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"content": "\u003cp>Australian-born singer Helen Reddy, whose hit “I Am Woman” became a feminist anthem in the 1970’s, died in Los Angeles on Tuesday afternoon. She was 78 years old.\u003c/p>\n\u003cp>Her death was announced on \u003ca href=\"https://www.facebook.com/HelenReddyOfficialFB/posts/3292356927479945\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> by her children, Traci Donat and Jordan Sommers. Reddy had dementia for several years before her death.\u003c/p>\n\u003cp>“I Am Woman” was by far Reddy’s most famous song. But in the wake of its success, she released several more hits, including “Delta Dawn,” “Angie Baby,” “Leave Me Alone (Ruby Red Dress)” and “Ain’t No Way to Treat a Lady.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rptW7zOPX2E\u003c/p>\n\u003cp>Reddy was born into a show business family in Melbourne, Australia in 1941, and began performing while she was still a child. When she was 24 and a single mother, she won a talent contest on Australian TV; the prize was a trip to New York and the chance to audition for a recording contract with Mercury Records. She didn’t get it, but she stayed in the U.S. and set out to make a pop career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1968, she met her future husband and manager, Jeff Wald, who was handling such acts as Tiny Tim, Deep Purple and The Turtles. They eventually persuaded Capitol Records to let her record one single. The intended A-side flopped, but the B-side—a cover of “I Don’t Know How to Love Him” from the musical \u003cem>Jesus Christ Superstar\u003c/em>—made it to No. 13 on the Billboard charts in June 1971.\u003c/p>\n\u003cp>Her biggest success came a year later: the \u003ca href=\"https://www.npr.org/2018/10/24/651795560/i-am-woman-helen-reddy-american-anthem-hear-them-roar\" target=\"_blank\" rel=\"noopener noreferrer\">anthemic “I Am Woman,”\u003c/a> which resonated with audiences worldwide in the midst of the women’s liberation movement in the U.S. It became a smash the same year that the Equal Rights Amendment passed the Senate and when Shirley Chisholm ran for president. The Supreme Court decided \u003cem>Roe v. Wade \u003c/em>just a month after “I Am Woman” reached No. 1.\u003c/p>\n\u003cp>In a 2014 interview with \u003ca href=\"https://www.youtube.com/watch?v=hsFpAOObTl0\" target=\"_blank\" rel=\"noopener noreferrer\">Houston Public Media\u003c/a>, Reddy explained that the phrase “I am woman” came to her and just wouldn’t leave. “Over and over,” she recalled, “‘I am strong, I am invincible, I am woman.’ And I thought, well, this has to be a song.”\u003c/p>\n\u003cp>She wrote the lyrics, songwriter Ray Burton penned the music, and Jeff Wald talked Capitol into letting her release it. In an NPR interview about “I Am Woman,” Wald said that a label executive \u003ca href=\"https://www.npr.org/2018/10/24/651795560/i-am-woman-helen-reddy-american-anthem-hear-them-roar\" target=\"_blank\" rel=\"noopener noreferrer\">dismissed\u003c/a> the whole enterprise.\u003c/p>\n\u003cp>“‘That women’s lib crap is gonna kill her,’ ” Wald recalled the label as saying. “‘Why are you letting your wife do this stuff?'”\u003c/p>\n\u003cp>Still, they persevered. Wald himself took the song to a small radio station on the outskirts of Washington, D.C., knowing that the area was filled with women working pink-collar jobs. And “I Am Woman” struck a chord with those listeners. The station was soon inundated with requests to hear it again.\u003c/p>\n\u003cp>Slowly—with Wald promoting the song market by market—the song became a hit. By Dec. 1972, it was \u003ca href=\"https://www.billboard.com/music/helen-reddy/chart-history/HSI/song/579048\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1\u003c/a> on the Billboard charts, and Reddy took home a \u003ca href=\"https://www.grammy.com/grammys/artists/helen-reddy/5831\" target=\"_blank\" rel=\"noopener noreferrer\">Grammy\u003c/a>. At the awards ceremony, Reddy thanked God, saying: “Because \u003cem>She\u003c/em> makes everything possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HWkk9rKZyZU\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+Am+Woman%27+Singer+Helen+Reddy+Is+Dead%2C+Aged+78&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>In 1968, she met her future husband and manager, Jeff Wald, who was handling such acts as Tiny Tim, Deep Purple and The Turtles. They eventually persuaded Capitol Records to let her record one single. The intended A-side flopped, but the B-side—a cover of “I Don’t Know How to Love Him” from the musical \u003cem>Jesus Christ Superstar\u003c/em>—made it to No. 13 on the Billboard charts in June 1971.\u003c/p>\n\u003cp>Her biggest success came a year later: the \u003ca href=\"https://www.npr.org/2018/10/24/651795560/i-am-woman-helen-reddy-american-anthem-hear-them-roar\" target=\"_blank\" rel=\"noopener noreferrer\">anthemic “I Am Woman,”\u003c/a> which resonated with audiences worldwide in the midst of the women’s liberation movement in the U.S. It became a smash the same year that the Equal Rights Amendment passed the Senate and when Shirley Chisholm ran for president. The Supreme Court decided \u003cem>Roe v. Wade \u003c/em>just a month after “I Am Woman” reached No. 1.\u003c/p>\n\u003cp>In a 2014 interview with \u003ca href=\"https://www.youtube.com/watch?v=hsFpAOObTl0\" target=\"_blank\" rel=\"noopener noreferrer\">Houston Public Media\u003c/a>, Reddy explained that the phrase “I am woman” came to her and just wouldn’t leave. “Over and over,” she recalled, “‘I am strong, I am invincible, I am woman.’ And I thought, well, this has to be a song.”\u003c/p>\n\u003cp>She wrote the lyrics, songwriter Ray Burton penned the music, and Jeff Wald talked Capitol into letting her release it. In an NPR interview about “I Am Woman,” Wald said that a label executive \u003ca href=\"https://www.npr.org/2018/10/24/651795560/i-am-woman-helen-reddy-american-anthem-hear-them-roar\" target=\"_blank\" rel=\"noopener noreferrer\">dismissed\u003c/a> the whole enterprise.\u003c/p>\n\u003cp>“‘That women’s lib crap is gonna kill her,’ ” Wald recalled the label as saying. “‘Why are you letting your wife do this stuff?'”\u003c/p>\n\u003cp>Still, they persevered. Wald himself took the song to a small radio station on the outskirts of Washington, D.C., knowing that the area was filled with women working pink-collar jobs. And “I Am Woman” struck a chord with those listeners. The station was soon inundated with requests to hear it again.\u003c/p>\n\u003cp>Slowly—with Wald promoting the song market by market—the song became a hit. By Dec. 1972, it was \u003ca href=\"https://www.billboard.com/music/helen-reddy/chart-history/HSI/song/579048\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1\u003c/a> on the Billboard charts, and Reddy took home a \u003ca href=\"https://www.grammy.com/grammys/artists/helen-reddy/5831\" target=\"_blank\" rel=\"noopener noreferrer\">Grammy\u003c/a>. At the awards ceremony, Reddy thanked God, saying: “Because \u003cem>She\u003c/em> makes everything possible.”\u003c/p>\n\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/HWkk9rKZyZU'\n title='//www.youtube.com/embed/HWkk9rKZyZU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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+Am+Woman%27+Singer+Helen+Reddy+Is+Dead%2C+Aged+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘The Boys in the Band’: Raging Gracefully | KQED",
