecedented—and we anticipate our sales rising further,” she adds.\u003c/p>\n\u003cp>Chess set sales are rising in the secondary market as well. eBay registered a 215% increase in chess set and accessory sales since \u003cem>The Queen’s Gambit\u003c/em> hit Netflix, with shoppers seeking out wooden chess sets nine times more than plastic, electronic or glass ones, according to an eBay spokesperson. Toy analyst Gerrick Johnson now warns that demand will outstrip supply.\u003c/p>\n\u003cp>“Six months ago, a year ago, these retailers weren’t saying, let’s load up on chess sets,” he notes. “Good luck finding a chess set this holiday!”\u003c/p>\n\u003cp>Both LoVecchio and Higbe agree a chess shortage may be added to 2020’s woes.\u003c/p>\n\u003cp>“Oh, for sure. I believe it,” Higbe says.\u003c/p>\n\u003cp>Chess has long been alluring, even dramatic. But \u003cem>The Queen’s Gambit \u003c/em>makes it seem accessible, Higbe adds. And that just adds to the appeal of a game that’s both eminently affordable and pleasingly different every time you play it.\u003c/p>\n\u003cp>“You have to have patience. You have to really think about strategy. You have to plan ahead,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Valuable skills for playing chess—and getting through the dark few months before us.\u003c/p>\n\u003cfigure id=\"attachment_13889573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/tqg_102_unit_01575rc-dcc43554f1f93051bfcc1f4d356e6ea0d29e807a-800x600.jpg\" alt=\"Beth (Anya Taylor-Joy) destroys an opponent (Jacob Fortune-Lloyd) in 'The Queen's Gambit.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Beth (Anya Taylor-Joy) destroys an opponent (Jacob Fortune-Lloyd) in ‘The Queen’s Gambit.’\u003c/figcaption>\u003c/figure>\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=Can%27t+Find+A+Chess+Set%3F+You+Can+Thank+%27The+Queen%27s+Gambit%27+For+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Let's Talk About That Reconciliation During the 'Fresh Prince Reunion Special'",
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"content": "\u003cp>The unspoken rules of gathering the cast of a beloved TV show for a reunion special are familiar: Gin up the nostalgia and warm, fuzzy feels. Montages and clip reels highlight the memorable onscreen moments from years past, as everyone jovially reminisces about the time spent playing and creating together on set. If a key member is absent because of behind-the-scenes drama or personal setbacks, try to avoid acknowledging they were ever a part of the show in the first place, and/or gloss over any tensions that might spoil the lovefest. Put on a happy face.\u003c/p>\n\u003cp>The \u003cem>Fresh Prince of Bel-Air Reunion Special\u003c/em>, now on HBO Max, follows this rule faithfully for more than half of its run time. Will Smith, Alfonso Ribeiro (Carlton Banks), Tatyana Ali (Ashley Banks), Karyn Parsons (Hilary Banks), Joseph Marcell (Jeffrey, the butler), Daphne Maxwell Reid (Aunt Viv #2) and DJ Jazzy Jeff sit on a recreation of the Banks family mansion set, recounting audition stories and favorite scenes in honor of the 30\u003csup>th\u003c/sup> anniversary of the hit sitcom’s premiere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ghMFFe2Q9hA\u003c/p>\n\u003cp>But then, right around the 45-minute mark (and immediately following a genuinely moving tribute to the late James Avery, who played the show’s indelible patriarch, Uncle Phil), this \u003cem>Fresh Prince \u003c/em>reunion dispenses with rules and pleasantries to address the giant elephant in the room—the \u003ca href=\"https://www.huffpost.com/entry/janet-hubert-will-smith-feud-fired_n_3249314\" target=\"_blank\" rel=\"noopener noreferrer\">highly publicized fallout\u003c/a> between Smith and Janet Hubert, who was unceremoniously replaced by Reid in her role as Aunt Viv in the show’s final three seasons. For the first time in 27 years, Smith and Hubert come together to clear the air.\u003c/p>\n\u003cp>“It felt like I couldn’t celebrate 30 years of \u003cem>Fresh Prince\u003c/em> without finding a way to celebrate Janet,” Smith tells his castmates, before showing them, and us, video of their pre-taped meeting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s most striking about their exchange is how familiar Hubert’s story is for women in the workplace. During Season 3 when she became pregnant, she says, she was facing challenges in her personal life (her then-husband was abusive and unemployed), which indirectly bled into how she approached her work on set. Hubert says this led to the much more powerful Smith painting her on set and in the media as someone who was “difficult” to work with, and that she was told he was responsible for her being forced out. When she was offered a new, restrictive contract—she would only work two and a half months out of the year, her salary would be cut, and she would be prohibited from accepting other jobs outside of \u003cem>Fresh Prince—\u003c/em>she refused to accept the offer. [aside postid='pop_108150']\u003c/p>\n\u003cp>Hubert points out that she was never “unprofessional” on set, only more reserved. It’s hard to hear such a revelation and not think of the many ways in which this echoes the corporate mindset of bosses who tout the workplace and colleagues as “family” so as to ignore the fact that, for their employees, this is their livelihood; they deserve to be paid a living wage, to have lives outside of work, to just be human. Smith and his other co-stars talk a lot about how much they enjoyed their experience on \u003cem>Fresh Prince \u003c/em>and how it didn’t feel like they were doing a job so much as they were part of a tight-knit family. That’s a heartwarming and admirable kind of environment to exist in, but it’s rarely the reality for everyone. And it doesn’t leave room for accepting that it’s OK to treat your job like it’s actually a job, too—especially if your mental health and well-being outside of work is suffering.\u003c/p>\n\u003cp>Hubert is candid and specific in how this mischaracterization of her attitude and work ethic tarnished her career, particularly as a dark-skinned woman: “Calling a black woman difficult in Hollywood is the kiss of death.” The actress Mo’Nique, among many others, can certainly attest to this, having said she’s been blackballed in the industry since refusing to campaign for \u003cem>Precious \u003c/em>without the promise of additional pay. (“We got labeled as ‘difficult’ because I said one word, and that was: ‘No,'” she \u003ca href=\"https://deadline.com/2019/02/steve-harvey-and-monique-get-into-tense-exchange-1202557010/\" target=\"_blank\" rel=\"noopener noreferrer\">told Steve Harvey last year\u003c/a>.)\u003c/p>\n\u003cp>For Smith’s part, he admits he was neither “sensitive” nor “perceptive” to Hubert’s troubles during her pregnancy, and seems genuinely contrite for how he treated her. He also notes that at the time he was still very young and immature, and that now, having been married with kids of his own, he’s grown to understand what she was up against at that time in her life.\u003c/p>\n\u003cp>But as Hubert gently but sternly notes, the damage was done, and while Will was able to move forward and achieve greater and greater success post-\u003cem>Fresh Prince\u003c/em>, she’s never had that chance. “You took all that away from me with your words. Words can kill.” It’s a harsh reminder of the power of perception, and how so many men are able to wield that power swiftly and devastatingly against women who don’t bend to their will.\u003c/p>\n\u003cp>There’s deep sadness to be felt in the profound loss, both for Hubert’s career and for the later seasons of \u003cem>Fresh Prince. \u003c/em>Her performance as Aunt Viv was groundbreaking in its depiction of a woman who looked like her possessing a range of emotions and attitudes on TV in that era. Hubert could easily glide between saucy and elegant and righteous, often in a single scene. [aside postid='pop_104883']\u003c/p>\n\u003cp>As unsettling as the circumstances of this conversation are, its existence here is also refreshing. For all of the enduring popularity of \u003cem>Fresh Prince\u003c/em> and the general goodwill Smith has managed to maintain in the decades since becoming one of Hollywood’s biggest movie stars, Hubert’s departure has long loomed over the show’s legacy. To address it so directly is a smart P.R. move on Smith’s part—if there’s any actor working today who exudes the need to please crowds and be liked by everyone, it’s him—but it also feels like exactly what Hubert needed in order to provide closure.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And while they may never share the same strong ties as Smith has with the rest of his co-stars, she at least she seems at peace. For those few moments, funnily enough, the special feels like an actual family reunion with real stakes, as the estranged relatives awkwardly and uncomfortably confront one another, let it all out, and, finally and cathartically, reach reconciliation.\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=Let%27s+Talk+About+That+Reconciliation+During+The+%27Fresh+Prince+Reunion+Special%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The unspoken rules of gathering the cast of a beloved TV show for a reunion special are familiar: Gin up the nostalgia and warm, fuzzy feels. Montages and clip reels highlight the memorable onscreen moments from years past, as everyone jovially reminisces about the time spent playing and creating together on set. If a key member is absent because of behind-the-scenes drama or personal setbacks, try to avoid acknowledging they were ever a part of the show in the first place, and/or gloss over any tensions that might spoil the lovefest. Put on a happy face.\u003c/p>\n\u003cp>The \u003cem>Fresh Prince of Bel-Air Reunion Special\u003c/em>, now on HBO Max, follows this rule faithfully for more than half of its run time. Will Smith, Alfonso Ribeiro (Carlton Banks), Tatyana Ali (Ashley Banks), Karyn Parsons (Hilary Banks), Joseph Marcell (Jeffrey, the butler), Daphne Maxwell Reid (Aunt Viv #2) and DJ Jazzy Jeff sit on a recreation of the Banks family mansion set, recounting audition stories and favorite scenes in honor of the 30\u003csup>th\u003c/sup> anniversary of the hit sitcom’s premiere.\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/ghMFFe2Q9hA'\n title='//www.youtube.com/embed/ghMFFe2Q9hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But then, right around the 45-minute mark (and immediately following a genuinely moving tribute to the late James Avery, who played the show’s indelible patriarch, Uncle Phil), this \u003cem>Fresh Prince \u003c/em>reunion dispenses with rules and pleasantries to address the giant elephant in the room—the \u003ca href=\"https://www.huffpost.com/entry/janet-hubert-will-smith-feud-fired_n_3249314\" target=\"_blank\" rel=\"noopener noreferrer\">highly publicized fallout\u003c/a> between Smith and Janet Hubert, who was unceremoniously replaced by Reid in her role as Aunt Viv in the show’s final three seasons. For the first time in 27 years, Smith and Hubert come together to clear the air.\u003c/p>\n\u003cp>“It felt like I couldn’t celebrate 30 years of \u003cem>Fresh Prince\u003c/em> without finding a way to celebrate Janet,” Smith tells his castmates, before showing them, and us, video of their pre-taped meeting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s most striking about their exchange is how familiar Hubert’s story is for women in the workplace. During Season 3 when she became pregnant, she says, she was facing challenges in her personal life (her then-husband was abusive and unemployed), which indirectly bled into how she approached her work on set. Hubert says this led to the much more powerful Smith painting her on set and in the media as someone who was “difficult” to work with, and that she was told he was responsible for her being forced out. When she was offered a new, restrictive contract—she would only work two and a half months out of the year, her salary would be cut, and she would be prohibited from accepting other jobs outside of \u003cem>Fresh Prince—\u003c/em>she refused to accept the offer. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hubert points out that she was never “unprofessional” on set, only more reserved. It’s hard to hear such a revelation and not think of the many ways in which this echoes the corporate mindset of bosses who tout the workplace and colleagues as “family” so as to ignore the fact that, for their employees, this is their livelihood; they deserve to be paid a living wage, to have lives outside of work, to just be human. Smith and his other co-stars talk a lot about how much they enjoyed their experience on \u003cem>Fresh Prince \u003c/em>and how it didn’t feel like they were doing a job so much as they were part of a tight-knit family. That’s a heartwarming and admirable kind of environment to exist in, but it’s rarely the reality for everyone. And it doesn’t leave room for accepting that it’s OK to treat your job like it’s actually a job, too—especially if your mental health and well-being outside of work is suffering.\u003c/p>\n\u003cp>Hubert is candid and specific in how this mischaracterization of her attitude and work ethic tarnished her career, particularly as a dark-skinned woman: “Calling a black woman difficult in Hollywood is the kiss of death.” The actress Mo’Nique, among many others, can certainly attest to this, having said she’s been blackballed in the industry since refusing to campaign for \u003cem>Precious \u003c/em>without the promise of additional pay. (“We got labeled as ‘difficult’ because I said one word, and that was: ‘No,'” she \u003ca href=\"https://deadline.com/2019/02/steve-harvey-and-monique-get-into-tense-exchange-1202557010/\" target=\"_blank\" rel=\"noopener noreferrer\">told Steve Harvey last year\u003c/a>.)\u003c/p>\n\u003cp>For Smith’s part, he admits he was neither “sensitive” nor “perceptive” to Hubert’s troubles during her pregnancy, and seems genuinely contrite for how he treated her. He also notes that at the time he was still very young and immature, and that now, having been married with kids of his own, he’s grown to understand what she was up against at that time in her life.\u003c/p>\n\u003cp>But as Hubert gently but sternly notes, the damage was done, and while Will was able to move forward and achieve greater and greater success post-\u003cem>Fresh Prince\u003c/em>, she’s never had that chance. “You took all that away from me with your words. Words can kill.” It’s a harsh reminder of the power of perception, and how so many men are able to wield that power swiftly and devastatingly against women who don’t bend to their will.\u003c/p>\n\u003cp>There’s deep sadness to be felt in the profound loss, both for Hubert’s career and for the later seasons of \u003cem>Fresh Prince. \u003c/em>Her performance as Aunt Viv was groundbreaking in its depiction of a woman who looked like her possessing a range of emotions and attitudes on TV in that era. Hubert could easily glide between saucy and elegant and righteous, often in a single scene. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while they may never share the same strong ties as Smith has with the rest of his co-stars, she at least she seems at peace. For those few moments, funnily enough, the special feels like an actual family reunion with real stakes, as the estranged relatives awkwardly and uncomfortably confront one another, let it all out, and, finally and cathartically, reach reconciliation.\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=Let%27s+Talk+About+That+Reconciliation+During+The+%27Fresh+Prince+Reunion+Special%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year’s National Book Awards ceremony was an evening with a message: We can do better.\u003c/p>\n\u003cp>The online-only event included a montage of Black winners past—narrated by LeVar Burton—with this admission: From 1936 to 1999, only 13 writers of color won a National Book Award.\u003c/p>\n\u003cp>“We haven’t been bold enough in our vision,” said National Book Foundation executive director Lisa Lucas, who will leave the foundation in January to become a senior vice president and publisher at Pantheon and Schocken Books. “We haven’t been brave enough in our choices. We haven’t been confident enough in our values to make sure that this industry, this community is as strong and inclusive and vibrant as it could be. As it should be. As it will be.” [aside postid='arts_13842502']\u003c/p>\n\u003cp>The Foundation made some strides towards that inclusivity tonight, with almost every medal going to an author of color. The evening began with the Literarian Award for Outstanding Service to the American Literary Community, given posthumously to the late Simon & Schuster CEO, Carolyn Reidy. But next up was Walter Mosley, who received the Medal for Distinguished Contribution to American Letters.\u003c/p>\n\u003cp>“Stories keep their deep connection to the human heart word by word, sentence by sentence,” he said. “We writers speak to our readers, but at the same time, they receive our stories, applying them to their own unique experience. In this way, writing is political and democratic in the extreme. We are free in our minds to imagine, to conjure anything. Anything at all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Host Jason Reynolds paid tribute to Mosley, remembering an encounter with the writer at a literary event. “You simply said, ‘I see you.’ And I don’t know if you remember it,” Reynolds said, “but it meant the world to me, because it felt like you were saying that I had a place here, that I had earned a seat at the table, to sit amongst the other quilters, and to stitch my square.”\u003c/p>\n\u003cp>After an extended fundraising appeal, the first National Book Award of the night—for young people’s literature—went to Kacen Callender, for their heartwrenching \u003cem>King and the Dragonflies\u003c/em>. It’s a story about a young boy growing up in a small Louisiana town, who becomes convinced his late brother isn’t truly dead—he’s just become a dragonfly. “This is an interesting year to win,” Callender said. “This has been the hardest, most painful, most devastating year in many people’s memories, in our lifetime. But this has also been an empowering year for many, a year when we’re forced to pause and reflect, not only on ourselves but on the society we live in.” [aside postid='arts_13881489']\u003c/p>\n\u003cp>Next up was the Translated Literature award, which went to Japanese author Yu Miri, for \u003cem>Tokyo Ueno Station\u003c/em>, translated by Morgan Giles. In her speech, Miri thanked the people of Fukushima, where she lives, and recalled the terrible earthquake, tsunami and nuclear meltdown of 2011. The book is narrated by a ghost—originally from Fukushima but now haunting a Tokyo train station; our critic Michael Schaub called it “a stunning novel, and a harsh, uncompromising look at existential despair.”\u003c/p>\n\u003cp>The Poetry prize went to poet and translator Don Mee Choi, for her collection \u003cem>DMZ Colony\u003c/em>, which explores lives affected by colonization and war. In an emotional speech, Choi dedicated the award to her father. “Poetry and translation have changed my life,” she said. “For me, they are inseparable.”\u003c/p>\n\u003cp>Tamara Payne accepted the Nonfiction prize for \u003cem>The Dead Are Arising: The Life of Malcolm X\u003c/em>, a monumental biography begun by her father, journalist Les Payne, who spent decades interviewing anyone who’d ever known the late Black activist. Tamara Payne was her father’s primary researcher and finished the book after his death in 2018. “Definitive is a word we must use carefully when talking about biographies because it implies a degree of finality that research and new information may prove wrong,” says our reviewer Gabino Iglesias. “That said, Les and Tamara Payne’s \u003cem>The Dead Are Arising\u003c/em> is, for now, the definitive biography of Malcolm X.”\u003c/p>\n\u003cp>And finally, the Fiction prize went to Charles Yu for \u003cem>Interior Chinatown\u003c/em>, told from the point of view of a struggling actor most often seen as a generic Asian man in the background of a restaurant or a crime scene. Yu seemed taken aback by his victory, briefly wordless. “I prepared nothing, which tells you how realistic I thought this was,” he joked, wiping away a tear. “There’s not many reasons for hope right now, but to be here, hearing about all of these books, having read some of them, going on to read many more of them, it is what keeps me going, and I hope that this community can sustain other people in the same way.” [aside postid='pop_110573']\u003c/p>\n\u003cp>Perhaps it’s fitting to go back to Walter Mosley to close: “There’s a great weight hanging over the reception of an award when the underlying subject is ‘the first black man to receive,'” he said, putting pointed emphasis on those last words. “We, the people who are darker than blue, have been here on this continent, in this storm for 400 years. As a matter of course we have been chained, beaten, raped, murdered, robbed of our names, our history and often even our dignity. This has been an ongoing process. An unending anguish. And so one might be cowed by the monumental negative space surrounding that pinprick of light that this award represents. One might ask, could such a thing make a difference? Is this a dying gasp, or a first breath? Is today different from any other day over the past 400 years? I prefer to believe that we are on the threshold of a new day. That this evening is but one of ten thousand steps being taken to recognize the potential of this nation.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And the night ended with an unexpected treat, Translated Literature judge John Darnielle—otherwise known as the frontman of the band The Mountain Goats—giving an acoustic performance of his 2005 song “This Year,” with its unwittingly prescient chorus: “\u003ca href=\"https://www.youtube.com/watch?v=eetIgGXH6DA\" target=\"_blank\" rel=\"noopener noreferrer\">I am gonna make it through this year, if it kills me.\u003c/a>”\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=2020%27s+National+Book+Awards+Strive+For+Inclusivity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Foundation made some strides towards that inclusivity tonight, with almost every medal going to an author of color. The evening began with the Literarian Award for Outstanding Service to the American Literary Community, given posthumously to the late Simon & Schuster CEO, Carolyn Reidy. But next up was Walter Mosley, who received the Medal for Distinguished Contribution to American Letters.\u003c/p>\n\u003cp>“Stories keep their deep connection to the human heart word by word, sentence by sentence,” he said. “We writers speak to our readers, but at the same time, they receive our stories, applying them to their own unique experience. In this way, writing is political and democratic in the extreme. We are free in our minds to imagine, to conjure anything. Anything at all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Host Jason Reynolds paid tribute to Mosley, remembering an encounter with the writer at a literary event. “You simply said, ‘I see you.’ And I don’t know if you remember it,” Reynolds said, “but it meant the world to me, because it felt like you were saying that I had a place here, that I had earned a seat at the table, to sit amongst the other quilters, and to stitch my square.”\u003c/p>\n\u003cp>After an extended fundraising appeal, the first National Book Award of the night—for young people’s literature—went to Kacen Callender, for their heartwrenching \u003cem>King and the Dragonflies\u003c/em>. It’s a story about a young boy growing up in a small Louisiana town, who becomes convinced his late brother isn’t truly dead—he’s just become a dragonfly. “This is an interesting year to win,” Callender said. “This has been the hardest, most painful, most devastating year in many people’s memories, in our lifetime. But this has also been an empowering year for many, a year when we’re forced to pause and reflect, not only on ourselves but on the society we live in.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next up was the Translated Literature award, which went to Japanese author Yu Miri, for \u003cem>Tokyo Ueno Station\u003c/em>, translated by Morgan Giles. In her speech, Miri thanked the people of Fukushima, where she lives, and recalled the terrible earthquake, tsunami and nuclear meltdown of 2011. The book is narrated by a ghost—originally from Fukushima but now haunting a Tokyo train station; our critic Michael Schaub called it “a stunning novel, and a harsh, uncompromising look at existential despair.”\u003c/p>\n\u003cp>The Poetry prize went to poet and translator Don Mee Choi, for her collection \u003cem>DMZ Colony\u003c/em>, which explores lives affected by colonization and war. In an emotional speech, Choi dedicated the award to her father. “Poetry and translation have changed my life,” she said. “For me, they are inseparable.”\u003c/p>\n\u003cp>Tamara Payne accepted the Nonfiction prize for \u003cem>The Dead Are Arising: The Life of Malcolm X\u003c/em>, a monumental biography begun by her father, journalist Les Payne, who spent decades interviewing anyone who’d ever known the late Black activist. Tamara Payne was her father’s primary researcher and finished the book after his death in 2018. “Definitive is a word we must use carefully when talking about biographies because it implies a degree of finality that research and new information may prove wrong,” says our reviewer Gabino Iglesias. “That said, Les and Tamara Payne’s \u003cem>The Dead Are Arising\u003c/em> is, for now, the definitive biography of Malcolm X.”\u003c/p>\n\u003cp>And finally, the Fiction prize went to Charles Yu for \u003cem>Interior Chinatown\u003c/em>, told from the point of view of a struggling actor most often seen as a generic Asian man in the background of a restaurant or a crime scene. Yu seemed taken aback by his victory, briefly wordless. “I prepared nothing, which tells you how realistic I thought this was,” he joked, wiping away a tear. “There’s not many reasons for hope right now, but to be here, hearing about all of these books, having read some of them, going on to read many more of them, it is what keeps me going, and I hope that this community can sustain other people in the same way.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps it’s fitting to go back to Walter Mosley to close: “There’s a great weight hanging over the reception of an award when the underlying subject is ‘the first black man to receive,'” he said, putting pointed emphasis on those last words. “We, the people who are darker than blue, have been here on this continent, in this storm for 400 years. As a matter of course we have been chained, beaten, raped, murdered, robbed of our names, our history and often even our dignity. This has been an ongoing process. An unending anguish. And so one might be cowed by the monumental negative space surrounding that pinprick of light that this award represents. One might ask, could such a thing make a difference? Is this a dying gasp, or a first breath? Is today different from any other day over the past 400 years? I prefer to believe that we are on the threshold of a new day. That this evening is but one of ten thousand steps being taken to recognize the potential of this nation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And the night ended with an unexpected treat, Translated Literature judge John Darnielle—otherwise known as the frontman of the band The Mountain Goats—giving an acoustic performance of his 2005 song “This Year,” with its unwittingly prescient chorus: “\u003ca href=\"https://www.youtube.com/watch?v=eetIgGXH6DA\" target=\"_blank\" rel=\"noopener noreferrer\">I am gonna make it through this year, if it kills me.\u003c/a>”\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=2020%27s+National+Book+Awards+Strive+For+Inclusivity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'I'm Happy to Eat the Cakes': Matt Lucas Joins the 'Bake Off' Tent",
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"content": "\u003cp>Some day, historians will look back on this time and ask how Americans kept their cool during a pandemic, a recession, and a stressful presidential race. Those historians may be surprised to find the coping mechanisms included a British reality TV show.\u003c/p>\n\u003cp>\u003cem>The Great British Bake Off\u003c/em>—or \u003cem>The Great British Baking Show\u003c/em>, as it’s technically called in the U.S.—does not have backstabbing alliances or obstacle courses. It’s just home cooks in a big white tent baking cakes, pastries, and biscuits—that is, cookies.\u003c/p>\n\u003cp>The show’s 11th season is now on Netflix. Produced in the midst of the pandemic, with its bakers and hosts living in their very own \u003cem>Bake Off\u003c/em> bubble—and with a new cohost, comedian Matt Lucas, best known in the U.S. for the sketch show \u003cem>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4960364\" target=\"_blank\" rel=\"noopener noreferrer\">Little Britain\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“I did not imagine that I’d become a television host,” Lucas says, “and I had never even seen the show until I went really to try out for it … I got this call on the Friday saying, ‘Would you test for the \u003cem>Bake Off\u003c/em>?’ And I said, ‘I’ve never seen the\u003cem> Bake Off\u003c/em>. I know it’s really, really popular, but I mainly watch soccer and documentaries.’ So my agent said, ‘Well, look, just watch an episode tonight and if you like it, you can test on Tuesday.’ And so I went for dinner with my family, and then I came home and I put on an episode—and then another one, and then another one. I thought, ‘Wow, this show’s brilliant!'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LtRWldtxuiI\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On his host audition\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The audition was mad. So I went to a garden center and went up to people and interviewed them about which sort of horticultural accessories they were buying … one of those sort of half indoor-half outdoor garden centers. And people were saying to me, ‘Well, what have you got in your garden?’ And I said, ‘Well, I don’t have a garden. I don’t have any outside space where I live.’ And they were saying, ‘You don’t really know much about horticulture, do you?’ And I said, ‘I know absolutely nothing about it.’ And people were saying, ‘Well, why are you hosting this program about gardening?’ I said, ‘Well, I don’t know. It’s been very quiet lately.’ And people were telling me, ‘Oh, you’ve really come down, your career’s really [come down].’\u003c/p>\n\u003cp>I didn’t really appreciate it quite at the time, but it’s the highest rated show in the U.K. at the moment. It’s such a big show here that they need to audition very many people to find out who’s going to get the job of host. And they want to keep that process as secret as possible. And so I think people just thought I was mad. Why was I wandering around the garden center when I didn’t know anything about gardening?\u003c/p>\n\u003cp>\u003cstrong>On his responsibilities as host—including calling out the remaining time in a challenge—and how he sees his role.\u003c/strong>\u003c/p>\n\u003cp>Well, our real job, I think, is to launch the challenges and to look after the bakers—and the bits they tend to show in the final program are when we’re cracking jokes—reminding them that they know what they’re doing, and they’ve done it many times before, and they’re going to be fine. They just need to do what they do.\u003c/p>\n\u003cp>\u003cstrong>On what it was like to be in the quarantine bubble\u003c/strong>\u003c/p>\n\u003cp>It was a bit like being on a kind of summer camp, you know, and we had activities in the evening, Prue, who’s one of the judges, did some did flower arranging classes. And I did bingo. I don’t know if you call it bingo in the U.S., but … I called out bingo and Paul Hollywood, who’s the other judge, he had his incredible pizza oven brought down from his home. And he had a couple of evenings where he cooked sort of 150 pizzas for everybody … how lucky am I to not only have one of the greatest jobs in television, but also one of the only jobs in television right now? This show was made in the summer. We went before any other show.\u003c/p>\n\u003cp>\u003cstrong>On making fun of the judges, and whether he ever gets told to tone it down\u003c/strong>\u003c/p>\n\u003cp>Very occasionally. I go a bit too far and everyone laughs and Prue laughs. And then she says, ‘I’m laughing, but that’s not going in the show.’ But both of them have a great sense of humor. And they were both very generous in that regard. And also, I was the new boy. So I was kind of finding out where the boundaries are. And they would play jokes on me, too. And it was good for putting the bakers at their ease. You know, they come in and they were so tired and they were so stressed and, you know, they might be real dad jokes that me and [co-host] Noel make, but the bakers would come up to us afterwards and they said, ‘Thank you so much for making me laugh. It really put me at my ease.’ So, you know, it has a purpose to it. It’s not just us showing off.\u003c/p>\n\u003cp>\u003cstrong>On some unwelcome visitors in the tent\u003c/strong>\u003c/p>\n\u003cp>There’s a whole ecosystem, a wonderful community of flies and bugs and wasps and bees and hornets, and they gather—there’s not much you can do—they gather in, you know the pointy roof of the tent? There’s a couple of those points, and they gather up in those points. And at the end of filming every day, they … pull down the sides of the tent and release a smoke bomb to encourage the insects to leave. And they all do leave. And then it’s really hot in the morning, and people are cooking with sugar, and they all just return.\u003c/p>\n\u003cp>\u003cstrong>On whether he himself can bake\u003c/strong>\u003c/p>\n\u003cp>Absolutely not. I once tried to bake a cake, but already I started tampering with the recipe and the cake, I mean, talk about soggy bottom. I mean, this cake was just—if you had to give it a name, you’d call it wet egg cake. I mean, that’s all it was. It was inedible, and I didn’t go anywhere near it. But it’s interesting because the thing about baking is, it’s science. And when you get a recipe, particularly an old recipe, there will be a reason why you should put it in at exactly that temperature for exactly that amount of time, at exactly that spot in the oven. It’s really interesting to see how successful you can be by just following a recipe. Having said that, I still haven’t followed any recipes myself. I’m happy to eat the cakes, but I’m not a great baker.\u003c/p>\n\u003cp>\u003cstrong>On the best thing he ate during the taping\u003c/strong>\u003c/p>\n\u003cp>Do you know, I don’t want to give anything away. There’s a jelly art design round, and that was not only a feast for the eyes, but there were some really, really delicious cakes in that round. It was the moment where everybody upped their game. And it’s really impressive.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Mallory Yu, edited by Sarah Handel and adapted for the Web by Petra Mayer\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=%27I%27m+Happy+To+Eat+The+Cakes%27%3A+Matt+Lucas+Joins+The+%27Bake+Off%27+Tent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some day, historians will look back on this time and ask how Americans kept their cool during a pandemic, a recession, and a stressful presidential race. Those historians may be surprised to find the coping mechanisms included a British reality TV show.\u003c/p>\n\u003cp>\u003cem>The Great British Bake Off\u003c/em>—or \u003cem>The Great British Baking Show\u003c/em>, as it’s technically called in the U.S.—does not have backstabbing alliances or obstacle courses. It’s just home cooks in a big white tent baking cakes, pastries, and biscuits—that is, cookies.\u003c/p>\n\u003cp>The show’s 11th season is now on Netflix. Produced in the midst of the pandemic, with its bakers and hosts living in their very own \u003cem>Bake Off\u003c/em> bubble—and with a new cohost, comedian Matt Lucas, best known in the U.S. for the sketch show \u003cem>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4960364\" target=\"_blank\" rel=\"noopener noreferrer\">Little Britain\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“I did not imagine that I’d become a television host,” Lucas says, “and I had never even seen the show until I went really to try out for it … I got this call on the Friday saying, ‘Would you test for the \u003cem>Bake Off\u003c/em>?’ And I said, ‘I’ve never seen the\u003cem> Bake Off\u003c/em>. I know it’s really, really popular, but I mainly watch soccer and documentaries.’ So my agent said, ‘Well, look, just watch an episode tonight and if you like it, you can test on Tuesday.’ And so I went for dinner with my family, and then I came home and I put on an episode—and then another one, and then another one. I thought, ‘Wow, this show’s brilliant!'”\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/LtRWldtxuiI'\n title='//www.youtube.com/embed/LtRWldtxuiI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On his host audition\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The audition was mad. So I went to a garden center and went up to people and interviewed them about which sort of horticultural accessories they were buying … one of those sort of half indoor-half outdoor garden centers. And people were saying to me, ‘Well, what have you got in your garden?’ And I said, ‘Well, I don’t have a garden. I don’t have any outside space where I live.’ And they were saying, ‘You don’t really know much about horticulture, do you?’ And I said, ‘I know absolutely nothing about it.’ And people were saying, ‘Well, why are you hosting this program about gardening?’ I said, ‘Well, I don’t know. It’s been very quiet lately.’ And people were telling me, ‘Oh, you’ve really come down, your career’s really [come down].’\u003c/p>\n\u003cp>I didn’t really appreciate it quite at the time, but it’s the highest rated show in the U.K. at the moment. It’s such a big show here that they need to audition very many people to find out who’s going to get the job of host. And they want to keep that process as secret as possible. And so I think people just thought I was mad. Why was I wandering around the garden center when I didn’t know anything about gardening?\u003c/p>\n\u003cp>\u003cstrong>On his responsibilities as host—including calling out the remaining time in a challenge—and how he sees his role.\u003c/strong>\u003c/p>\n\u003cp>Well, our real job, I think, is to launch the challenges and to look after the bakers—and the bits they tend to show in the final program are when we’re cracking jokes—reminding them that they know what they’re doing, and they’ve done it many times before, and they’re going to be fine. They just need to do what they do.\u003c/p>\n\u003cp>\u003cstrong>On what it was like to be in the quarantine bubble\u003c/strong>\u003c/p>\n\u003cp>It was a bit like being on a kind of summer camp, you know, and we had activities in the evening, Prue, who’s one of the judges, did some did flower arranging classes. And I did bingo. I don’t know if you call it bingo in the U.S., but … I called out bingo and Paul Hollywood, who’s the other judge, he had his incredible pizza oven brought down from his home. And he had a couple of evenings where he cooked sort of 150 pizzas for everybody … how lucky am I to not only have one of the greatest jobs in television, but also one of the only jobs in television right now? This show was made in the summer. We went before any other show.\u003c/p>\n\u003cp>\u003cstrong>On making fun of the judges, and whether he ever gets told to tone it down\u003c/strong>\u003c/p>\n\u003cp>Very occasionally. I go a bit too far and everyone laughs and Prue laughs. And then she says, ‘I’m laughing, but that’s not going in the show.’ But both of them have a great sense of humor. And they were both very generous in that regard. And also, I was the new boy. So I was kind of finding out where the boundaries are. And they would play jokes on me, too. And it was good for putting the bakers at their ease. You know, they come in and they were so tired and they were so stressed and, you know, they might be real dad jokes that me and [co-host] Noel make, but the bakers would come up to us afterwards and they said, ‘Thank you so much for making me laugh. It really put me at my ease.’ So, you know, it has a purpose to it. It’s not just us showing off.\u003c/p>\n\u003cp>\u003cstrong>On some unwelcome visitors in the tent\u003c/strong>\u003c/p>\n\u003cp>There’s a whole ecosystem, a wonderful community of flies and bugs and wasps and bees and hornets, and they gather—there’s not much you can do—they gather in, you know the pointy roof of the tent? There’s a couple of those points, and they gather up in those points. And at the end of filming every day, they … pull down the sides of the tent and release a smoke bomb to encourage the insects to leave. And they all do leave. And then it’s really hot in the morning, and people are cooking with sugar, and they all just return.\u003c/p>\n\u003cp>\u003cstrong>On whether he himself can bake\u003c/strong>\u003c/p>\n\u003cp>Absolutely not. I once tried to bake a cake, but already I started tampering with the recipe and the cake, I mean, talk about soggy bottom. I mean, this cake was just—if you had to give it a name, you’d call it wet egg cake. I mean, that’s all it was. It was inedible, and I didn’t go anywhere near it. But it’s interesting because the thing about baking is, it’s science. And when you get a recipe, particularly an old recipe, there will be a reason why you should put it in at exactly that temperature for exactly that amount of time, at exactly that spot in the oven. It’s really interesting to see how successful you can be by just following a recipe. Having said that, I still haven’t followed any recipes myself. I’m happy to eat the cakes, but I’m not a great baker.\u003c/p>\n\u003cp>\u003cstrong>On the best thing he ate during the taping\u003c/strong>\u003c/p>\n\u003cp>Do you know, I don’t want to give anything away. There’s a jelly art design round, and that was not only a feast for the eyes, but there were some really, really delicious cakes in that round. It was the moment where everybody upped their game. And it’s really impressive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Tale of 2 Star Wars Holiday Specials: 2020 (LEGO) Vs. 1978 (Oh, No)",
"headTitle": "A Tale of 2 Star Wars Holiday Specials: 2020 (LEGO) Vs. 1978 (Oh, No) | KQED",
"content": "\u003cp>Before we chew over the new \u003cem>LEGO Star Wars Holiday Special\u003c/em>, reader, it behooves us to embrace the historical perspective. We must cite precedent, examine trend lines, peruse the vicissitudes of causation. For only then may we place it in its rightful cultural context.\u003c/p>\n\u003cp>There, I said it: It is impossible to properly understand and meaningfully appreciate Disney Plus’ latest foray into the \u003cem>Star Wars\u003c/em> universe of intellectual property—a holiday special which consists of computer-animated, extruded-plastic versions of the franchise’s major and minor characters coming to understand the true meaning of friendship, togetherness, joy, the whole Hallmark Channel schmear—without first peeling the big, stinky space-onion that came before it.\u003c/p>\n\u003cp>That’s right: Let’s talk Korman, you and I.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Star Wars Holiday Special (1978)\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 1978. A Friday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: CBS.\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: Two hours. No, seriously: \u003cem>Two\u003c/em>. \u003cem>Hours\u003c/em>. So apart from its various and sundry other grievous sins, it pre-empted episodes of \u003cem>both The Incredible Hulk\u003c/em> and \u003cem>Wonder Woman\u003c/em>. Imagine. The unmitigated gall.\u003c/p>\n\u003cp>\u003cstrong>What It Was: \u003c/strong>A cynical cash-grab, for one thing. For another: A holiday special featuring the main stars of the film\u003cem> Star Wars\u003c/em> and … just … so much else. \u003cem>So \u003c/em>much else.\u003c/p>\n\u003cp>\u003cstrong>Like What?\u003c/strong>: “Like what,” you ask. Oh, you sweet summer child. Like a lengthy interlude featuring a troupe of holographic acrobats performing a routine that’s 20 percent Cirque du Soleil, 20 percent Studio 54 and 60 percent the very concept of cocaine. Like Diahann Carroll in a spangly outfit, floating in space as she breathily seduces a pervy old Wookiee through the magic of song. Like Art Carney delivering lines like “I’ll just insert this here proton pack.” Like Jefferson Starship, randomly. Like Harvey Korman in drag as a four-armed alien hosting a cooking show. Like Harvey Korman as a malfunctioning robot attempting to explain how to assemble electronic equipment. Like Harvey Korman as a lovestruck cantina bar patron who drinks liquor via an opening at the top of his head. Like-\u003c/p>\n\u003cp>\u003cstrong>Ok Ok I Get The Idea\u003c/strong>: Oh, you may \u003cem>think \u003c/em>you do. I guarantee that you do not.\u003c/p>\n\u003cp>\u003cstrong>Stars\u003c/strong>: Mark Hamill, Carrie Fisher and Harrison Ford show up, briefly, having not read the fine print on their contracts. Hamill and Fisher perform with gusto—Fisher even sings a song, passably enough. Ford performs with whatever the opposite of gusto is.\u003c/p>\n\u003cp>\u003cstrong>Plot:\u003c/strong> Hoo boy. Where to begin. Chewbacca wants to get to his home planet (Kashyyyk, canonically, but an Imperial officer calls it “Kazook,” here, because if the Empire is about anything, it’s about that casual racism). His family is celebrating Life Day, the Wookiee celebration of hope and peace and what have you. We learn that Chewie lives in a bad matte painting of a treehouse with his wife Malla, his father Itchy and his son Lumpy (no word if he’s got cousins named, like, Scaly, Rashy and Irregularmoley, but we can extrapolate from the evidence presented.)\u003c/p>\n\u003cp>We also learn that Chewie’s house has a brown, suburban-key-party-chic vibe (there’s even a space-Barcalounger plopped in the center of the conversation pit). He communicates with others across the vast empty void of space via a Commodore PET that the set dresser couldn’t be bothered to snazz up, even a little. (In fact, all of the electronic equipment in the special has a very 1970s burnt-ochre Texas Instruments feel.)\u003c/p>\n\u003cp>Imperial troops invade Chewie’s house and search it, Art Carney outsmarts them (!) and Chewie returns home. Then all the characters sort of float (I know) and walk across space (I know) into a star (don’t think about it) and gather to watch Princess Leia totally co-opt a Wookiee holiday by making it all about \u003cem>her \u003c/em>and singing a Life Day song. The End.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VXcb7VPw59s\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though:\u003c/strong> It \u003cem>drags\u003c/em>. All those nonsensical interludes—the tumbling routine, Space-Diahann, Jefferson Starship, All! The! Kormans!, oh and the cartoon that introduces the character of Boba Fett (did I mention there’s a cartoon that introduces the character of Boba Fett? because there’s a cartoon that introduces the character of Boba Fett, making this fetid debacle Canonically Important)—all of it takes forever. Plus, the scenes of Chewie’s family aren’t subtitled, so it’s just three people in furry costumes incessantly grunting and snarling at each other while gesticulating broadly. Call it Loud Mime.\u003c/p>\n\u003cp>\u003cstrong>Why Have I Never Heard Of This?\u003c/strong>: Because you … have other things going on in your life, presumably? But the real reason, of course, is that the special was immediately disavowed by George Lucas and his people (who were working on \u003cem>The Empire Strikes Back\u003c/em> at the time, and had outsourced the writing and production of the special to CBS).\u003c/p>\n\u003cp>(Bruce Vilanch was a co-writer of this thing, by the way. A fact that seems surprising at first and then, suddenly, completely and irrevocably not.)\u003c/p>\n\u003cp>(If I were to tell you that another writer credited was named Mitzie Welch—and I am, I am telling you that—your reaction to the fact that someone named Mitzie was partly responsible would probably go something like, “No, yeah, I kinda figured that, somehow.”)\u003c/p>\n\u003cp>So, even though George Lucas and Co. ordered that it never be broadcast again, and, further, that it be completely wiped from the Jedi Archives like some kind of cheese-tastic variety-show Kamino, bootleg copies circulated at cons, and inevitably migrated online, \u003ca href=\"https://www.youtube.com/watch?v=6hH8rxarVG8\">as is the way of such things\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Come On, It Can’t Be \u003c/strong>\u003cstrong>\u003cem>That \u003c/em>\u003c/strong>\u003cstrong>Bad\u003c/strong>: It can be, and it is. Except … Well. Okay. If you can hold out for \u003cem>an hour and fifteen minute\u003c/em>s, you’ll come to an oasis of a sketch in which Bea Arthur (you heard me) gets a musical number. She plays the proprietor of the Mos Eisley cantina, and slows the familiar Cantina Band Song way, way down, transforming it into a tune that manages to be at once a German beerhall oompah ditty and a torch song. Seriously, she does that. Because when you hire Bea Arthur, you hire a pro who can commit to the bit, even when the bit in question is this ingloriously shambolic, and yet emerge somehow unscathed.\u003c/p>\n\u003cp>Okay. We have sufficiently immersed ourselves in the dank backwaters of the disavowed past. You’ll want to take a quick shower to get the stink off you. But in the meantime: Onward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong> The LEGO Star Wars Holiday Special\u003c/strong>\u003c/em>\u003cstrong> (2020)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 2020. A Tuesday.\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: Disney+\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: 44 minutes! We’ll come back to this!\u003c/p>\n\u003cp>\u003cstrong>What It Is\u003c/strong>: Pretty good, is what. I mean, it’s pure fan-service and little more than that, but at the end of the day? I’m a fan, and I’m fine with getting serviced, now and again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-bZxO5Dn9x0\u003c/p>\n\u003cp>It’s trying to be a lot of things at once, admittedly: On the most basic level it’s a straight-up, full-throated holiday special for families, with messages about coming together to celebrate friendship, love, togetherness—the whole schmoopy Hallmark schmear, really.\u003c/p>\n\u003cp>But it’s also a story that takes characters from the final \u003cem>Star Wars\u003c/em> film trilogy and sends them hopping through pretty much every climactic moment of the Skywalker Saga … and beyond. And it does so while gently satirizing the franchise, in much the same way the many LEGO \u003cem>Star Wars\u003c/em> games do. It even includes references to the 1978 \u003cem>Star Wars Holiday Special\u003c/em>, which, as I trust I have amply illustrated, was a fiasco, stuffed inside a debacle, wrapped in the guy who voiced The Great Gazoo.\u003c/p>\n\u003cp>\u003cstrong>Stars:\u003c/strong> Within the reality of the special, LEGO versions of Rey, Finn, Poe, Rose, Chewie, Lando, R2-D2 and C-3PO. In our reality, however, the only actors reprising their film roles are Billy Dee Williams, Kelly Marie Tran and (wait for it) Anthony Daniels, who never turns down a gig, and bless him for it. The other characters are voiced by talented sound-alike voice-actors.\u003c/p>\n\u003cp>\u003cstrong>Plot\u003c/strong>: Rey is training Finn to be a Jedi, while everyone else is preparing a Life Day party aboard the Millennium Falcon. Rey experiences a crisis of confidence in her mentorship abilities and leaves with BB-8 to uncover an artifact that can send her hurtling through time, so as to study other mentor-student relationships across the franchise.