"content": "\u003cp>Inspired, at least in part, by critic Stanley Kauffman’s challenge to gay playwrights to ditch all the hinting and coding and veiled metaphor so as to honestly and openly depict the lives of homosexuals in their work, Mart Crowley’s \u003cem>The Boys in the Band \u003c/em>debuted off-Broadway in 1968.\u003c/p>\n\u003cp>The structure was simple and not, to any regular theatergoer, unfamiliar: Over the course of an evening, characters gather, get drunk and turn on one another. Things get said that cannot be unsaid. Secrets are revealed. Curtain, house lights up.\u003c/p>\n\u003cp>The difference, of course, was that 1. It was a group of gay men doing all that gathering and drinking and lashing out, and 2. The lives of gay men in 1968 being what they were, most of the lashing taking place on stage turned out to be self-flagellation. These characters were caustically funny, yes, but they were also wracked with guilt and shame and self-hatred.\u003c/p>\n\u003cp>The play was a hit, and was made into a stagey movie directed by William Friedkin in 1970. The movie was not a hit.\u003c/p>\n\u003cp>There were many reasons for that, but surely one of them must have been what happened in the year that fell \u003cem>between \u003c/em>the debut of the play and the premiere of the movie: the 1969 Stonewall riots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mood had changed. To many theatergoers in 1968, schlepping into the city from Scarsdale or Ronkonkoma to take in “the homosexual play” must have seemed like a way to dip a toe into the bohemian counterculture that \u003cem>Life \u003c/em>magazine was always going on about. After the Stonewall uprising, however, the queer community was flush with a sense of righteous anger and defiance. Suddenly, Crowley’s gaggle of inward-turning, neurotic, self-loathing yet exceedingly comfortable (mostly) white men no longer seemed like a bold statement. They felt like broad caricatures from the darkest, most self-conscious corner of the closet.\u003c/p>\n\u003cp>But Crowley’s decision to center a play on the lives of gay men in 1968 \u003cem>was \u003c/em>important, and remains so, in terms of media representation of marginalized groups. Depictions of queers in entertainment have generally followed the same slow, steady series of steps, over time, that depictions of women and people of color have:\u003c/p>\n\u003cp>First, we’re the villain—the enemy that the (white, straight, male) hero must vanquish, to re-establish the status quo.\u003c/p>\n\u003cp>Next, we’re the victim—the poor pitiable soul that the (white, straight, male) hero must selflessly defend (or, all too often, avenge) to establish his virtue.\u003c/p>\n\u003cp>Then, we’re the ally—the sidekick, the sassy friend who fires off a snappy line to encourage the hero to chase his dream.\u003c/p>\n\u003cp>Finally, if we’re lucky, after years of struggle, we get to be our own hero, telling our own stories.\u003c/p>\n\u003cp>\u003cem>The Boys in the Band\u003c/em> jumped the line. Crowley placed his gay men at the center of the stage, at the center of their own stories, and did so with an honesty that wasn’t interested in defensiveness, apology or self- justification. That’s because, crucially, the lens through which audiences saw the play’s action didn’t belong to the straight world, and made no concessions to it. The play barely even acknowledged the straight world, at least not in a manner that had characters railing against oppressive homophobia. But then, it didn’t need to, as Crowley’s point is that his characters have so internalized the cultural revulsion for homosexuality that they’ve become their own villains, victims and, only grudgingly, allies.\u003c/p>\n\u003cp>Over the years, both the play and the film have had their vocal defenders, but for a long time, many in the queer community held them in low esteem. Queer theater and queer cinema, which grew defiant in the years after Stonewall, took on a new sense of urgency and rage as AIDS ravaged the community. In the face of the epidemic, Crowley’s comfortable, cashmere queens trading their tired barbs seemed wildly inessential, even campy, and glib lines like “Show me a happy homosexual and I’ll show you a gay corpse” took on a new patina of tastelessness.\u003c/p>\n\u003cp>The film version of \u003cem>The Boys in the Band\u003c/em> that debuts today on Netflix is an adaptation of the brief, widely praised all-star, all-queer 2018 Broadway run that marked its 50th anniversary. I say adaptation; it’s more a cut-and-paste, as the entire Broadway cast remains intact, reprising their respective roles, along with director Joe Mantello. Attempts have been made to flesh out the play around its edges—the film begins with a montage of the various characters going about their day before heading to the birthday party. But \u003cem>The Boys in the Band \u003c/em>remains a stand-and-deliver endeavor in which characters are as apt to launch into monologues as they are to hold a conversation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=862Pb9oDDAo\u003c/p>\n\u003cp>The staginess is ameliorated somewhat by the film’s actors—who, more so than the 1970 film’s cast managed to do, calibrate their performances for the intimacy of the camera, instead of the back of the house. There’s an unforced quality to, say, Tuc Watkins’ portrayal of a buttoned-up, “straight-acting” man in the process of divorcing his wife in favor of Larry (Andrew Rannells), a louche free spirit who at one point delivers a monograph against monogamy.\u003c/p>\n\u003cp>But that slightly reined-in quality doesn’t serve everyone well: The disquietingly symmetrical Matt Bomer’s Donald—who is, on paper, an angst-ridden, neurotic mess—comes off as a calm, blandly handsome cipher, and his early expressions of nervousness ring false, as if he’s performatively voicing self-deprecation in an effort to endear himself to others. (A hottie made for the age of Twitter!)\u003c/p>\n\u003cp>The best thing about the play and film, structurally, is its central bait-and-switch: The birthday party in question is being thrown for Harold (Zachary Quinto) who doesn’t show up until the act break, allowing the other characters to talk up how nasty and vindictive he is before he arrives. But of course, it’s birthday-party-thrower Michael (Jim Parsons), our ostensibly sympathetic central character, who turns out to be the real bomb-thrower, as he descends into drunken, vituperative hostility. Quinto hangs at the play’s periphery, but puts an Eartha Kitt spin on his delivery, making his every line of dialogue describe a graceful, filigreed arc through the air of Michael’s cluttered West Village apartment. Parsons excavates the despair at the core of Michael’s wry persona, and he does drunk great (they don’t give Oscars for drunk-walking, but if they did, he’d walk away with one, overcorrecting for every tiny stumble along the way.)\u003c/p>\n\u003cp>Those are the big-name actors, but it’s the performers who get fewer lines—Robin de Jesús and Michael Benjamin Washington—who make the biggest impressions, late in the play when alcohol combines with a wildly ill-considered party game that leaves their characters emotionally wounded.\u003c/p>\n\u003cp>The heaviest lift, performance-wise, is shouldered by Brian Hutchinson, as Michael’s visiting, putatively heterosexual old college roommate. The character is thinly drawn—he’s just there to drive the plot—and his actions aren’t clearly motivated (never mind his assaulting of de Jesús’ character, \u003cem>why in Judy’s name doesn’t the guy just leave?\u003c/em>) but Hutchinson gamely attempts to connect the script’s disparate dots; he mostly succeeds.\u003c/p>\n\u003cp>What’s striking is how this play is likely to land, in 2020, with viewers who aren’t already familiar with it. Because it is likely to seem to them… oddly familiar.\u003c/p>\n\u003cp>The rhythms of Crowley’s dialogue, the archness of these bitchy one-liners, even the play’s central “the worst homophobes are secretly gay” narrative backbone—in the years since the play debuted, they’ve been taken up by hundreds, even thousands of other plays, films and television shows. To say that watching \u003cem>The Boys in the Band\u003c/em> today feels like uncovering a lost, extended, Very Special Episode of \u003cem>Will and Grace\u003c/em>—complete with celebrity stunt casting!—is not to denigrate Crowley’s play, but to address how much of its DNA has found its way into so many disparate aspects of culture.\u003c/p>\n\u003cp>Yes, his characters are types, who tend to announce the contours of their personalities immediately upon making their entrance. And yes, they go at each other with a kind of playful vindictiveness. And none of it will seem particularly groundbreaking or new to anyone who’s caught even a few minutes of \u003cem>RuPaul’s Drag Race:\u003c/em> \u003cem>Untucked\u003c/em>.