\u003c/p>\n\u003cp>If that seems to you like just a flimsy excuse to have Rey meet characters from every Star Wars movie and their spin-offs, pour yourself a blue milk.\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though\u003c/strong>: It’s pure fan service, yes, but what’s weird is that it’s attempting to service very different sets of fans.\u003c/p>\n\u003cp>\u003cem>Star Wars \u003c/em>fandom isn’t monolithic, after all. Some fans of the original films despise the Abrams-Johnson-Abrams final trilogy, and all of its characters. Foregrounding Rey as much as this special does will likely turn those fans off, and once they see how centrally she now figures in, say, one of the most memorable moments in \u003cem>A New Hope\u003c/em>, well. That’ll send them straight to Reddit.\u003c/p>\n\u003cp>Make no mistake: The fact that it’s all so clearly a joke, a goof, a clever meta-gag in a holiday special for kiddies—that won’t matter to these fans. They’ll be incensed, and they’ll stew, because when this particular subset of fandom is angry is when they feel most themselves.\u003c/p>\n\u003cp>Me? I belong to the cohort of fans who like the final trilogy just fine, thank you very much. I would have liked it better if \u003cem>The Rise of Skywalker\u003c/em> hadn’t dropped so many threads introduced in \u003cem>The Last Jedi\u003c/em>, so imagine my surprise when \u003cem>The LEGO Star Wars Holiday Special\u003c/em>, of all things, started picking them up again.\u003c/p>\n\u003cp>Case in point: Kelly Marie Tran’s Rose. The fact that she gets more lines of dialogue in this silly thing than she did in the entirety of \u003cem>The Rise of Skywalker\u003c/em> is … well, it’s sad, frankly, but I’ll take it, because you know why? More Rose.\u003c/p>\n\u003cp>Ditto Rey training Finn—a notion that the films only feinted at, but that here drives the entire plot.\u003c/p>\n\u003cp>Some elements unique to the special also work nicely. Its version of Emperor Palpatine, for example, gets the best lines, and his persona is less that of the universe’s greatest and most terrible incarnation of elemental evil, and more that of a vain, insecure, manipulative bully—the ultimate bad boss. Which tracks.\u003c/p>\n\u003cp>\u003cstrong>How Are The Jokes?\u003c/strong>: Good question. They’re solid, mostly. Not nearly as on point and just plain weird as they were in those first couple Lord and Miller theatrical films, though admittedly that’s a high bar.\u003c/p>\n\u003cp>In terms of the Hit Rate of these jokes and Easter eggs (Life Day eggs, I suppose), I’d put this lower than \u003cem>The LEGO Movie\u003c/em> but a notch or two above \u003cem>The LEGO Ninjago Movie\u003c/em>. You know? Right in there.\u003c/p>\n\u003cp>That impression is certainly bolstered by the fact that \u003cem>The LEGO Star Wars Holiday Special\u003c/em> knows not to overstay its welcome. In and out, 44 minutes. Faster than the attack run on the Death Star, and more or less as successful.\u003c/p>\n\u003cp>Though would it have killed them to throw us one last bone?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>LEGO Bea Arthur\u003c/em>, guys. Come on. Big missed opportunity. Huge. I mean it was just \u003cem>lying \u003c/em>there.\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=A+Tale+Of+2+Star+Wars+Holiday+Specials%3A+2020+%28LEGO%29+Vs.+1978+%28Oh%2C+No%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before we chew over the new \u003cem>LEGO Star Wars Holiday Special\u003c/em>, reader, it behooves us to embrace the historical perspective. We must cite precedent, examine trend lines, peruse the vicissitudes of causation. For only then may we place it in its rightful cultural context.\u003c/p>\n\u003cp>There, I said it: It is impossible to properly understand and meaningfully appreciate Disney Plus’ latest foray into the \u003cem>Star Wars\u003c/em> universe of intellectual property—a holiday special which consists of computer-animated, extruded-plastic versions of the franchise’s major and minor characters coming to understand the true meaning of friendship, togetherness, joy, the whole Hallmark Channel schmear—without first peeling the big, stinky space-onion that came before it.\u003c/p>\n\u003cp>That’s right: Let’s talk Korman, you and I.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Star Wars Holiday Special (1978)\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 1978. A Friday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: CBS.\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: Two hours. No, seriously: \u003cem>Two\u003c/em>. \u003cem>Hours\u003c/em>. So apart from its various and sundry other grievous sins, it pre-empted episodes of \u003cem>both The Incredible Hulk\u003c/em> and \u003cem>Wonder Woman\u003c/em>. Imagine. The unmitigated gall.\u003c/p>\n\u003cp>\u003cstrong>What It Was: \u003c/strong>A cynical cash-grab, for one thing. For another: A holiday special featuring the main stars of the film\u003cem> Star Wars\u003c/em> and … just … so much else. \u003cem>So \u003c/em>much else.\u003c/p>\n\u003cp>\u003cstrong>Like What?\u003c/strong>: “Like what,” you ask. Oh, you sweet summer child. Like a lengthy interlude featuring a troupe of holographic acrobats performing a routine that’s 20 percent Cirque du Soleil, 20 percent Studio 54 and 60 percent the very concept of cocaine. Like Diahann Carroll in a spangly outfit, floating in space as she breathily seduces a pervy old Wookiee through the magic of song. Like Art Carney delivering lines like “I’ll just insert this here proton pack.” Like Jefferson Starship, randomly. Like Harvey Korman in drag as a four-armed alien hosting a cooking show. Like Harvey Korman as a malfunctioning robot attempting to explain how to assemble electronic equipment. Like Harvey Korman as a lovestruck cantina bar patron who drinks liquor via an opening at the top of his head. Like-\u003c/p>\n\u003cp>\u003cstrong>Ok Ok I Get The Idea\u003c/strong>: Oh, you may \u003cem>think \u003c/em>you do. I guarantee that you do not.\u003c/p>\n\u003cp>\u003cstrong>Stars\u003c/strong>: Mark Hamill, Carrie Fisher and Harrison Ford show up, briefly, having not read the fine print on their contracts. Hamill and Fisher perform with gusto—Fisher even sings a song, passably enough. Ford performs with whatever the opposite of gusto is.\u003c/p>\n\u003cp>\u003cstrong>Plot:\u003c/strong> Hoo boy. Where to begin. Chewbacca wants to get to his home planet (Kashyyyk, canonically, but an Imperial officer calls it “Kazook,” here, because if the Empire is about anything, it’s about that casual racism). His family is celebrating Life Day, the Wookiee celebration of hope and peace and what have you. We learn that Chewie lives in a bad matte painting of a treehouse with his wife Malla, his father Itchy and his son Lumpy (no word if he’s got cousins named, like, Scaly, Rashy and Irregularmoley, but we can extrapolate from the evidence presented.)\u003c/p>\n\u003cp>We also learn that Chewie’s house has a brown, suburban-key-party-chic vibe (there’s even a space-Barcalounger plopped in the center of the conversation pit). He communicates with others across the vast empty void of space via a Commodore PET that the set dresser couldn’t be bothered to snazz up, even a little. (In fact, all of the electronic equipment in the special has a very 1970s burnt-ochre Texas Instruments feel.)\u003c/p>\n\u003cp>Imperial troops invade Chewie’s house and search it, Art Carney outsmarts them (!) and Chewie returns home. Then all the characters sort of float (I know) and walk across space (I know) into a star (don’t think about it) and gather to watch Princess Leia totally co-opt a Wookiee holiday by making it all about \u003cem>her \u003c/em>and singing a Life Day song. The End.\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/VXcb7VPw59s'\n title='//www.youtube.com/embed/VXcb7VPw59s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The Main Thing About It, Though:\u003c/strong> It \u003cem>drags\u003c/em>. All those nonsensical interludes—the tumbling routine, Space-Diahann, Jefferson Starship, All! The! Kormans!, oh and the cartoon that introduces the character of Boba Fett (did I mention there’s a cartoon that introduces the character of Boba Fett? because there’s a cartoon that introduces the character of Boba Fett, making this fetid debacle Canonically Important)—all of it takes forever. Plus, the scenes of Chewie’s family aren’t subtitled, so it’s just three people in furry costumes incessantly grunting and snarling at each other while gesticulating broadly. Call it Loud Mime.\u003c/p>\n\u003cp>\u003cstrong>Why Have I Never Heard Of This?\u003c/strong>: Because you … have other things going on in your life, presumably? But the real reason, of course, is that the special was immediately disavowed by George Lucas and his people (who were working on \u003cem>The Empire Strikes Back\u003c/em> at the time, and had outsourced the writing and production of the special to CBS).\u003c/p>\n\u003cp>(Bruce Vilanch was a co-writer of this thing, by the way. A fact that seems surprising at first and then, suddenly, completely and irrevocably not.)\u003c/p>\n\u003cp>(If I were to tell you that another writer credited was named Mitzie Welch—and I am, I am telling you that—your reaction to the fact that someone named Mitzie was partly responsible would probably go something like, “No, yeah, I kinda figured that, somehow.”)\u003c/p>\n\u003cp>So, even though George Lucas and Co. ordered that it never be broadcast again, and, further, that it be completely wiped from the Jedi Archives like some kind of cheese-tastic variety-show Kamino, bootleg copies circulated at cons, and inevitably migrated online, \u003ca href=\"https://www.youtube.com/watch?v=6hH8rxarVG8\">as is the way of such things\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Come On, It Can’t Be \u003c/strong>\u003cstrong>\u003cem>That \u003c/em>\u003c/strong>\u003cstrong>Bad\u003c/strong>: It can be, and it is. Except … Well. Okay. If you can hold out for \u003cem>an hour and fifteen minute\u003c/em>s, you’ll come to an oasis of a sketch in which Bea Arthur (you heard me) gets a musical number. She plays the proprietor of the Mos Eisley cantina, and slows the familiar Cantina Band Song way, way down, transforming it into a tune that manages to be at once a German beerhall oompah ditty and a torch song. Seriously, she does that. Because when you hire Bea Arthur, you hire a pro who can commit to the bit, even when the bit in question is this ingloriously shambolic, and yet emerge somehow unscathed.\u003c/p>\n\u003cp>Okay. We have sufficiently immersed ourselves in the dank backwaters of the disavowed past. You’ll want to take a quick shower to get the stink off you. But in the meantime: Onward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong> The LEGO Star Wars Holiday Special\u003c/strong>\u003c/em>\u003cstrong> (2020)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Premiere Date\u003c/strong>: November 17, 2020. A Tuesday.\u003c/p>\n\u003cp>\u003cstrong>Outlet\u003c/strong>: Disney+\u003c/p>\n\u003cp>\u003cstrong>Length\u003c/strong>: 44 minutes! We’ll come back to this!\u003c/p>\n\u003cp>\u003cstrong>What It Is\u003c/strong>: Pretty good, is what. I mean, it’s pure fan-service and little more than that, but at the end of the day? I’m a fan, and I’m fine with getting serviced, now and again.\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/-bZxO5Dn9x0'\n title='//www.youtube.com/embed/-bZxO5Dn9x0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s trying to be a lot of things at once, admittedly: On the most basic level it’s a straight-up, full-throated holiday special for families, with messages about coming together to celebrate friendship, love, togetherness—the whole schmoopy Hallmark schmear, really.\u003c/p>\n\u003cp>But it’s also a story that takes characters from the final \u003cem>Star Wars\u003c/em> film trilogy and sends them hopping through pretty much every climactic moment of the Skywalker Saga … and beyond. And it does so while gently satirizing the franchise, in much the same way the many LEGO \u003cem>Star Wars\u003c/em> games do. It even includes references to the 1978 \u003cem>Star Wars Holiday Special\u003c/em>, which, as I trust I have amply illustrated, was a fiasco, stuffed inside a debacle, wrapped in the guy who voiced The Great Gazoo.\u003c/p>\n\u003cp>\u003cstrong>Stars:\u003c/strong> Within the reality of the special, LEGO versions of Rey, Finn, Poe, Rose, Chewie, Lando, R2-D2 and C-3PO. In our reality, however, the only actors reprising their film roles are Billy Dee Williams, Kelly Marie Tran and (wait for it) Anthony Daniels, who never turns down a gig, and bless him for it. The other characters are voiced by talented sound-alike voice-actors.\u003c/p>\n\u003cp>\u003cstrong>Plot\u003c/strong>: Rey is training Finn to be a Jedi, while everyone else is preparing a Life Day party aboard the Millennium Falcon. Rey experiences a crisis of confidence in her mentorship abilities and leaves with BB-8 to uncover an artifact that can send her hurtling through time, so as to study other mentor-student relationships across the franchise.\u003c/p>\n\u003cp>If that seems to you like just a flimsy excuse to have Rey meet characters from every Star Wars movie and their spin-offs, pour yourself a blue milk.\u003c/p>\n\u003cp>\u003cstrong>The Main Thing About It, Though\u003c/strong>: It’s pure fan service, yes, but what’s weird is that it’s attempting to service very different sets of fans.\u003c/p>\n\u003cp>\u003cem>Star Wars \u003c/em>fandom isn’t monolithic, after all. Some fans of the original films despise the Abrams-Johnson-Abrams final trilogy, and all of its characters. Foregrounding Rey as much as this special does will likely turn those fans off, and once they see how centrally she now figures in, say, one of the most memorable moments in \u003cem>A New Hope\u003c/em>, well. That’ll send them straight to Reddit.\u003c/p>\n\u003cp>Make no mistake: The fact that it’s all so clearly a joke, a goof, a clever meta-gag in a holiday special for kiddies—that won’t matter to these fans. They’ll be incensed, and they’ll stew, because when this particular subset of fandom is angry is when they feel most themselves.\u003c/p>\n\u003cp>Me? I belong to the cohort of fans who like the final trilogy just fine, thank you very much. I would have liked it better if \u003cem>The Rise of Skywalker\u003c/em> hadn’t dropped so many threads introduced in \u003cem>The Last Jedi\u003c/em>, so imagine my surprise when \u003cem>The LEGO Star Wars Holiday Special\u003c/em>, of all things, started picking them up again.\u003c/p>\n\u003cp>Case in point: Kelly Marie Tran’s Rose. The fact that she gets more lines of dialogue in this silly thing than she did in the entirety of \u003cem>The Rise of Skywalker\u003c/em> is … well, it’s sad, frankly, but I’ll take it, because you know why? More Rose.\u003c/p>\n\u003cp>Ditto Rey training Finn—a notion that the films only feinted at, but that here drives the entire plot.\u003c/p>\n\u003cp>Some elements unique to the special also work nicely. Its version of Emperor Palpatine, for example, gets the best lines, and his persona is less that of the universe’s greatest and most terrible incarnation of elemental evil, and more that of a vain, insecure, manipulative bully—the ultimate bad boss. Which tracks.\u003c/p>\n\u003cp>\u003cstrong>How Are The Jokes?\u003c/strong>: Good question. They’re solid, mostly. Not nearly as on point and just plain weird as they were in those first couple Lord and Miller theatrical films, though admittedly that’s a high bar.\u003c/p>\n\u003cp>In terms of the Hit Rate of these jokes and Easter eggs (Life Day eggs, I suppose), I’d put this lower than \u003cem>The LEGO Movie\u003c/em> but a notch or two above \u003cem>The LEGO Ninjago Movie\u003c/em>. You know? Right in there.\u003c/p>\n\u003cp>That impression is certainly bolstered by the fact that \u003cem>The LEGO Star Wars Holiday Special\u003c/em> knows not to overstay its welcome. In and out, 44 minutes. Faster than the attack run on the Death Star, and more or less as successful.\u003c/p>\n\u003cp>Though would it have killed them to throw us one last bone?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>LEGO Bea Arthur\u003c/em>, guys. Come on. Big missed opportunity. Huge. I mean it was just \u003cem>lying \u003c/em>there.\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=A+Tale+Of+2+Star+Wars+Holiday+Specials%3A+2020+%28LEGO%29+Vs.+1978+%28Oh%2C+No%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘A Teacher’ Tells a Lesson in Predatory Behavior | KQED",
"content": "\u003cp>The FX on Hulu miniseries, \u003cem>A Teacher,\u003c/em> falls somewhere between a twisted romantic drama and a cautionary tale about the lasting trauma of a student-teacher affair. The story is troubling as it blends warning and titillation, brilliant when subtly depicting grooming, and bland when you look too closely at some character details. Even though parts of the story are shaky, the narration arc is sturdy enough to bear the weight of a very heavy topic.\u003c/p>\n\u003cp>Claire Wilson (played by Kate Mara) is a 30-something English teacher who takes a special interest in one of her students, a charming high school senior named Eric Walker (played by \u003cem>Love, Simon\u003c/em> heartthrob Nick Robinson). When the two start spending time alone outside of the classroom, a manipulative and damaging affair follows.\u003c/p>\n\u003cp>\u003cstrong>A Partially Recycled Script\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Teacher \u003c/em>(2020) is director Hannah Fidell’s second try at this story though the miniseries is not a prequel, sequel, or remake of its Sundance indie film namesake, \u003cem>A Teacher \u003c/em>(2013). Fidell’s decision to reuse the title, setting, and chunks of the plot feels a bit like naming your new dog after your dead one. Although the miniseries certainly has the time to explore the personal factors leading to this noxious affair, the characters still feel generic.\u003c/p>\n\u003cp>In the miniseries, Claire deals with a rocky relationship with her husband, lingering trauma from her mother’s death and her father’s alcoholism, and the regret of her wasted youth. It feels like a universal recipe for an unhappy woman. Whenever Claire is confronted about her bad decisions, she rattles off her vague list of personal grievances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The camera splits time between following Claire and Eric. Though telling so much of the story through Claire’s point of view risks making the audience identify too closely with an abuser, Claire’s character is hard to identify with because she is ultimately a nebulous caricature of a bitter woman with a toxic streak. Although we don’t get to see far beyond Eric’s puppy dog eagerness and intense confusion, the show does a good job showing his family and friends’ concern or lack thereof.\u003c/p>\n\u003cp>Most scenes between Claire and Eric happen outside of school despite the hour a day they spend together on opposite sides of the classroom. But during their weekend getaway and even during their fights, it’s easy enough to forget how disturbing the situation is.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ATtLA9mFYYk\u003c/p>\n\u003cp>\u003cstrong>A Predator’s Lesson Plan \u003c/strong>\u003c/p>\n\u003cp>Although conversations about sexual abuse have been increasing since the #MeToo movement, many people still do not know what grooming is or how to spot it. Predators can use their power to manipulate victims into thinking the relationship is their idea. Consent is more complicated than a simple yes or no, because coercion can happen gradually.\u003c/p>\n\u003cp>In the time leading up to their sexual relationship, \u003cem>A Teacher\u003c/em> gives us a lesson in predatory grooming behavior. Claire utilizes several strategies: 1. Gaining Eric’s trust. 2. Creating a dependence as the only SAT tutor he can afford. 3. Isolating him in the name of mentorship. 4. Making him keep secrets, from her joking about other students to her getting him out of an underage drinking citation.\u003c/p>\n\u003cp>The boundary-crossing moments are blurred by Ms. Wilson’s sporadic retreats to professionalism. She starts letting Eric call her Claire outside of the classroom, then crosses lines by going to a frat party with him. But she plays the part of a responsible adult by opting for orange juice instead of a mimosa. Initially, she scolds him for kissing her but then continues to meet with him in private settings, before eventually initiating sex. As their relationship escalates, Claire lays out new rules only to break them and rip out the final threads of stability from under Eric’s feet. There are moments that romanticize their relationship as something other than child abuse.\u003c/p>\n\u003cp>Even if the series as a whole is critical of grooming, the sex scenes toe a dangerous line between critiquing and embracing the hot-for-teacher fantasy.\u003c/p>\n\u003cp>\u003cstrong>The Awareness Campaign Tagged onto the Series\u003c/strong>\u003c/p>\n\u003cp>Each episode of the series is bookended by trigger warnings and an FX\u003ca href=\"https://www.fxnetworks.com/shows/a-teacher\" target=\"_blank\" rel=\"noopener noreferrer\"> resource\u003c/a> page where the lead actors speak directly about grooming and point viewers to hotlines. But, there is the inherent paradox of showing a dramatized situation as a method of critiquing it. \u003cem>13 Reasons Why \u003c/em>(2017) is an even more extreme example of this balancing act. In an attempt not to glamorize suicide, the series began with actors introducing themselves and their characters, explaining the purpose of the show, and offering trigger warnings. \u003cem>13 Reasons Why \u003c/em>also had an extensive resource page, although some critics said it failed to balance out the show’s impact on younger viewers.\u003c/p>\n\u003cp>For the viewers who the resource links don’t reach, hopefully the warning signs and reflections within the story \u003cem>A Teacher \u003c/em>will be enough to offset the sensationalized moments.\u003c/p>\n\u003cp>\u003cstrong>Binge-Worthy \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After a three-episode premiere last Tuesday, the next seven episodes will come out on a weekly basis. The show is bingeable but might not earn the loyalty that it takes to keep viewers coming back weekly for a half-hour reward. Releasing the full series at once and letting people binge would have helped blur the pacing issues and made some of the awkward timeline jumps more forgivable. The slow drip of short weekly episodes does not do the series any favors, because the sum of the series is much stronger than the episodes standing alone. So, maybe wait until the full season is out in late December to see a full and chilling view of grooming and its consequences.\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=%27A+Teacher%27+Tells+A+Lesson+In+Predatory+Behavior&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The FX on Hulu miniseries, \u003cem>A Teacher,\u003c/em> falls somewhere between a twisted romantic drama and a cautionary tale about the lasting trauma of a student-teacher affair. The story is troubling as it blends warning and titillation, brilliant when subtly depicting grooming, and bland when you look too closely at some character details. Even though parts of the story are shaky, the narration arc is sturdy enough to bear the weight of a very heavy topic.\u003c/p>\n\u003cp>Claire Wilson (played by Kate Mara) is a 30-something English teacher who takes a special interest in one of her students, a charming high school senior named Eric Walker (played by \u003cem>Love, Simon\u003c/em> heartthrob Nick Robinson). When the two start spending time alone outside of the classroom, a manipulative and damaging affair follows.\u003c/p>\n\u003cp>\u003cstrong>A Partially Recycled Script\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Teacher \u003c/em>(2020) is director Hannah Fidell’s second try at this story though the miniseries is not a prequel, sequel, or remake of its Sundance indie film namesake, \u003cem>A Teacher \u003c/em>(2013). Fidell’s decision to reuse the title, setting, and chunks of the plot feels a bit like naming your new dog after your dead one. Although the miniseries certainly has the time to explore the personal factors leading to this noxious affair, the characters still feel generic.\u003c/p>\n\u003cp>In the miniseries, Claire deals with a rocky relationship with her husband, lingering trauma from her mother’s death and her father’s alcoholism, and the regret of her wasted youth. It feels like a universal recipe for an unhappy woman. Whenever Claire is confronted about her bad decisions, she rattles off her vague list of personal grievances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The camera splits time between following Claire and Eric. Though telling so much of the story through Claire’s point of view risks making the audience identify too closely with an abuser, Claire’s character is hard to identify with because she is ultimately a nebulous caricature of a bitter woman with a toxic streak. Although we don’t get to see far beyond Eric’s puppy dog eagerness and intense confusion, the show does a good job showing his family and friends’ concern or lack thereof.\u003c/p>\n\u003cp>Most scenes between Claire and Eric happen outside of school despite the hour a day they spend together on opposite sides of the classroom. But during their weekend getaway and even during their fights, it’s easy enough to forget how disturbing the situation is.\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/ATtLA9mFYYk'\n title='//www.youtube.com/embed/ATtLA9mFYYk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>A Predator’s Lesson Plan \u003c/strong>\u003c/p>\n\u003cp>Although conversations about sexual abuse have been increasing since the #MeToo movement, many people still do not know what grooming is or how to spot it. Predators can use their power to manipulate victims into thinking the relationship is their idea. Consent is more complicated than a simple yes or no, because coercion can happen gradually.\u003c/p>\n\u003cp>In the time leading up to their sexual relationship, \u003cem>A Teacher\u003c/em> gives us a lesson in predatory grooming behavior. Claire utilizes several strategies: 1. Gaining Eric’s trust. 2. Creating a dependence as the only SAT tutor he can afford. 3. Isolating him in the name of mentorship. 4. Making him keep secrets, from her joking about other students to her getting him out of an underage drinking citation.\u003c/p>\n\u003cp>The boundary-crossing moments are blurred by Ms. Wilson’s sporadic retreats to professionalism. She starts letting Eric call her Claire outside of the classroom, then crosses lines by going to a frat party with him. But she plays the part of a responsible adult by opting for orange juice instead of a mimosa. Initially, she scolds him for kissing her but then continues to meet with him in private settings, before eventually initiating sex. As their relationship escalates, Claire lays out new rules only to break them and rip out the final threads of stability from under Eric’s feet. There are moments that romanticize their relationship as something other than child abuse.\u003c/p>\n\u003cp>Even if the series as a whole is critical of grooming, the sex scenes toe a dangerous line between critiquing and embracing the hot-for-teacher fantasy.\u003c/p>\n\u003cp>\u003cstrong>The Awareness Campaign Tagged onto the Series\u003c/strong>\u003c/p>\n\u003cp>Each episode of the series is bookended by trigger warnings and an FX\u003ca href=\"https://www.fxnetworks.com/shows/a-teacher\" target=\"_blank\" rel=\"noopener noreferrer\"> resource\u003c/a> page where the lead actors speak directly about grooming and point viewers to hotlines. But, there is the inherent paradox of showing a dramatized situation as a method of critiquing it. \u003cem>13 Reasons Why \u003c/em>(2017) is an even more extreme example of this balancing act. In an attempt not to glamorize suicide, the series began with actors introducing themselves and their characters, explaining the purpose of the show, and offering trigger warnings. \u003cem>13 Reasons Why \u003c/em>also had an extensive resource page, although some critics said it failed to balance out the show’s impact on younger viewers.\u003c/p>\n\u003cp>For the viewers who the resource links don’t reach, hopefully the warning signs and reflections within the story \u003cem>A Teacher \u003c/em>will be enough to offset the sensationalized moments.\u003c/p>\n\u003cp>\u003cstrong>Binge-Worthy \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After a three-episode premiere last Tuesday, the next seven episodes will come out on a weekly basis. The show is bingeable but might not earn the loyalty that it takes to keep viewers coming back weekly for a half-hour reward. Releasing the full series at once and letting people binge would have helped blur the pacing issues and made some of the awkward timeline jumps more forgivable. The slow drip of short weekly episodes does not do the series any favors, because the sum of the series is much stronger than the episodes standing alone. So, maybe wait until the full season is out in late December to see a full and chilling view of grooming and its consequences.\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=%27A+Teacher%27+Tells+A+Lesson+In+Predatory+Behavior&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Crown,' Gillian Anderson Explores Thatcher's 'Powerplay' With the Queen",
"headTitle": "In ‘The Crown,’ Gillian Anderson Explores Thatcher’s ‘Powerplay’ With the Queen | KQED",
"content": "\u003cp>Actor Gillian Anderson says lying about her age helped her land the role that first made her famous. Anderson was just 24—but claimed to be 27—on her first audition for the role of Dana Scully, a doctor investigating paranormal phenomena \u003cem>The X-Files.\u003c/em>\u003c/p>\n\u003cp>“I had no experience whatsoever. I had only ever done a couple of plays and scenes in college,” Anderson says. “If [Scully] comes across as being a little bit cocky and at the same time green, it’s all real. It’s me trying to pretend like I know that I am the person that I say I am.”\u003c/p>\n\u003cp>Anderson played Scully for the show’s entire 11-season run, which spanned from 1993 until 2018. Now she’s taking on a very different role as former British Prime Minister Margaret Thatcher on the Netflix series, \u003cem>The Crown. \u003c/em>\u003c/p>\n\u003cp>This time, if there is an awkwardness to the character, it’s more intentional. Anderson notes that Thatcher, who grew up working class, tended to be “nervous and obsequious” around Queen Elizabeth II.\u003c/p>\n\u003cp>“There was a rigidity to the way that [Thatcher] behaved,” Anderson says. “You kind of see all of that in the depth of her curtsy, which was infamously very, very, very deep … almost as if she’s trying too hard.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HGbBsg-s1CA\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Thatcher’s relationship with Queen Elizabeth II \u003c/strong>\u003c/p>\n\u003cp>We see during different seasons of \u003cem>The Crown\u003c/em> the prime minister being educated about how to behave, how to enter, how you don’t turn your back on the queen, you don’t speak first, you wait to be spoken to, you don’t ask questions. All of that is very different from how the rest of us live. And so what we mostly see is her initial awkwardness and trying to figure out how the best way to sit is and how to read each other and get a sense of what their similarities are, because there are a huge amount of differences, but there are also some very stark similarities—their Christianity and their age and the fact that they’re mothers and their work ethic. So it’s a very interesting—sometimes copacetic, sometimes combative—powerplay that happens between these two women during the course of the series.\u003c/p>\n\u003cp>\u003cstrong>On capturing Thatcher, both physically and vocally\u003c/strong>\u003c/p>\n\u003cp>In thinking about Thatcher’s silhouette, [there] is both her particular girth, coupled with the outline of … that bouffant … and then her particular walk, which she kind of pumped her left arm as she held her right arm crooked with a handbag over it, and she would pump that arm and walk in quite small steps even ahead of Reagan, ahead of Gorbachev\u003cstrong>,\u003c/strong> ahead of whoever she was walking with in their own country.\u003c/p>\n\u003cp>But it was really getting comfortable enough in her vocal qualities, which … is very measured. She was also known for her pitch sometimes, especially in party conferences or when she was talking to large crowds. … There’s a lot more fluctuation in her public voice than we necessarily see in\u003cem> The Crown\u003c/em> in so many of these indoor scenes.\u003c/p>\n\u003cp>\u003cstrong>On Thatcher being a pioneer for women but not a feminist \u003c/strong>\u003c/p>\n\u003cp>The fact that she was in office normalized female success, and I think the girls who grew up when she was running the country were suddenly able to imagine leadership as a female quality. But at the same time, she wasn’t a feminist. She didn’t have interest in social equality. She didn’t really know anything about female solidarity. She had a lack of interest in childcare provision and positive action, so she wasn’t really a feminist icon, and yet she allowed young women to imagine that women could be suited to power. Her presence there was a real dichotomy: The fact that she only brought [in] one woman cabinet member in the 11 years that she was in office … is remarkable, astounding. And at the same time felt she could control, stand up to, be on the same level, same footing, as all the conservative men that were surrounding her. It wasn’t just incredibly male-dominated, it was entirely male-dominated.\u003c/p>\n\u003cp>\u003cstrong>On playing sex therapist Jean in the series\u003c/strong>\u003cstrong>\u003cem> Sex Education\u003c/em>\u003c/strong>\u003cstrong>, and how she talks about sex with her own teenagers \u003c/strong>\u003c/p>\n\u003cp>I have three children and two of them are teenagers, 12 and 14, boys. … One of the things that I was afraid of [when taking the role], they were just starting at a new school, and I was worried that it would affect them negatively to have a mom who was on a show that was so explicitly about things related to sex. … But I think, because the show has so much heart and because the show is so diverse, it’s so freeing, it’s allowing a freedom of conversation that has not been seen before in television, and has been embraced so passionately by all different ages, from parents and children alike. It actually went a long way towards, I think, bringing my children closer to me, in a sense, a feeling that it was something that was cool, for the first time, that I was involved in.