\u003c/p>\n\u003cp>With greater queer representation comes a growing impatience with depictions of queer life that are too idealized, too scrubbed, too self-consciously styled to present us as role models or paragons, because to do so is to reduce us, to strip away our complexity and our humanity. It’s also to value the perceptions of an imagined straight audience over our authentic lives.\u003c/p>\n\u003cp>Crowley didn’t create the self-lacerating queens of \u003cem>The Boys in the Band\u003c/em> to reflect our \u003cem>best \u003c/em>selves, but to capture and display something essential about our \u003cem>true \u003c/em>selves, at a time when most gay men were still hiding theirs away. What he found was not, and is not, pretty (Bomer conspicuously excepted). But today, after generations of queer media depictions that have ranged from the strident and graphic defiance of New Queer Cinema to the schticky, thinly coded setups-and-punchlines of \u003cem>The Golden Girls,\u003c/em> the impression the now-52-year-old \u003cem>The Boys in the Band\u003c/em> leaves with you is no longer that of hopelessness and self-loathing. It’s been around too long. Whatever unique power it once possessed to speak to its cultural moment has faded with that moment, and the caustic nature of its characters has been softened by time, and by its many imitators.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Netflix film is content to let Crowley’s play remain a perfectly preserved artifact from a bad time, without struggling to impose contemporary parallels or meta-meanings atop it. And that’s the right impulse. Because it so ruthlessly targets the least flattering aspects of gay men’s inner lives, it doesn’t need to be topical. But it will always be relevant.\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=%27The+Boys+In+The+Band%27%3A+Raging+Gracefully+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspired, at least in part, by critic Stanley Kauffman’s challenge to gay playwrights to ditch all the hinting and coding and veiled metaphor so as to honestly and openly depict the lives of homosexuals in their work, Mart Crowley’s \u003cem>The Boys in the Band \u003c/em>debuted off-Broadway in 1968.\u003c/p>\n\u003cp>The structure was simple and not, to any regular theatergoer, unfamiliar: Over the course of an evening, characters gather, get drunk and turn on one another. Things get said that cannot be unsaid. Secrets are revealed. Curtain, house lights up.\u003c/p>\n\u003cp>The difference, of course, was that 1. It was a group of gay men doing all that gathering and drinking and lashing out, and 2. The lives of gay men in 1968 being what they were, most of the lashing taking place on stage turned out to be self-flagellation. These characters were caustically funny, yes, but they were also wracked with guilt and shame and self-hatred.\u003c/p>\n\u003cp>The play was a hit, and was made into a stagey movie directed by William Friedkin in 1970. The movie was not a hit.\u003c/p>\n\u003cp>There were many reasons for that, but surely one of them must have been what happened in the year that fell \u003cem>between \u003c/em>the debut of the play and the premiere of the movie: the 1969 Stonewall riots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mood had changed. To many theatergoers in 1968, schlepping into the city from Scarsdale or Ronkonkoma to take in “the homosexual play” must have seemed like a way to dip a toe into the bohemian counterculture that \u003cem>Life \u003c/em>magazine was always going on about. After the Stonewall uprising, however, the queer community was flush with a sense of righteous anger and defiance. Suddenly, Crowley’s gaggle of inward-turning, neurotic, self-loathing yet exceedingly comfortable (mostly) white men no longer seemed like a bold statement. They felt like broad caricatures from the darkest, most self-conscious corner of the closet.\u003c/p>\n\u003cp>But Crowley’s decision to center a play on the lives of gay men in 1968 \u003cem>was \u003c/em>important, and remains so, in terms of media representation of marginalized groups. Depictions of queers in entertainment have generally followed the same slow, steady series of steps, over time, that depictions of women and people of color have:\u003c/p>\n\u003cp>First, we’re the villain—the enemy that the (white, straight, male) hero must vanquish, to re-establish the status quo.\u003c/p>\n\u003cp>Next, we’re the victim—the poor pitiable soul that the (white, straight, male) hero must selflessly defend (or, all too often, avenge) to establish his virtue.\u003c/p>\n\u003cp>Then, we’re the ally—the sidekick, the sassy friend who fires off a snappy line to encourage the hero to chase his dream.\u003c/p>\n\u003cp>Finally, if we’re lucky, after years of struggle, we get to be our own hero, telling our own stories.\u003c/p>\n\u003cp>\u003cem>The Boys in the Band\u003c/em> jumped the line. Crowley placed his gay men at the center of the stage, at the center of their own stories, and did so with an honesty that wasn’t interested in defensiveness, apology or self- justification. That’s because, crucially, the lens through which audiences saw the play’s action didn’t belong to the straight world, and made no concessions to it. The play barely even acknowledged the straight world, at least not in a manner that had characters railing against oppressive homophobia. But then, it didn’t need to, as Crowley’s point is that his characters have so internalized the cultural revulsion for homosexuality that they’ve become their own villains, victims and, only grudgingly, allies.\u003c/p>\n\u003cp>Over the years, both the play and the film have had their vocal defenders, but for a long time, many in the queer community held them in low esteem. Queer theater and queer cinema, which grew defiant in the years after Stonewall, took on a new sense of urgency and rage as AIDS ravaged the community. In the face of the epidemic, Crowley’s comfortable, cashmere queens trading their tired barbs seemed wildly inessential, even campy, and glib lines like “Show me a happy homosexual and I’ll show you a gay corpse” took on a new patina of tastelessness.\u003c/p>\n\u003cp>The film version of \u003cem>The Boys in the Band\u003c/em> that debuts today on Netflix is an adaptation of the brief, widely praised all-star, all-queer 2018 Broadway run that marked its 50th anniversary. I say adaptation; it’s more a cut-and-paste, as the entire Broadway cast remains intact, reprising their respective roles, along with director Joe Mantello. Attempts have been made to flesh out the play around its edges—the film begins with a montage of the various characters going about their day before heading to the birthday party. But \u003cem>The Boys in the Band \u003c/em>remains a stand-and-deliver endeavor in which characters are as apt to launch into monologues as they are to hold a conversation.\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/862Pb9oDDAo'\n title='//www.youtube.com/embed/862Pb9oDDAo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The staginess is ameliorated somewhat by the film’s actors—who, more so than the 1970 film’s cast managed to do, calibrate their performances for the intimacy of the camera, instead of the back of the house. There’s an unforced quality to, say, Tuc Watkins’ portrayal of a buttoned-up, “straight-acting” man in the process of divorcing his wife in favor of Larry (Andrew Rannells), a louche free spirit who at one point delivers a monograph against monogamy.\u003c/p>\n\u003cp>But that slightly reined-in quality doesn’t serve everyone well: The disquietingly symmetrical Matt Bomer’s Donald—who is, on paper, an angst-ridden, neurotic mess—comes off as a calm, blandly handsome cipher, and his early expressions of nervousness ring false, as if he’s performatively voicing self-deprecation in an effort to endear himself to others. (A hottie made for the age of Twitter!)