\u003c/p>\n\u003cp>They’ve swore to me they haven’t seen it and I’m pretending I believe them. I think that I’m not Jean. I think that I’m surely not. I definitely have better boundaries than Jean. But I think I’m surely not as awkward and as intrusive and as blatantly embarrassing. And yet I find myself trying to have conversations with them or asking questions about under armpit hair that I haven’t yet seen, and can I see it at the dinner table? It comes out of your mouth before you realize what you’re doing. So I think we all struggle with that, even if we think we’re cool parents. All parents are cringe-worthy.\u003c/p>\n\u003cp>\u003cstrong>On fighting for better pay on \u003c/strong>\u003cstrong>\u003cem>The X-Files \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It made sense at the very beginning [to earn less], because I had come from nothing and [co-star David Duchovny] had just done a big feature film with Brad Pitt. But once we were into the third season and we were doing the same amount of work, the same amount of hours, it was essentially a two-handed series, it no longer made sense there was such a discrepancy in our paychecks. And then had to fight again when we did a feature [film] and had to fight again years later when we did more series. It was an ongoing thing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey 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=In+%27The+Crown%2C%27+Gillian+Anderson+Explores+Thatcher%27s+%27Powerplay%27+With+The+Queen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Gillian Anderson says lying about her age helped her land the role that first made her famous. Anderson was just 24—but claimed to be 27—on her first audition for the role of Dana Scully, a doctor investigating paranormal phenomena \u003cem>The X-Files.\u003c/em>\u003c/p>\n\u003cp>“I had no experience whatsoever. I had only ever done a couple of plays and scenes in college,” Anderson says. “If [Scully] comes across as being a little bit cocky and at the same time green, it’s all real. It’s me trying to pretend like I know that I am the person that I say I am.”\u003c/p>\n\u003cp>Anderson played Scully for the show’s entire 11-season run, which spanned from 1993 until 2018. Now she’s taking on a very different role as former British Prime Minister Margaret Thatcher on the Netflix series, \u003cem>The Crown. \u003c/em>\u003c/p>\n\u003cp>This time, if there is an awkwardness to the character, it’s more intentional. Anderson notes that Thatcher, who grew up working class, tended to be “nervous and obsequious” around Queen Elizabeth II.\u003c/p>\n\u003cp>“There was a rigidity to the way that [Thatcher] behaved,” Anderson says. “You kind of see all of that in the depth of her curtsy, which was infamously very, very, very deep … almost as if she’s trying too hard.”\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/HGbBsg-s1CA'\n title='//www.youtube.com/embed/HGbBsg-s1CA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Thatcher’s relationship with Queen Elizabeth II \u003c/strong>\u003c/p>\n\u003cp>We see during different seasons of \u003cem>The Crown\u003c/em> the prime minister being educated about how to behave, how to enter, how you don’t turn your back on the queen, you don’t speak first, you wait to be spoken to, you don’t ask questions. All of that is very different from how the rest of us live. And so what we mostly see is her initial awkwardness and trying to figure out how the best way to sit is and how to read each other and get a sense of what their similarities are, because there are a huge amount of differences, but there are also some very stark similarities—their Christianity and their age and the fact that they’re mothers and their work ethic. So it’s a very interesting—sometimes copacetic, sometimes combative—powerplay that happens between these two women during the course of the series.\u003c/p>\n\u003cp>\u003cstrong>On capturing Thatcher, both physically and vocally\u003c/strong>\u003c/p>\n\u003cp>In thinking about Thatcher’s silhouette, [there] is both her particular girth, coupled with the outline of … that bouffant … and then her particular walk, which she kind of pumped her left arm as she held her right arm crooked with a handbag over it, and she would pump that arm and walk in quite small steps even ahead of Reagan, ahead of Gorbachev\u003cstrong>,\u003c/strong> ahead of whoever she was walking with in their own country.\u003c/p>\n\u003cp>But it was really getting comfortable enough in her vocal qualities, which … is very measured. She was also known for her pitch sometimes, especially in party conferences or when she was talking to large crowds. … There’s a lot more fluctuation in her public voice than we necessarily see in\u003cem> The Crown\u003c/em> in so many of these indoor scenes.\u003c/p>\n\u003cp>\u003cstrong>On Thatcher being a pioneer for women but not a feminist \u003c/strong>\u003c/p>\n\u003cp>The fact that she was in office normalized female success, and I think the girls who grew up when she was running the country were suddenly able to imagine leadership as a female quality. But at the same time, she wasn’t a feminist. She didn’t have interest in social equality. She didn’t really know anything about female solidarity. She had a lack of interest in childcare provision and positive action, so she wasn’t really a feminist icon, and yet she allowed young women to imagine that women could be suited to power. Her presence there was a real dichotomy: The fact that she only brought [in] one woman cabinet member in the 11 years that she was in office … is remarkable, astounding. And at the same time felt she could control, stand up to, be on the same level, same footing, as all the conservative men that were surrounding her. It wasn’t just incredibly male-dominated, it was entirely male-dominated.\u003c/p>\n\u003cp>\u003cstrong>On playing sex therapist Jean in the series\u003c/strong>\u003cstrong>\u003cem> Sex Education\u003c/em>\u003c/strong>\u003cstrong>, and how she talks about sex with her own teenagers \u003c/strong>\u003c/p>\n\u003cp>I have three children and two of them are teenagers, 12 and 14, boys. … One of the things that I was afraid of [when taking the role], they were just starting at a new school, and I was worried that it would affect them negatively to have a mom who was on a show that was so explicitly about things related to sex. … But I think, because the show has so much heart and because the show is so diverse, it’s so freeing, it’s allowing a freedom of conversation that has not been seen before in television, and has been embraced so passionately by all different ages, from parents and children alike. It actually went a long way towards, I think, bringing my children closer to me, in a sense, a feeling that it was something that was cool, for the first time, that I was involved in.\u003c/p>\n\u003cp>They’ve swore to me they haven’t seen it and I’m pretending I believe them. I think that I’m not Jean. I think that I’m surely not. I definitely have better boundaries than Jean. But I think I’m surely not as awkward and as intrusive and as blatantly embarrassing. And yet I find myself trying to have conversations with them or asking questions about under armpit hair that I haven’t yet seen, and can I see it at the dinner table? It comes out of your mouth before you realize what you’re doing. So I think we all struggle with that, even if we think we’re cool parents. All parents are cringe-worthy.\u003c/p>\n\u003cp>\u003cstrong>On fighting for better pay on \u003c/strong>\u003cstrong>\u003cem>The X-Files \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It made sense at the very beginning [to earn less], because I had come from nothing and [co-star David Duchovny] had just done a big feature film with Brad Pitt. But once we were into the third season and we were doing the same amount of work, the same amount of hours, it was essentially a two-handed series, it no longer made sense there was such a discrepancy in our paychecks. And then had to fight again when we did a feature [film] and had to fight again years later when we did more series. It was an ongoing thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey 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=In+%27The+Crown%2C%27+Gillian+Anderson+Explores+Thatcher%27s+%27Powerplay%27+With+The+Queen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Heartbreaking and Hopeful, 'Ammonite' is a Wind-Swept Tale of Forbidden Love",
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"content": "\u003cp>Back in 2017, the English writer and director Francis Lee made a wrenching drama, called\u003ca href=\"https://www.npr.org/2017/10/26/559505214/pent-up-passions-go-free-range-in-god-s-own-country\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>God’s Own Country\u003c/em>,\u003c/a> that I wish more people had seen. It told the story of two isolated young men on the rugged moors of North Yorkshire, tending a flock of sheep and falling passionately in love—sort of like a British \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5046247\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Brokeback Mountain\u003c/em>\u003c/a>, only a lot more explicit and with a much happier ending.\u003c/p>\n\u003cp>Now Lee has made another gorgeous wind-swept tale of forbidden love, this one set in the 1840s and centered on two women. It’s called \u003cem>Ammonite\u003c/em>, and it feels like a step up in scale and ambition, partly because it’s about real-life figures, and partly because it stars Kate Winslet and \u003ca href=\"https://www.npr.org/2019/12/24/790812857/saoirse-ronan-playing-jo-march-in-little-women-was-a-confidence-boost\" target=\"_blank\" rel=\"noopener noreferrer\">Saoirse Ronan\u003c/a>. But Lee’s filmmaking is still as raw, intimate and unhurried as it was in \u003cem>God’s Own Country\u003c/em>. He takes his time easing you into his characters’ world, which is important, since that world is not an easy place to live.\u003c/p>\n\u003cp>Winslet plays Mary Anning, a self-taught paleontologist who was known for her groundbreaking fossil discoveries along the shores and cliffs of Lyme Regis, a sleepy town in the English county of Dorset. The famous tongue-twister “She sells seashells by the seashore” is said to have been inspired by Anning, who sold many of her fossils, including those extinct mollusks known as ammonites.\u003c/p>\n\u003cp>Mary is gruff and solitary, a kind of human hermit crab, who lives with her ailing mother, played by Gemma Jones. One day, an aspiring geologist named Roderick Murchison turns up, offering to pay Mary if she’ll let him accompany her on one of her fossil hunts. She reluctantly agrees, as she and her mother could use the money.\u003c/p>\n\u003cp>But Mary gets more than she bargained for. Roderick abruptly takes off and pays Mary to look after his young wife, Charlotte, for several weeks. Charlotte, played by Ronan, is suffering from severe depression following a miscarriage. And while Mary finds her burdensome at first, she nurses the poor woman back to health. A spark soon ignites, and the two begin to enjoy each other’s company. Charlotte helps Mary with her work, which both fascinates and energizes her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AnDhlrs3XVM\u003c/p>\n\u003cp>In some ways, \u003cem>Ammonite\u003c/em> suggests a companion piece to \u003ca href=\"https://www.npr.org/2019/12/05/784106216/portrait-of-a-lady-on-fire-painted-in-precise-subdued-brushstrokes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait of a Lady on Fire\u003c/em>\u003c/a>\u003cem>, \u003c/em>another 19th-century lesbian love story set against a stark coastal landscape. Both films also make important points about the intellectual achievements of women and the way so many of them have been ignored and even erased by men throughout history. In the movie, some of Mary’s most remarkable finds are displayed in museums under a man’s name—a nod to the fact that Anning herself was often denied credit for her work.\u003c/p>\n\u003cp>Charlotte Murchison became a well-regarded geologist herself, and while she and Anning were close friends, it’s unclear if they were really lovers. \u003cem>Ammonite\u003c/em> is a free imagining of Mary’s romantic life, and historical accuracy aside, it’s gripping stuff: The erotic tension builds with such exquisite deliberation that when it finally erupts, the force of it practically shatters the screen. Ronan and Winslet give the sex scenes a startling physicality, which is fitting, since the entire film is so intensely physical. Lee’s camera shows us a way of life sustained by nonstop manual labor: He’s particularly attentive to the roughness of Mary’s hands, whether she’s preparing food, digging up rocks on the beach or sketching in her notebooks into the wee hours of the night.\u003c/p>\n\u003cp>There are fine supporting performances from Alec Secareanu as a charming village doctor, and from the great Fiona Shaw as a local apothecary who turns out to have some past romantic history with Mary. And Ronan is unsurprisingly good as Charlotte, whose love for Mary awakens in her a new sense of passion and purpose. But \u003cem>Ammonite\u003c/em> really belongs to Winslet, who gives her richest performance in years. She makes Mary a profound study in alienation and loneliness, ill at ease with other people and deeply protective of her secrets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, it’s telling that it’s not neighborhood gossip or the stigma of homosexuality that threatens to keep these two women apart. It’s Mary’s need for control and her reluctance to let anyone into her carefully managed life. There’s something heartbreaking about that, but something radically hopeful, too, as she and Charlotte circle the possibility of a future together. \u003cem>Ammonite \u003c/em>may be set in the Victorian era, but it dares to envision a world in which women are ultimately free to make their own decisions, for themselves and for the ones they love.\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=Heartbreaking+And+Hopeful%2C+%27Ammonite%27+Is+A+Wind-Swept+Tale+Of+Forbidden+Love&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in 2017, the English writer and director Francis Lee made a wrenching drama, called\u003ca href=\"https://www.npr.org/2017/10/26/559505214/pent-up-passions-go-free-range-in-god-s-own-country\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>God’s Own Country\u003c/em>,\u003c/a> that I wish more people had seen. It told the story of two isolated young men on the rugged moors of North Yorkshire, tending a flock of sheep and falling passionately in love—sort of like a British \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5046247\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Brokeback Mountain\u003c/em>\u003c/a>, only a lot more explicit and with a much happier ending.\u003c/p>\n\u003cp>Now Lee has made another gorgeous wind-swept tale of forbidden love, this one set in the 1840s and centered on two women. It’s called \u003cem>Ammonite\u003c/em>, and it feels like a step up in scale and ambition, partly because it’s about real-life figures, and partly because it stars Kate Winslet and \u003ca href=\"https://www.npr.org/2019/12/24/790812857/saoirse-ronan-playing-jo-march-in-little-women-was-a-confidence-boost\" target=\"_blank\" rel=\"noopener noreferrer\">Saoirse Ronan\u003c/a>. But Lee’s filmmaking is still as raw, intimate and unhurried as it was in \u003cem>God’s Own Country\u003c/em>. He takes his time easing you into his characters’ world, which is important, since that world is not an easy place to live.\u003c/p>\n\u003cp>Winslet plays Mary Anning, a self-taught paleontologist who was known for her groundbreaking fossil discoveries along the shores and cliffs of Lyme Regis, a sleepy town in the English county of Dorset. The famous tongue-twister “She sells seashells by the seashore” is said to have been inspired by Anning, who sold many of her fossils, including those extinct mollusks known as ammonites.\u003c/p>\n\u003cp>Mary is gruff and solitary, a kind of human hermit crab, who lives with her ailing mother, played by Gemma Jones. One day, an aspiring geologist named Roderick Murchison turns up, offering to pay Mary if she’ll let him accompany her on one of her fossil hunts. She reluctantly agrees, as she and her mother could use the money.\u003c/p>\n\u003cp>But Mary gets more than she bargained for. Roderick abruptly takes off and pays Mary to look after his young wife, Charlotte, for several weeks. Charlotte, played by Ronan, is suffering from severe depression following a miscarriage. And while Mary finds her burdensome at first, she nurses the poor woman back to health. A spark soon ignites, and the two begin to enjoy each other’s company. Charlotte helps Mary with her work, which both fascinates and energizes her.\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/AnDhlrs3XVM'\n title='//www.youtube.com/embed/AnDhlrs3XVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In some ways, \u003cem>Ammonite\u003c/em> suggests a companion piece to \u003ca href=\"https://www.npr.org/2019/12/05/784106216/portrait-of-a-lady-on-fire-painted-in-precise-subdued-brushstrokes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait of a Lady on Fire\u003c/em>\u003c/a>\u003cem>, \u003c/em>another 19th-century lesbian love story set against a stark coastal landscape. Both films also make important points about the intellectual achievements of women and the way so many of them have been ignored and even erased by men throughout history. In the movie, some of Mary’s most remarkable finds are displayed in museums under a man’s name—a nod to the fact that Anning herself was often denied credit for her work.\u003c/p>\n\u003cp>Charlotte Murchison became a well-regarded geologist herself, and while she and Anning were close friends, it’s unclear if they were really lovers. \u003cem>Ammonite\u003c/em> is a free imagining of Mary’s romantic life, and historical accuracy aside, it’s gripping stuff: The erotic tension builds with such exquisite deliberation that when it finally erupts, the force of it practically shatters the screen. Ronan and Winslet give the sex scenes a startling physicality, which is fitting, since the entire film is so intensely physical. Lee’s camera shows us a way of life sustained by nonstop manual labor: He’s particularly attentive to the roughness of Mary’s hands, whether she’s preparing food, digging up rocks on the beach or sketching in her notebooks into the wee hours of the night.\u003c/p>\n\u003cp>There are fine supporting performances from Alec Secareanu as a charming village doctor, and from the great Fiona Shaw as a local apothecary who turns out to have some past romantic history with Mary. And Ronan is unsurprisingly good as Charlotte, whose love for Mary awakens in her a new sense of passion and purpose. But \u003cem>Ammonite\u003c/em> really belongs to Winslet, who gives her richest performance in years. She makes Mary a profound study in alienation and loneliness, ill at ease with other people and deeply protective of her secrets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, it’s telling that it’s not neighborhood gossip or the stigma of homosexuality that threatens to keep these two women apart. It’s Mary’s need for control and her reluctance to let anyone into her carefully managed life. There’s something heartbreaking about that, but something radically hopeful, too, as she and Charlotte circle the possibility of a future together. \u003cem>Ammonite \u003c/em>may be set in the Victorian era, but it dares to envision a world in which women are ultimately free to make their own decisions, for themselves and for the ones they love.\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=Heartbreaking+And+Hopeful%2C+%27Ammonite%27+Is+A+Wind-Swept+Tale+Of+Forbidden+Love&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The next generation of video game consoles is now here.\u003c/p>\n\u003cp>Both Microsoft’s Xbox Series X and Sony’s Playstation 5 hit stores this week—the newest chapter in an ongoing face-off between Microsoft and Sony.\u003c/p>\n\u003cp>At the start of the 21st century, Sony was in control of the video game market, with fans lining up in packed stores to buy the Playstation 2. But less than a year later, Microsoft would release its first ever video game console. The Xbox was big, ugly and powerful; the commercials advertised a new dimension to console gaming: An emphasis on online multi-player and connectivity.\u003c/p>\n\u003cp>None of this was enough to topple Sony’s reign at the time, but the Xbox did announce the arrival of a new competitor. 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Demand certainly won’t be an issue in the near future,” Rogers says.\u003c/p>\n\u003cp>Chris Plante \u003ca href=\"https://www.polygon.com/reviews/21547603/xbox-series-x-review-microsoft-next-gen\" target=\"_blank\" rel=\"noopener noreferrer\">reviewed Microsoft’s new Xbox Series X for the website Polygon\u003c/a>. He says that during the last console generation, Microsoft went all in on the Xbox being an all-in-one entertainment device: “Infamously, during their big reveal event, they spent the majority of an hour talking about everything but video games.”\u003c/p>\n\u003cp>But Microsoft’s tune has now changed. Central to the plan this time around are lots of games, presented at an affordable price.\u003c/p>\n\u003cp>“I think the biggest thing on Xbox right now is Game Pass. Which is their version of Netflix for video games, effectively,” Plante says.\u003c/p>\n\u003cp>For around ten dollars a month, Xbox offers access to a constantly updated library of over 100 games, including big name franchises like \u003cem>Halo\u003c/em> and \u003cem>Gears of War.\u003c/em>\u003c/p>\n\u003cp>However, there aren’t many new games to play—something that might change as the generation wears on. Microsoft recently acquired Bethesda Softworks, makers of the \u003cem>Fallout\u003c/em> series. 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Which is basically a more sophisticated range of vibrations and sensations that you will feel in the palm of your hand. So for example, you can feel the pitter patter of rain drops.”\u003c/p>\n\u003cp>The system also features an impressive line-up of new games, including \u003cem>Spider-Man: Miles Morales\u003c/em> and a remake of \u003cem>Demon Souls\u003c/em>.\u003c/p>\n\u003cp>But Chris Plante reminds us that if you can’t get your hands on a new console, you’re not necessarily missing out just yet.\u003c/p>\n\u003cp>“I think the marketing machine of video games has broken our brains. There are great games coming out this fall, they’re gonna look amazing on the new consoles. But you can play them on your older console too.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The next generation of video game consoles is now here.\u003c/p>\n\u003cp>Both Microsoft’s Xbox Series X and Sony’s Playstation 5 hit stores this week—the newest chapter in an ongoing face-off between Microsoft and Sony.\u003c/p>\n\u003cp>At the start of the 21st century, Sony was in control of the video game market, with fans lining up in packed stores to buy the Playstation 2. But less than a year later, Microsoft would release its first ever video game console. The Xbox was big, ugly and powerful; the commercials advertised a new dimension to console gaming: An emphasis on online multi-player and connectivity.\u003c/p>\n\u003cp>None of this was enough to topple Sony’s reign at the time, but the Xbox did announce the arrival of a new competitor. And since then, the battle between Microsoft and Sony has been a hotly contested one.\u003c/p>\n\u003cp>This year, both corporate titans are releasing their new consoles at a strange time: during the COVID-19 pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Gaming has really reached a lot of new audiences,” says Carter Rogers, an analyst at Nielsen’s SuperData. He adds that despite all the economic insecurity brought on by the pandemic, video games are just as popular as ever, and are facing less competition from other entertainment, like movies and live sports. Earlier this year, the Nintendo Switch console saw hardware shortages as games like \u003cem data-stringify-type=\"italic\">Animal Crossing: New Horizons \u003c/em>posted record sales numbers.\u003c/p>\n\u003cp>“For the next few months at least, it’s mostly a question of how many devices can be shipped out. Demand certainly won’t be an issue in the near future,” Rogers says.\u003c/p>\n\u003cp>Chris Plante \u003ca href=\"https://www.polygon.com/reviews/21547603/xbox-series-x-review-microsoft-next-gen\" target=\"_blank\" rel=\"noopener noreferrer\">reviewed Microsoft’s new Xbox Series X for the website Polygon\u003c/a>. He says that during the last console generation, Microsoft went all in on the Xbox being an all-in-one entertainment device: “Infamously, during their big reveal event, they spent the majority of an hour talking about everything but video games.”\u003c/p>\n\u003cp>But Microsoft’s tune has now changed. Central to the plan this time around are lots of games, presented at an affordable price.\u003c/p>\n\u003cp>“I think the biggest thing on Xbox right now is Game Pass. Which is their version of Netflix for video games, effectively,” Plante says.\u003c/p>\n\u003cp>For around ten dollars a month, Xbox offers access to a constantly updated library of over 100 games, including big name franchises like \u003cem>Halo\u003c/em> and \u003cem>Gears of War.\u003c/em>\u003c/p>\n\u003cp>However, there aren’t many new games to play—something that might change as the generation wears on. Microsoft recently acquired Bethesda Softworks, makers of the \u003cem>Fallout\u003c/em> series. They also acquired \u003cem data-stringify-type=\"italic\">Double Fine Productions, \u003c/em>Tim Schafer’s iconic development studio.\u003c/p>\n\u003cp>“They are just gobbling up studios,” Plante says. “People who like games like \u003cem>Fallout\u003c/em> or \u003cem>Elder Scrolls\u003c/em>, those games will be part of Game Pass moving forward.”\u003c/p>\n\u003cp>So while Microsoft’s strategy might feel less ambitious this time around, Sony is turning some heads with the Playstation 5.\u003c/p>\n\u003cp>That starts with the look of the console itself—it has a mostly-white exterior and is one of the heaviest game consoles ever, making it the subject of many a meme.\u003c/p>\n\u003cp>“There have been some funny comparisons online,” says Elise Favis, who \u003ca href=\"https://www.washingtonpost.com/video-games/reviews/ps5-review/\" target=\"_blank\" rel=\"noopener noreferrer\">reviewed the new Playstation for the \u003cem>Washington Post\u003c/em>\u003c/a>. “I think my favorite is comparing it to a storm trooper.”\u003c/p>\n\u003cp>Favis calls the console a “sensory experience.” That experience starts with its innovative new controller. “It has haptic feedback. Which is basically a more sophisticated range of vibrations and sensations that you will feel in the palm of your hand. So for example, you can feel the pitter patter of rain drops.”\u003c/p>\n\u003cp>The system also features an impressive line-up of new games, including \u003cem>Spider-Man: Miles Morales\u003c/em> and a remake of \u003cem>Demon Souls\u003c/em>.\u003c/p>\n\u003cp>But Chris Plante reminds us that if you can’t get your hands on a new console, you’re not necessarily missing out just yet.\u003c/p>\n\u003cp>“I think the marketing machine of video games has broken our brains. There are great games coming out this fall, they’re gonna look amazing on the new consoles. But you can play them on your older console too.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 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=Playstation+5%2C+Xbox+Series+X+Bring+Sony-Microsoft+Rivalry+To+A+New+Generation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The poet\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7519773\" target=\"_blank\" rel=\"noopener noreferrer\"> W.H. Auden\u003c/a> once wrote:\u003c/p>\n\u003cblockquote>\u003cp>Private faces in public places\u003c/p>\n\u003cp>Are wiser and nicer\u003c/p>\n\u003cp>Than public faces in private places.\u003c/p>\u003c/blockquote>\n\u003cp>If any TV show bears that out, it’s surely \u003cem>The Crown\u003c/em>, the endlessly enticing Netflix drama about the reign of Queen Elizabeth II now entering its fourth season.\u003c/p>\n\u003cp>While \u003ca href=\"https://www.npr.org/2019/11/15/779686317/back-for-season-3-the-crown-may-just-be-the-most-delicious-series-on-tv\" target=\"_blank\" rel=\"noopener noreferrer\">Season 3\u003c/a> was good, it felt a bit glum, with its characters congealing into middle age as Britain sank into grayness in the ’60s and ’70s. One kept hoping for more glamour, more sizzle. These resoundingly arrive in the new season, which centers on the three biggest British icons of the past 50 years—all of whom happen to be female.\u003c/p>\n\u003cp>The action gets started around 1980 when the queen—now in her mid-50s and still played by Olivia Colman—greets the arrival of two women who threaten her preeminence. First comes \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/04/08/176586024/five-things-to-know-about-margaret-thatcher\" target=\"_blank\" rel=\"noopener noreferrer\">Margaret Thatcher\u003c/a>, the steely grocer’s daughter (played by \u003ca href=\"https://www.npr.org/2013/12/07/249240231/gillian-anderson-on-the-fall-and-getting-arrested-in-high-school\" target=\"_blank\" rel=\"noopener noreferrer\">Gillian Anderson\u003c/a>) whose sheer relentlessness made her not only Britain’s first female prime minister, but the most polarizing figure ever to occupy No. 10 Downing Street.\u003c/p>\n\u003cp>Shortly thereafter, Prince Charles—played superbly by Josh O’Connor—meets a fetching, well-born teenager named Diana Spencer, played in a star-making turn by Emma Corrin. Though Charles is in love with the married Camilla Parker Bowles, he’s under pressure to marry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With the scene thus set, the next few years unfold in a procession of events large and small: stag hunts and avalanches, dinner speeches and press leaks, mass unemployment and apartheid, royal tours of Australia and war in the Falklands. We see the emotional wreckage of Princess Margaret, played with wounded bitterness by Helena Bonham-Carter, and most famously, the “fairy-tale romance” between Charles and Diana.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OiXEpminPms\u003c/p>\n\u003cp>The show’s creator and main writer Peter Morgan has always cared as much about being entertaining as being historically serious, and this season is filled with juicy scenes. Yet beneath the glossy pleasures, it quietly lays out big themes and conflicts. At issue are wildly differing visions of Britain, of royalty, of womanhood and of power.\u003c/p>\n\u003cp>The queen’s central conflict is with Thatcher, whose almost self-parodic intransigence Anderson manages to humanize without softening. In often-funny scenes awash in hauteur and side-eye, the two take turns annoying and appalling one another.\u003c/p>\n\u003cp>Thatcher sees Her Majesty as a privileged idler who didn’t earn her lofty position and whose ideas of noblesse oblige are sentimental and out of touch. In return, the queen sees Thatcher as a joyless bully who views Britain not as a family but as an oversized shop, showing no compassion for the millions thrown out of work by her economic shock therapy. They’re both absolutely right.\u003c/p>\n\u003cp>The more sympathetic is, of course, the queen—unless you belong to her inner circle. When family members come desperately begging for help—Margaret needs purpose, Charles needs praise, Diana needs warmth—the well-meaning Elizabeth shuts down. Faced with disturbing emotion, Colman’s face lets us watch the queen’s soul escape into a psychological panic room hidden somewhere in her skull. From there, she’s only able to mutter bromides about duty and the monarchy that she herself finds oppressive.\u003c/p>\n\u003cp>But I know that what you really want to hear about is Diana. At first, I worried that she would be impossible to play. How could any actress bottle the particular magic that let her wow the world? In fact, Corrin is startlingly good at capturing the princess’ charismatic shimmer. Her Diana is silly and eager for attention—she adores playing to the public and basking in its affection. Yet this winsome young woman also exudes warmth, decency and fun.\u003c/p>\n\u003cp>Such virtues leave her sadly unprepared for the bulimia-inducing loneliness that devours her from the moment she gets engaged to Charles, who might be pitiable were he not so self-pitying. He passes the royal family’s lovelessness on to Diana, resenting her popularity and leaving her to fend for herself as he continues to carry on with Camilla. Their vaunted fairy-tale romance turns out to have been scripted not by Disney but by the Brothers Grimm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Every season of \u003cem>The Crown\u003c/em> seems to have a victim. Over the course of 10 episodes, the People’s Princess—as Tony Blair dubbed her—learns the hard lesson already learned by Prince Philip, Princess Margaret, Prince Charles, Princess Anne and many others during the show’s previous seasons. Nobody at Buckingham Palace cares whether you’re happy in private, only whether your public face helps assure the future of the crown.\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=Season+4+Of+%27The+Crown%27+Introduces+Princess+Diana+%E2%80%94+And+More+Juicy+Drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The poet\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7519773\" target=\"_blank\" rel=\"noopener noreferrer\"> W.H. Auden\u003c/a> once wrote:\u003c/p>\n\u003cblockquote>\u003cp>Private faces in public places\u003c/p>\n\u003cp>Are wiser and nicer\u003c/p>\n\u003cp>Than public faces in private places.\u003c/p>\u003c/blockquote>\n\u003cp>If any TV show bears that out, it’s surely \u003cem>The Crown\u003c/em>, the endlessly enticing Netflix drama about the reign of Queen Elizabeth II now entering its fourth season.\u003c/p>\n\u003cp>While \u003ca href=\"https://www.npr.org/2019/11/15/779686317/back-for-season-3-the-crown-may-just-be-the-most-delicious-series-on-tv\" target=\"_blank\" rel=\"noopener noreferrer\">Season 3\u003c/a> was good, it felt a bit glum, with its characters congealing into middle age as Britain sank into grayness in the ’60s and ’70s. One kept hoping for more glamour, more sizzle. These resoundingly arrive in the new season, which centers on the three biggest British icons of the past 50 years—all of whom happen to be female.