\u003c/p>\n\u003cp>The best thing about the play and film, structurally, is its central bait-and-switch: The birthday party in question is being thrown for Harold (Zachary Quinto) who doesn’t show up until the act break, allowing the other characters to talk up how nasty and vindictive he is before he arrives. But of course, it’s birthday-party-thrower Michael (Jim Parsons), our ostensibly sympathetic central character, who turns out to be the real bomb-thrower, as he descends into drunken, vituperative hostility. Quinto hangs at the play’s periphery, but puts an Eartha Kitt spin on his delivery, making his every line of dialogue describe a graceful, filigreed arc through the air of Michael’s cluttered West Village apartment. Parsons excavates the despair at the core of Michael’s wry persona, and he does drunk great (they don’t give Oscars for drunk-walking, but if they did, he’d walk away with one, overcorrecting for every tiny stumble along the way.)\u003c/p>\n\u003cp>Those are the big-name actors, but it’s the performers who get fewer lines—Robin de Jesús and Michael Benjamin Washington—who make the biggest impressions, late in the play when alcohol combines with a wildly ill-considered party game that leaves their characters emotionally wounded.\u003c/p>\n\u003cp>The heaviest lift, performance-wise, is shouldered by Brian Hutchinson, as Michael’s visiting, putatively heterosexual old college roommate. The character is thinly drawn—he’s just there to drive the plot—and his actions aren’t clearly motivated (never mind his assaulting of de Jesús’ character, \u003cem>why in Judy’s name doesn’t the guy just leave?\u003c/em>) but Hutchinson gamely attempts to connect the script’s disparate dots; he mostly succeeds.\u003c/p>\n\u003cp>What’s striking is how this play is likely to land, in 2020, with viewers who aren’t already familiar with it. Because it is likely to seem to them… oddly familiar.\u003c/p>\n\u003cp>The rhythms of Crowley’s dialogue, the archness of these bitchy one-liners, even the play’s central “the worst homophobes are secretly gay” narrative backbone—in the years since the play debuted, they’ve been taken up by hundreds, even thousands of other plays, films and television shows. To say that watching \u003cem>The Boys in the Band\u003c/em> today feels like uncovering a lost, extended, Very Special Episode of \u003cem>Will and Grace\u003c/em>—complete with celebrity stunt casting!—is not to denigrate Crowley’s play, but to address how much of its DNA has found its way into so many disparate aspects of culture.\u003c/p>\n\u003cp>Yes, his characters are types, who tend to announce the contours of their personalities immediately upon making their entrance. And yes, they go at each other with a kind of playful vindictiveness. And none of it will seem particularly groundbreaking or new to anyone who’s caught even a few minutes of \u003cem>RuPaul’s Drag Race:\u003c/em> \u003cem>Untucked\u003c/em>.\u003c/p>\n\u003cp>With greater queer representation comes a growing impatience with depictions of queer life that are too idealized, too scrubbed, too self-consciously styled to present us as role models or paragons, because to do so is to reduce us, to strip away our complexity and our humanity. It’s also to value the perceptions of an imagined straight audience over our authentic lives.\u003c/p>\n\u003cp>Crowley didn’t create the self-lacerating queens of \u003cem>The Boys in the Band\u003c/em> to reflect our \u003cem>best \u003c/em>selves, but to capture and display something essential about our \u003cem>true \u003c/em>selves, at a time when most gay men were still hiding theirs away. What he found was not, and is not, pretty (Bomer conspicuously excepted). But today, after generations of queer media depictions that have ranged from the strident and graphic defiance of New Queer Cinema to the schticky, thinly coded setups-and-punchlines of \u003cem>The Golden Girls,\u003c/em> the impression the now-52-year-old \u003cem>The Boys in the Band\u003c/em> leaves with you is no longer that of hopelessness and self-loathing. It’s been around too long. Whatever unique power it once possessed to speak to its cultural moment has faded with that moment, and the caustic nature of its characters has been softened by time, and by its many imitators.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Netflix film is content to let Crowley’s play remain a perfectly preserved artifact from a bad time, without struggling to impose contemporary parallels or meta-meanings atop it. And that’s the right impulse. Because it so ruthlessly targets the least flattering aspects of gay men’s inner lives, it doesn’t need to be topical. But it will always be relevant.\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=%27The+Boys+In+The+Band%27%3A+Raging+Gracefully+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sir David Attenborough Reaches 1M Instagram Followers in Hours, Breaking World Record",
"headTitle": "Sir David Attenborough Reaches 1M Instagram Followers in Hours, Breaking World Record | KQED",
"content": "\u003cp>Naturalist and broadcaster Sir David Attenborough, 94, broke the world record on Thursday for the fastest time to reach one million followers on Instagram, according to \u003ca href=\"https://www.guinnessworldrecords.com/news/2020/9/sir-david-attenborough-breaks-instagram-record-for-fastest-time-to-reach-one-mill-632391\" target=\"_blank\" rel=\"noopener noreferrer\">Guinness World Records\u003c/a>.\u003c/p>\n\u003cp>Attenborough did it in \u003ca href=\"https://www.guinnessworldrecords.com/world-records/397211-most-instagram-subscribers-in-24-hours\" target=\"_blank\" rel=\"noopener noreferrer\">four hours and 44 minutes\u003c/a>.\u003c/p>\n\u003cp>He beat out the previous record holder, actress Jennifer Aniston, who reached the benchmark in five hours and 16 minutes after joining last October. Attenborough’s first post was a short video, little over a minute long.\u003c/p>\n\u003cp>“I’ve been appearing on radio and television for the past 60 years,” he began. “But this is my first time on Instagram.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CFg3LHIHGug/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Attenborough stated the reason he decided to join Instagram simply: “The world is in trouble.”\u003c/p>\n\u003cp>“Continents are on fire, glaciers are melting, coral reefs are dying, fish are disappearing from our oceans. The list goes on and on,” he said. “But we know what to do about it, and that’s why I’m tackling this new way of communication.”\u003c/p>\n\u003cp>Attenborough is no newcomer to Guinness World Records—he already holds two, for the \u003ca href=\"https://www.guinnessworldrecords.com/world-records/66907-most-durable-tv-presenter\" target=\"_blank\" rel=\"noopener noreferrer\">longest career as a TV presenter\u003c/a> and the \u003ca href=\"https://www.guinnessworldrecords.com/world-records/longest-career-as-a-television-naturalist\" target=\"_blank\" rel=\"noopener noreferrer\">longest career as a television naturalist\u003c/a>. \u003cem>Planet Earth\u003c/em>, one of Attenborough’s popular projects, holds the record for \u003ca href=\"https://www.guinnessworldrecords.com/world-records/566468-most-in-demand-documentary-tv-show\" target=\"_blank\" rel=\"noopener noreferrer\">most in-demand documentary TV show\u003c/a>.\u003c/p>\n\u003cp>His career spans almost seven decades and his latest documentary project, \u003ca href=\"https://www.netflix.com/title/80216393\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>David Attenborough: A Life on Our Planet\u003c/em>\u003c/a>, will appear on Netflix in October.\u003c/p>\n\u003cp>He closed out his first-ever Instagram post the same way he might have finished an early radio broadcast:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stay tuned.”\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=Sir+David+Attenborough+Reaches+1M+Instagram+Followers+In+Hours%2C+Breaking+World+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Naturalist and broadcaster Sir David Attenborough, 94, broke the world record on Thursday for the fastest time to reach one million followers on Instagram, according to \u003ca href=\"https://www.guinnessworldrecords.com/news/2020/9/sir-david-attenborough-breaks-instagram-record-for-fastest-time-to-reach-one-mill-632391\" target=\"_blank\" rel=\"noopener noreferrer\">Guinness World Records\u003c/a>.