\u003c/p>\n\u003cp>The action gets started around 1980 when the queen—now in her mid-50s and still played by Olivia Colman—greets the arrival of two women who threaten her preeminence. First comes \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/04/08/176586024/five-things-to-know-about-margaret-thatcher\" target=\"_blank\" rel=\"noopener noreferrer\">Margaret Thatcher\u003c/a>, the steely grocer’s daughter (played by \u003ca href=\"https://www.npr.org/2013/12/07/249240231/gillian-anderson-on-the-fall-and-getting-arrested-in-high-school\" target=\"_blank\" rel=\"noopener noreferrer\">Gillian Anderson\u003c/a>) whose sheer relentlessness made her not only Britain’s first female prime minister, but the most polarizing figure ever to occupy No. 10 Downing Street.\u003c/p>\n\u003cp>Shortly thereafter, Prince Charles—played superbly by Josh O’Connor—meets a fetching, well-born teenager named Diana Spencer, played in a star-making turn by Emma Corrin. Though Charles is in love with the married Camilla Parker Bowles, he’s under pressure to marry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With the scene thus set, the next few years unfold in a procession of events large and small: stag hunts and avalanches, dinner speeches and press leaks, mass unemployment and apartheid, royal tours of Australia and war in the Falklands. We see the emotional wreckage of Princess Margaret, played with wounded bitterness by Helena Bonham-Carter, and most famously, the “fairy-tale romance” between Charles and Diana.\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/OiXEpminPms'\n title='//www.youtube.com/embed/OiXEpminPms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show’s creator and main writer Peter Morgan has always cared as much about being entertaining as being historically serious, and this season is filled with juicy scenes. Yet beneath the glossy pleasures, it quietly lays out big themes and conflicts. At issue are wildly differing visions of Britain, of royalty, of womanhood and of power.\u003c/p>\n\u003cp>The queen’s central conflict is with Thatcher, whose almost self-parodic intransigence Anderson manages to humanize without softening. In often-funny scenes awash in hauteur and side-eye, the two take turns annoying and appalling one another.\u003c/p>\n\u003cp>Thatcher sees Her Majesty as a privileged idler who didn’t earn her lofty position and whose ideas of noblesse oblige are sentimental and out of touch. In return, the queen sees Thatcher as a joyless bully who views Britain not as a family but as an oversized shop, showing no compassion for the millions thrown out of work by her economic shock therapy. They’re both absolutely right.\u003c/p>\n\u003cp>The more sympathetic is, of course, the queen—unless you belong to her inner circle. When family members come desperately begging for help—Margaret needs purpose, Charles needs praise, Diana needs warmth—the well-meaning Elizabeth shuts down. Faced with disturbing emotion, Colman’s face lets us watch the queen’s soul escape into a psychological panic room hidden somewhere in her skull. From there, she’s only able to mutter bromides about duty and the monarchy that she herself finds oppressive.\u003c/p>\n\u003cp>But I know that what you really want to hear about is Diana. At first, I worried that she would be impossible to play. How could any actress bottle the particular magic that let her wow the world? In fact, Corrin is startlingly good at capturing the princess’ charismatic shimmer. Her Diana is silly and eager for attention—she adores playing to the public and basking in its affection. Yet this winsome young woman also exudes warmth, decency and fun.\u003c/p>\n\u003cp>Such virtues leave her sadly unprepared for the bulimia-inducing loneliness that devours her from the moment she gets engaged to Charles, who might be pitiable were he not so self-pitying. He passes the royal family’s lovelessness on to Diana, resenting her popularity and leaving her to fend for herself as he continues to carry on with Camilla. Their vaunted fairy-tale romance turns out to have been scripted not by Disney but by the Brothers Grimm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Every season of \u003cem>The Crown\u003c/em> seems to have a victim. Over the course of 10 episodes, the People’s Princess—as Tony Blair dubbed her—learns the hard lesson already learned by Prince Philip, Princess Margaret, Prince Charles, Princess Anne and many others during the show’s previous seasons. Nobody at Buckingham Palace cares whether you’re happy in private, only whether your public face helps assure the future of the crown.\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=Season+4+Of+%27The+Crown%27+Introduces+Princess+Diana+%E2%80%94+And+More+Juicy+Drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Wintering,' Katherine May Offers a Hopeful Look at Hibernating to Heal",
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"content": "\u003cp>As we head into what looks to be a cold, hard winter exacerbated by the coronovirus pandemic, British writer Katherine May offers some warming advice: Embrace your winter!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889082 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-10-at-12.30.10-PM-1.png\" alt=\"\" width=\"303\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-10-at-12.30.10-PM-1.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-10-at-12.30.10-PM-1-160x211.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">By winter, she means not just the cold season, but “a fallow period in life when you’re cut off from the world, feeling rejected, sidelined, blocked from progress, or cast into the role of an outsider.”\u003c/p>\n\u003cp>In \u003cem>Wintering, \u003c/em>May writes beautifully of her own recent bout with a personal winter, a period when she felt low and overwhelmed, out of sorts and “out of sync with everyday life.” She hit a storm of woes around the time of her 40th birthday. First, her husband’s infected appendix burst while awaiting surgery. When her own stomach pains escalated, she initially attributed it to a sympathetic reaction, or a case of nerves after giving notice as a university lecturer in order to write full time. But after months of waiting for tests with the National Health Service, she was diagnosed with Crohn’s disease. Then her 6-year-old refused to go to school, and, well-acquainted with the misery he was experiencing, she chose not to force him.\u003c/p>\n\u003cp>It wasn’t May’s first winter. “As one of the many girls of my age whose autism went undiagnosed, I spent a childhood permanently out in the cold,” she writes. She suffered a major depression at 17, but, finally diagnosed with Asperger’s syndrome, “I saw the chance to make myself new again.”\u003c/p>\n\u003cp>Because she’d been through it before, May knew what to do. She now says it’s her duty to share some strategies. Wintering, she says, is a way to get through tough times by chilling, hibernating, healing, re-grouping. “Doing these deeply unfashionable things—slowing down, letting your spare time expand, getting enough sleep, resting—is a radical act now, but it is essential,” she writes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>May, who lives by the sea in Whitstable, England, is the author of both fiction and nonfiction books that focus on dealing with stress. These include the novel \u003cem>Burning Out \u003c/em>(2009), the guidebook \u003cem>No-Stress Meditation \u003c/em>(2014), and a memoir about coming to terms with her Asperger’s diagnosis, \u003cem>The Electricity of Every Living Thing \u003c/em>(2018). With \u003cem>Wintering, \u003c/em>she has found a subject that speaks to our time.\u003c/p>\n\u003cp>\u003cem>Wintering\u003c/em> is refreshingly free of self-pitying navel-gazing and trite exhortations to buck up. In fact, May complains about a culture in which we are “endlessly cheerleading ourselves into positivity while erasing the dirty underside of real life…The subtext of these messages is clear: Misery is not an option.” Although she agrees that “Happiness is the greatest skill we’ll ever learn,” she insists that it’s also important to learn about sadness. What she calls wintering is “the active acceptance of sadness.”\u003c/p>\n\u003cp>Also refreshing, May embraces the cold and dark in part by exploring the soothing powers of the natural world and the way other creatures and cultures deal with winter. She bathes in the hot geothermal waters of the Blue Lagoon in frigid Reykjavik, Iceland. Closer to home, she visits Stonehenge and witnesses “a jumble of different spiritualities” as a motley crowd gathers to celebrate the winter equinox. She grills Finnish friends about the tradition of saunas, and recalls a trip to see the Northern lights in Tromso, Norway when she was pregnant with her son.\u003c/p>\n\u003cp>“In moments of helplessness, I always seem to travel north,” she writes. “I have a kind of boreal wanderlust, an urge toward the top of the world where the ice intrudes. In the cold, I find I can think straight; the air feels clean and uncluttered.”\u003c/p>\n\u003cp>May becomes convinced that “the cold has healing powers…After all, you apply ice to a joint after an awkward fall. Why not do the same to a life?” This leads her to take up ice swimming, a teeth-chattering but invigorating exercise. She and a swim buddy plunge daily into frigid water without wetsuits, gradually building up tolerance. “We let the cold unburden us of our own personal winters, just for a few moments,” May writes.\u003c/p>\n\u003cp>Other areas of exploration are less extreme. She looks into the preponderance of snow in fairy tales, and researches the history of wolves, so unjustly demonized and abused by humans. She considers the fascinating cold weather survival tactics of bees, which shed their wings to take turns heating the hive. At the Wildwood Trust in Kent, she cradles an amazingly soft, slightly squishy hibernating dormouse, one of just three native mammals that hibernate in the UK, along with bats and hedgehogs. She parses John Donne’s grief-stricken love poem, “A Nocturnal upon St. Lucy’s Day,” and “Wintering,” a poem by Sylvia Plath, who didn’t survive her winter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, she digs deep into the snowdrifts of her subject, searching for “liminal spaces to inhabit”—her favorite term for experiences that offer heightened awareness. \u003cem>Wintering\u003c/em> is a contemplative, hopeful, consoling book. “I recognized winter,” she writes. “I greeted it and let it in … Nature shows that survival is a practice.”\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+%27Wintering%2C%27+Katherine+May+Encourages+%27The+Active+Acceptance+Of+Sadness%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we head into what looks to be a cold, hard winter exacerbated by the coronovirus pandemic, British writer Katherine May offers some warming advice: Embrace your winter!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889082 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Screen-Shot-2020-11-10-at-12.30.10-PM-1.png\" alt=\"\" width=\"303\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-10-at-12.30.10-PM-1.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Screen-Shot-2020-11-10-at-12.30.10-PM-1-160x211.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">By winter, she means not just the cold season, but “a fallow period in life when you’re cut off from the world, feeling rejected, sidelined, blocked from progress, or cast into the role of an outsider.”\u003c/p>\n\u003cp>In \u003cem>Wintering, \u003c/em>May writes beautifully of her own recent bout with a personal winter, a period when she felt low and overwhelmed, out of sorts and “out of sync with everyday life.” She hit a storm of woes around the time of her 40th birthday. First, her husband’s infected appendix burst while awaiting surgery. When her own stomach pains escalated, she initially attributed it to a sympathetic reaction, or a case of nerves after giving notice as a university lecturer in order to write full time. But after months of waiting for tests with the National Health Service, she was diagnosed with Crohn’s disease. Then her 6-year-old refused to go to school, and, well-acquainted with the misery he was experiencing, she chose not to force him.\u003c/p>\n\u003cp>It wasn’t May’s first winter. “As one of the many girls of my age whose autism went undiagnosed, I spent a childhood permanently out in the cold,” she writes. She suffered a major depression at 17, but, finally diagnosed with Asperger’s syndrome, “I saw the chance to make myself new again.”\u003c/p>\n\u003cp>Because she’d been through it before, May knew what to do. She now says it’s her duty to share some strategies. Wintering, she says, is a way to get through tough times by chilling, hibernating, healing, re-grouping. “Doing these deeply unfashionable things—slowing down, letting your spare time expand, getting enough sleep, resting—is a radical act now, but it is essential,” she writes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>May, who lives by the sea in Whitstable, England, is the author of both fiction and nonfiction books that focus on dealing with stress. These include the novel \u003cem>Burning Out \u003c/em>(2009), the guidebook \u003cem>No-Stress Meditation \u003c/em>(2014), and a memoir about coming to terms with her Asperger’s diagnosis, \u003cem>The Electricity of Every Living Thing \u003c/em>(2018). With \u003cem>Wintering, \u003c/em>she has found a subject that speaks to our time.\u003c/p>\n\u003cp>\u003cem>Wintering\u003c/em> is refreshingly free of self-pitying navel-gazing and trite exhortations to buck up. In fact, May complains about a culture in which we are “endlessly cheerleading ourselves into positivity while erasing the dirty underside of real life…The subtext of these messages is clear: Misery is not an option.” Although she agrees that “Happiness is the greatest skill we’ll ever learn,” she insists that it’s also important to learn about sadness. What she calls wintering is “the active acceptance of sadness.”\u003c/p>\n\u003cp>Also refreshing, May embraces the cold and dark in part by exploring the soothing powers of the natural world and the way other creatures and cultures deal with winter. She bathes in the hot geothermal waters of the Blue Lagoon in frigid Reykjavik, Iceland. Closer to home, she visits Stonehenge and witnesses “a jumble of different spiritualities” as a motley crowd gathers to celebrate the winter equinox. She grills Finnish friends about the tradition of saunas, and recalls a trip to see the Northern lights in Tromso, Norway when she was pregnant with her son.\u003c/p>\n\u003cp>“In moments of helplessness, I always seem to travel north,” she writes. “I have a kind of boreal wanderlust, an urge toward the top of the world where the ice intrudes. In the cold, I find I can think straight; the air feels clean and uncluttered.”\u003c/p>\n\u003cp>May becomes convinced that “the cold has healing powers…After all, you apply ice to a joint after an awkward fall. Why not do the same to a life?” This leads her to take up ice swimming, a teeth-chattering but invigorating exercise. She and a swim buddy plunge daily into frigid water without wetsuits, gradually building up tolerance. “We let the cold unburden us of our own personal winters, just for a few moments,” May writes.\u003c/p>\n\u003cp>Other areas of exploration are less extreme. She looks into the preponderance of snow in fairy tales, and researches the history of wolves, so unjustly demonized and abused by humans. She considers the fascinating cold weather survival tactics of bees, which shed their wings to take turns heating the hive. At the Wildwood Trust in Kent, she cradles an amazingly soft, slightly squishy hibernating dormouse, one of just three native mammals that hibernate in the UK, along with bats and hedgehogs. She parses John Donne’s grief-stricken love poem, “A Nocturnal upon St. Lucy’s Day,” and “Wintering,” a poem by Sylvia Plath, who didn’t survive her winter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, she digs deep into the snowdrifts of her subject, searching for “liminal spaces to inhabit”—her favorite term for experiences that offer heightened awareness. \u003cem>Wintering\u003c/em> is a contemplative, hopeful, consoling book. “I recognized winter,” she writes. “I greeted it and let it in … Nature shows that survival is a practice.”\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+%27Wintering%2C%27+Katherine+May+Encourages+%27The+Active+Acceptance+Of+Sadness%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\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.",
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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"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",
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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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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"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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"order": 1
},
"link": "/podcasts/closealltabs",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
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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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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "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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"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",
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}
},
"morning-edition": {
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