\u003c/p>\n\u003cp>Attenborough did it in \u003ca href=\"https://www.guinnessworldrecords.com/world-records/397211-most-instagram-subscribers-in-24-hours\" target=\"_blank\" rel=\"noopener noreferrer\">four hours and 44 minutes\u003c/a>.\u003c/p>\n\u003cp>He beat out the previous record holder, actress Jennifer Aniston, who reached the benchmark in five hours and 16 minutes after joining last October. Attenborough’s first post was a short video, little over a minute long.\u003c/p>\n\u003cp>“I’ve been appearing on radio and television for the past 60 years,” he began. “But this is my first time on Instagram.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Attenborough stated the reason he decided to join Instagram simply: “The world is in trouble.”\u003c/p>\n\u003cp>“Continents are on fire, glaciers are melting, coral reefs are dying, fish are disappearing from our oceans. The list goes on and on,” he said. “But we know what to do about it, and that’s why I’m tackling this new way of communication.”\u003c/p>\n\u003cp>Attenborough is no newcomer to Guinness World Records—he already holds two, for the \u003ca href=\"https://www.guinnessworldrecords.com/world-records/66907-most-durable-tv-presenter\" target=\"_blank\" rel=\"noopener noreferrer\">longest career as a TV presenter\u003c/a> and the \u003ca href=\"https://www.guinnessworldrecords.com/world-records/longest-career-as-a-television-naturalist\" target=\"_blank\" rel=\"noopener noreferrer\">longest career as a television naturalist\u003c/a>. \u003cem>Planet Earth\u003c/em>, one of Attenborough’s popular projects, holds the record for \u003ca href=\"https://www.guinnessworldrecords.com/world-records/566468-most-in-demand-documentary-tv-show\" target=\"_blank\" rel=\"noopener noreferrer\">most in-demand documentary TV show\u003c/a>.\u003c/p>\n\u003cp>His career spans almost seven decades and his latest documentary project, \u003ca href=\"https://www.netflix.com/title/80216393\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>David Attenborough: A Life on Our Planet\u003c/em>\u003c/a>, will appear on Netflix in October.\u003c/p>\n\u003cp>He closed out his first-ever Instagram post the same way he might have finished an early radio broadcast:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stay tuned.”\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=Sir+David+Attenborough+Reaches+1M+Instagram+Followers+In+Hours%2C+Breaking+World+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NPR's Fall TV Preview: 23 Suggestions For What to Watch Next",
"headTitle": "NPR’s Fall TV Preview: 23 Suggestions For What to Watch Next | KQED",
"content": "\u003cp>Does it even matter that it’s fall? We’re stuck inside much of the time, anyway, and new TV shows come at us all year round. Well, yes, there’s reason to celebrate precisely because of how the pandemic disrupted things. Broadcasters couldn’t develop new material, thanks to production being halted. So, viewers watched more streaming services. Even HBO, FX and Showtime were forced to push back some of their best material to ensure they could get through the long summer.\u003c/p>\n\u003cp>It feels like a minor miracle that there are still so many high-quality shows coming to the small screen this season. Almost all of them are on premium cable channels and streaming—a few have been imported from overseas—with some shows completing episodes under tight testing and social distancing rules.\u003c/p>\n\u003cp>The quality of this year’s fall season is something of a tribute to Hollywood’s ingenuity—keeping the world entertained through this challenging year. Here are picks from NPR critics Eric Deggans, Aisha Harris, Linda Holmes and Glen Weldon for the best shows coming this season.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Amber Ruffin Show\u003c/strong>\u003c/em>\u003cstrong> and \u003c/strong>\u003cem>\u003cstrong>Wilmore\u003c/strong>\u003c/em>\u003cstrong> (both on Peacock)\u003c/strong> Now airing; new episodes Fridays\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Up2_7472hoI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was something of a tragedy when Comedy Central canceled Larry Wilmore’s \u003cem>The Nightly Show\u003c/em> right before the 2016 elections; now he has a chance to bring his acerbic wit to bear on 2020’s balloting. And writer/performer Amber Ruffin has always been a highlight of \u003cem>Late Night with Seth Meyers\u003c/em> (see her take on \u003ca href=\"https://www.youtube.com/watch?v=iKgfgSch8BU\" target=\"_blank\" rel=\"noopener noreferrer\">“What Trump has done for Black America”\u003c/a> for delightful proof); it was just a matter of time before she got her own showcase. I’m not sure why Peacock is calling talk shows on a streaming service “late night” shows, but I’m confident they’ll be funny whenever you watch them. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fargo \u003c/em>\u003c/strong>\u003cstrong>(FX) \u003c/strong>Sunday, Sept. 27\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RLEwtys6yZw\u003c/p>\n\u003cp>“Chris Rock plays an enterprising 1950s mob boss in Kansas City, Missouri” is a logline you probably didn’t expect to read, but so it is with the fourth season of the anthology series. Rock is not exactly known for his acting chops, and the last time he took a “dramatic” turn was in a perhaps unintentionally goofy guest-starring role as a menacing drug kingpin on \u003cem>Empire\u003c/em>. His casting here alone is intriguing enough—but throw in an impressive ensemble that includes Timothy Olyphant, Jason Schwartzman and Jessie Buckley (as a nurse who might be up to something sinister), and you’ve got a crime tale worth checking out. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Boys in the Band \u003c/strong>\u003c/em>\u003cstrong>(Netflix) \u003c/strong>Wednesday, Sept. 30\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qMLPAOw93Mo\u003c/p>\n\u003cp>Since its Off-Broadway premiere in 1968, Matt Crowley’s groundbreaking, often caustically funny play about a group of gay men at a birthday party that goes sour has been turned into a 1970 film and re-staged many times, most recently in a brief, 50th-anniversary run on Broadway in 2018. Now, that production—which took home the Tony in 2019 for Best Revival—has itself been made into a film, along with its entire cast—all of whom, notably, are gay themselves (Jim Parsons, Matt Bomer, Andrew Rannells, Zachary Quinto and others). Over the years, reception to the play has cycled through acclaim to disdain (some found its depiction of bitchy, self-loathing gay men insulting) and back again. But Crowley’s decision to center a play on the lives of gay men, and to do so with such unapologetic honesty a year before Stonewall, remains remarkable. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Salisbury Poisonings\u003c/strong>\u003c/em>\u003cstrong> (AMC+)\u003c/strong> Thursday, Oct. 1\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ekoW6g_wg7A\u003c/p>\n\u003cp>It may sound like masochism recommending a TV series about health officials rushing to identify a mystery illness while the audience is living through an actual pandemic. But that real-life resonance only adds potency to this well-crafted, suspenseful British series which dramatizes the crisis back in 2018 when a former Russian military intelligence officer and his daughter collapsed in the center of Salisbury, England. I’m embarrassed to admit I didn’t realize the extent of the emergency when this actually happened, as local authorities feared mass casualties might result from the town’s exposure to one of the most deadly synthetic substances on the planet. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gangs of London\u003c/strong>\u003c/em>\u003cstrong> (AMC+)\u003c/strong> Thursday, Oct. 1\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4CJ5p4XisHs\u003c/p>\n\u003cp>The central story here moves slowly; the patriarch of a powerful crime family in London is murdered by a couple of small-fry hoodlums, and his bloodthirsty son is on a tear to learn who was behind it. But there’s a mole inside his organization—I can’t spoil who or why—and this character commands the most compelling parts of the story. Be warned: This show, which originally aired on Sky TV in England, is an explicitly gory, super-violent series. But it also features some of the best fight scenes I have ever seen on television, choreographed by director and Indonesian action film auteur Gareth Evans and featuring rising star Sope Dirisu. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Emily In Paris\u003c/strong>\u003c/em> \u003cstrong>(Netflix)\u003c/strong> Friday, Oct. 2\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lptctjAT-Mk\u003c/p>\n\u003cp>Lily Collins stars in this series about an American dispatched to a Parisian adventure by her employer, even though she speaks no French. Sudsy and upbeat, it feels like TV Land’s \u003cem>Younger\u003c/em> for people who like France. And although it hits a lot of familiar social media and relationship-related story beats, there’s something very watchable about its flawed protagonist, even if you find yourself siding with the French people who find it appalling that she expects everyone to speak English. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Good Lord Bird\u003c/em>\u003c/strong>\u003cstrong> (Showtime) \u003c/strong>Sunday, Oct. 4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H-Tm63y-S4s\u003c/p>\n\u003cp>In the last few months many white Americans have taken an interest in confronting anti-Black racism, which makes the timing of this seven-part limited series dramatizing the exploits of the white abolitionist John Brown, particularly apt. Based on James McBride’s \u003ca href=\"https://www.npr.org/2013/08/17/212588754/good-lord-bird-gives-abolitionist-heroes-novel-treatment\" target=\"_blank\" rel=\"noopener noreferrer\">award-winning historical novel\u003c/a> of the same name, it’s narrated through the eyes of a fictional enslaved boy named Onion (Joshua Caleb Johnson) who joins the tempestuous Brown’s (an enigmatic Ethan Hawke) ragtag camp of followers leading up to the 1859 raid on Harpers Ferry. At times humorous, action-packed and suspenseful, the show doesn’t shy away from the erratic behavior and violent tendencies that have made Brown such a polarizing figure. — \u003cem>Aisha Harris \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Comedy Store \u003c/em>\u003c/strong>\u003cstrong>(Showtime) \u003c/strong>Sunday, Oct. 4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hW9eh2zqHAw\u003c/p>\n\u003cp>As the stand-up industry struggles to adjust to a Zoom-focused world, this five-part documentary series about the Comedy Store night club arrives to stoke nostalgia for one of Los Angeles’ legendary cultural fixtures. The list of famous talking heads expounding on the history of the club and its renowned owner and career-maker, the late Mitzi Shore, is long: David Letterman, Chris Rock, Whoopi Goldberg, Jim Carrey, Whitney Cummings, Damon Wayans, Bill Burr, Michael Keaton and more. Directed by filmmaker Mike Binder (himself a former comic), it won’t replace the in-person experience of late-night comedy sets, but it might bring you a little joy. — \u003cem>Aisha\u003c/em> \u003cem>Harris\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>NEXT\u003c/strong>\u003c/em> \u003cstrong>(Fox)\u003c/strong> Tuesday, Oct. 6\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=micrLvzThs8\u003c/p>\n\u003cp>In this sci-fi miniseries, John Slattery plays a tech billionaire who experiences a change of heart and blows the whistle on an artificial intelligence that, he says, has become sentient and infiltrated “cameras, cellphones—anything with a lens or a mic or a sensor.” The world thinks he’s crazy, but he’s soon recruited by a cybercrime-fighting agency because people have started getting murdered by their tech. Slattery is always fun to watch, but it remains to be seen if, at this precise cultural moment, audiences are clamoring to admit even more paranoia into their daily lives. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Haunting of Bly Manor\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Oct. 9\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tykS7QfTWMQ\u003c/p>\n\u003cp>Netflix follows up the success of its 2018 mini-series \u003ca href=\"https://www.npr.org/2018/10/31/662558504/how-haunting-is-hill-house\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Haunting of Hill House\u003c/em>\u003c/a> with this mini-series about another spooky old domicile. This time out, however, creator and showrunner Mike Flanagan won’t be adapting a Shirley Jackson novel, but a handful of stories by Henry James. Several \u003cem>Hill House\u003c/em> cast members return, albeit in new roles. \u003cem>Hill House\u003c/em> was legitimately unsettling, and the Bly Manor trailer starts right off with a sweet-voiced little girl singing tunelessly (which, let’s stipulate, isn’t playing fair), so it’s a safe bet the series will be there for you, and your need to get \u003cem>seriously\u003c/em> creeped out, this Halloween season. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Driving While Black: Race, Space and Mobility in America \u003c/strong>\u003c/em>\u003cstrong>(PBS)\u003c/strong> Tuesday, Oct. 13\u003c/p>\n\u003cp>This documentary makes the compelling case that much of America’s struggle with race and oppression—including the Civil War—can be traced to the fight over controlling Black people by policing their mobility. A string of insightful academics connects Black motorists unfairly stopped by police with the legacy of slave catchers in the Deep South—volunteers who terrorized Black people by demanding travelers show papers from their owners giving permission for their movements. This revealing film charts how, from the slavery era until modern times, little compares to the “gut-wrenching horror that is driving in a racist society.” — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Social Distance\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Thursday, Oct. 15\u003c/p>\n\u003cp>I know. You’re tired of half-baked monologues and thinly-disguised, one-person theater pieces made into TV programs by people on lockdown. But this eight-part anthology series is different, featuring stories about life in isolation that would have been compelling in any setting. The tales include a Latinx family whose conflicts burst open during a memorial service by Zoom call (master character actor Miguel Sandoval is this episode’s ace) and a relentlessly energetic child who spends her days at home alone while her mother works as a quarantined caregiver. Producers chose the stories here with care, focusing on how humanity struggles—and occasionally thrives—in the face of an unparalleled, global exercise in social distance. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Trial of The Chicago 7\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Oct.16\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FVb6EdKDBfU\u003c/p>\n\u003cp>Aaron Sorkin’s stuff tends to be really good (\u003cem>The West Wing\u003c/em>) or really annoying (\u003cem>The Newsroom\u003c/em>). His latest is a film about the trial of the “Chicago Seven” after the 1968 Democratic National Convention. With a fascinating cast (Joseph Gordon-Levitt, Michael Keaton, Yahya Abdul-Mateen II, and … Sacha Baron Cohen?), it’s a project Sorkin has apparently been working on for years, and because of the pandemic, it’s landing on Netflix instead of in theaters. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>David Byrne’s American Utopia\u003c/em>\u003c/strong> \u003cstrong>(HBO)\u003c/strong> Saturday, Oct. 17\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lg4hcgtjDPc\u003c/p>\n\u003cp>Far too few of us got the chance to catch Byrne’s joyous, exultant and expansive smash hit theatrical concert during its too-brief Broadway run, and the pandemic has indefinitely delayed a planned return engagement and touring show. But in October, HBO’s bringing you Spike Lee’s film of the show, in which Byrne and a troupe of 11 musicians, singers and dancers—all barefoot, all clad in gray suits—perform new Byrne tunes and classic Talking Heads songs while executing Anne-B Parson’s astonishing choreography with the exacting precision of a color guard. Yes, sure: They’ll be gyrating and hopping, twisting and running, and you’ll be sitting on your couch scarfing Funyuns. But don’t feel guilty about that. Because by the time they launch into “Once in a Lifetime,” you’ll be dancing around your living room alongside them. – \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rebecca\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Wednesday, Oct. 21\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LFVhB54UqvQ\u003c/p>\n\u003cp>Netflix is dreaming of going to Manderley again: This adaptation of Daphne du Maurier’s swoonily gothic novel will have a tough time stepping out of the long shadow of Hitchcock’s classic 1940 film, but the cast is intriguing. Lily James stars as Mrs. de Winter, whose new, impetuous marriage to the dashing Maxim de Winter (Armie Hammer) is threatened by the memory of his first wife—and the forbidding housekeeper Mrs. Danvers (Kristin Scott Thomas), who continually attempts to undermine her employer’s new, too-impressionable wife. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Undoing\u003c/em>\u003c/strong>\u003cstrong> (HBO) \u003c/strong>Sunday, Oct. 25\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QWoiNlLqLR8\u003c/p>\n\u003cp>If you like sudsy David E. Kelley dramas (\u003cem>Ally McBeal\u003c/em>, \u003cem>Big Little Lies\u003c/em>), this is probably for you. And if you’ll watch pretty much anything Nicole Kidman and/or Hugh Grant are in, this is probably for you, too. A limited series adapted from Jean Hanff Korelitz’s psychological thriller \u003cem>You Should Have Known\u003c/em>, Kidman and Grant play Grace and Jonathan, a wealthy New York City couple with a son in private school. When Jonathan disappears, Grace is left to pick up the pieces—so viewers can expect yet another arresting performance from the actor amidst the murder, scandal and intrigue this premise promises. — \u003cem>Aisha Harris \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>That Animal Rescue Show\u003c/strong>\u003c/em>\u003cstrong> (CBS All Access)\u003c/strong> Thursday, Oct. 29\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b10V3imshrU\u003c/p>\n\u003cp>Beloved filmmaker Richard Linklater (\u003cem>Dazed and Confused, Before Sunrise\u003c/em>) made this documentary series about rescue animals around Austin, Texas. There are episodes about dogs, horses, goats and more, many of which feature the close and special relationships between people and the animals they love and rely on. Linklater has a feel for Texas and for elemental human feelings, and a series that comes with a strong pedigree about one of the world’s most popular subjects might turn out to be just what a stressed-out audience needs. — \u003cem>Linda Holmes \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The LEGO Star Wars Holiday Special\u003c/strong>\u003c/em>\u003cstrong> (Disney+)\u003c/strong> Tuesday, Nov. 17\u003c/p>\n\u003cp>The jaw-droppingly weird 1978 \u003cem>Star Wars Holiday Special—\u003c/em>which was so awe-inspiring in its arrant cheesiness that George Lucas insisted it never be re-aired or released to home video—has become a cult favorite thanks to fans who shared grainy bootleg videotapes of it and \u003ca href=\"https://www.youtube.com/watch?v=6hH8rxarVG8\" target=\"_blank\" rel=\"noopener noreferrer\">uploaded\u003c/a> it to sites like YouTube. Now, at last, the mess that was hotter than Mustafarian lava is getting embraced by the keepers of the Star Wars franchise. LEGO versions of characters from the most recent Star Wars trilogy will interact with characters and settings from the 1978 special. No word yet on whether it will feature a LEGO Bea Arthur belting lyrics to the Mos Eisley cantina song, but we live in hope. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Animaniacs \u003c/em>\u003c/strong>\u003cstrong>(Hulu) \u003c/strong>Friday, Nov. 20\u003c/p>\n\u003cp>Because nothing in Hollywood is ever really new anymore, it was only a matter of time before this beloved ’90s cartoon series would be rebooted like so many other franchises of its era. What makes this particular resurrection feel a little more justified than most: The series’ “zany to the max” pop culture-stuffed humor has basically become one of the primary languages of social media in the ’00s. And luckily for nostalgic millennials—presumably this remake’s primary audience—all of the main players from the original cast have returned, including Rob Paulsen as Pinky and Maurice LaMarche as The Brain. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Prom\u003c/strong>\u003c/em>\u003cstrong> (Netflix) \u003c/strong>Friday, Dec. 11\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q0V4sA3xDxc\u003c/p>\n\u003cp>This sudsy, knowingly funny musical ran for less than a year on Broadway, but it’s getting a Netflix adaptation that’s certain to endear it to a wider audience. Unlike \u003cem>The Boys in the Band—\u003c/em>Netflix’s other Broadway adaptation this fall—producer/director Ryan Murphy has ditched the entire (outstanding) Broadway cast in favor of big names like Meryl Streep, Nicole Kidman, Awkwafina and, inevitably, James Corden. That’s unfortunate, but the story (a group of faded, self-important New York theater actors descend on a small town to help a young lesbian take her girlfriend to the high school prom) is strong, the songs are insanely catchy, and the script is loaded with jokes that poke laser-targeted fun at Theater People. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Stand\u003c/strong>\u003c/em>\u003cstrong> (CBS All Access) \u003c/strong>Thursday, Dec. 17\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2yKoUhGN740\u003c/p>\n\u003cp>This event series, based on Stephen King’s classic \u003ca href=\"https://www.npr.org/books/titles/139095935/the-stand\" target=\"_blank\" rel=\"noopener noreferrer\">dystopian novel,\u003c/a> gets the Worst Timing Ever Award. Centered on the battle for good and evil after a plague (in the book, it was a killer flu, no less) wipes out most of the world’s population. Whoopi Goldberg, who seems an embodiment of the “magical negro” trope playing Mother Abagail, King’s manifestation of good—opposing Alexander Skarsgård’s evil Randall Flagg—also raises a few, um, red flags. Still, I have hope for this project, which has whipped up an eclectic cast that includes \u003cem>X-Men\u003c/em> alum James Marsden, \u003cem>Aquaman\u003c/em>‘s Amber Heard and rocker Marilyn Manson. Honestly, I’d watch a TV show that featured this group arguing over what to have for dinner. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Your Honor\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong> Dec. TBA\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZJPOla_1Px0\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Forget about meth-making high school teacher Walter White; Bryan Cranston is now playing another corrupted authority figure in Showtime’s limited series based on an Israeli crime thriller. This time, Cranston is Michael Desiato, a respected judge in New Orleans who fakes evidence and worse to disguise his son’s culpability in a hit and run accident that kills someone. When the victim turns out to be the son of a vicious crime boss—played by another ace character actor, \u003cem>Boardwalk Empire\u003c/em> alum Michael Stuhlbarg—you can guess how complicated everything becomes. And how awesome the acting will be. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+23+Suggestions+For+What+To+Watch+Next&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Does it even matter that it’s fall? We’re stuck inside much of the time, anyway, and new TV shows come at us all year round. Well, yes, there’s reason to celebrate precisely because of how the pandemic disrupted things. Broadcasters couldn’t develop new material, thanks to production being halted. So, viewers watched more streaming services. Even HBO, FX and Showtime were forced to push back some of their best material to ensure they could get through the long summer.\u003c/p>\n\u003cp>It feels like a minor miracle that there are still so many high-quality shows coming to the small screen this season. Almost all of them are on premium cable channels and streaming—a few have been imported from overseas—with some shows completing episodes under tight testing and social distancing rules.\u003c/p>\n\u003cp>The quality of this year’s fall season is something of a tribute to Hollywood’s ingenuity—keeping the world entertained through this challenging year. Here are picks from NPR critics Eric Deggans, Aisha Harris, Linda Holmes and Glen Weldon for the best shows coming this season.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Amber Ruffin Show\u003c/strong>\u003c/em>\u003cstrong> and \u003c/strong>\u003cem>\u003cstrong>Wilmore\u003c/strong>\u003c/em>\u003cstrong> (both on Peacock)\u003c/strong> Now airing; new episodes Fridays\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/Up2_7472hoI'\n title='//www.youtube.com/embed/Up2_7472hoI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was something of a tragedy when Comedy Central canceled Larry Wilmore’s \u003cem>The Nightly Show\u003c/em> right before the 2016 elections; now he has a chance to bring his acerbic wit to bear on 2020’s balloting. And writer/performer Amber Ruffin has always been a highlight of \u003cem>Late Night with Seth Meyers\u003c/em> (see her take on \u003ca href=\"https://www.youtube.com/watch?v=iKgfgSch8BU\" target=\"_blank\" rel=\"noopener noreferrer\">“What Trump has done for Black America”\u003c/a> for delightful proof); it was just a matter of time before she got her own showcase. I’m not sure why Peacock is calling talk shows on a streaming service “late night” shows, but I’m confident they’ll be funny whenever you watch them. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fargo \u003c/em>\u003c/strong>\u003cstrong>(FX) \u003c/strong>Sunday, Sept. 27\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/RLEwtys6yZw'\n title='//www.youtube.com/embed/RLEwtys6yZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Chris Rock plays an enterprising 1950s mob boss in Kansas City, Missouri” is a logline you probably didn’t expect to read, but so it is with the fourth season of the anthology series. Rock is not exactly known for his acting chops, and the last time he took a “dramatic” turn was in a perhaps unintentionally goofy guest-starring role as a menacing drug kingpin on \u003cem>Empire\u003c/em>. His casting here alone is intriguing enough—but throw in an impressive ensemble that includes Timothy Olyphant, Jason Schwartzman and Jessie Buckley (as a nurse who might be up to something sinister), and you’ve got a crime tale worth checking out. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Boys in the Band \u003c/strong>\u003c/em>\u003cstrong>(Netflix) \u003c/strong>Wednesday, Sept. 30\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/qMLPAOw93Mo'\n title='//www.youtube.com/embed/qMLPAOw93Mo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since its Off-Broadway premiere in 1968, Matt Crowley’s groundbreaking, often caustically funny play about a group of gay men at a birthday party that goes sour has been turned into a 1970 film and re-staged many times, most recently in a brief, 50th-anniversary run on Broadway in 2018. Now, that production—which took home the Tony in 2019 for Best Revival—has itself been made into a film, along with its entire cast—all of whom, notably, are gay themselves (Jim Parsons, Matt Bomer, Andrew Rannells, Zachary Quinto and others). Over the years, reception to the play has cycled through acclaim to disdain (some found its depiction of bitchy, self-loathing gay men insulting) and back again. But Crowley’s decision to center a play on the lives of gay men, and to do so with such unapologetic honesty a year before Stonewall, remains remarkable. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Salisbury Poisonings\u003c/strong>\u003c/em>\u003cstrong> (AMC+)\u003c/strong> Thursday, Oct. 1\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/ekoW6g_wg7A'\n title='//www.youtube.com/embed/ekoW6g_wg7A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It may sound like masochism recommending a TV series about health officials rushing to identify a mystery illness while the audience is living through an actual pandemic. But that real-life resonance only adds potency to this well-crafted, suspenseful British series which dramatizes the crisis back in 2018 when a former Russian military intelligence officer and his daughter collapsed in the center of Salisbury, England. I’m embarrassed to admit I didn’t realize the extent of the emergency when this actually happened, as local authorities feared mass casualties might result from the town’s exposure to one of the most deadly synthetic substances on the planet. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gangs of London\u003c/strong>\u003c/em>\u003cstrong> (AMC+)\u003c/strong> Thursday, Oct. 1\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/4CJ5p4XisHs'\n title='//www.youtube.com/embed/4CJ5p4XisHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The central story here moves slowly; the patriarch of a powerful crime family in London is murdered by a couple of small-fry hoodlums, and his bloodthirsty son is on a tear to learn who was behind it. But there’s a mole inside his organization—I can’t spoil who or why—and this character commands the most compelling parts of the story. Be warned: This show, which originally aired on Sky TV in England, is an explicitly gory, super-violent series. But it also features some of the best fight scenes I have ever seen on television, choreographed by director and Indonesian action film auteur Gareth Evans and featuring rising star Sope Dirisu. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Emily In Paris\u003c/strong>\u003c/em> \u003cstrong>(Netflix)\u003c/strong> Friday, Oct. 2\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/lptctjAT-Mk'\n title='//www.youtube.com/embed/lptctjAT-Mk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lily Collins stars in this series about an American dispatched to a Parisian adventure by her employer, even though she speaks no French. Sudsy and upbeat, it feels like TV Land’s \u003cem>Younger\u003c/em> for people who like France. And although it hits a lot of familiar social media and relationship-related story beats, there’s something very watchable about its flawed protagonist, even if you find yourself siding with the French people who find it appalling that she expects everyone to speak English. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Good Lord Bird\u003c/em>\u003c/strong>\u003cstrong> (Showtime) \u003c/strong>Sunday, Oct. 4\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/H-Tm63y-S4s'\n title='//www.youtube.com/embed/H-Tm63y-S4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last few months many white Americans have taken an interest in confronting anti-Black racism, which makes the timing of this seven-part limited series dramatizing the exploits of the white abolitionist John Brown, particularly apt. Based on James McBride’s \u003ca href=\"https://www.npr.org/2013/08/17/212588754/good-lord-bird-gives-abolitionist-heroes-novel-treatment\" target=\"_blank\" rel=\"noopener noreferrer\">award-winning historical novel\u003c/a> of the same name, it’s narrated through the eyes of a fictional enslaved boy named Onion (Joshua Caleb Johnson) who joins the tempestuous Brown’s (an enigmatic Ethan Hawke) ragtag camp of followers leading up to the 1859 raid on Harpers Ferry. At times humorous, action-packed and suspenseful, the show doesn’t shy away from the erratic behavior and violent tendencies that have made Brown such a polarizing figure. — \u003cem>Aisha Harris \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Comedy Store \u003c/em>\u003c/strong>\u003cstrong>(Showtime) \u003c/strong>Sunday, Oct. 4\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/hW9eh2zqHAw'\n title='//www.youtube.com/embed/hW9eh2zqHAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the stand-up industry struggles to adjust to a Zoom-focused world, this five-part documentary series about the Comedy Store night club arrives to stoke nostalgia for one of Los Angeles’ legendary cultural fixtures. The list of famous talking heads expounding on the history of the club and its renowned owner and career-maker, the late Mitzi Shore, is long: David Letterman, Chris Rock, Whoopi Goldberg, Jim Carrey, Whitney Cummings, Damon Wayans, Bill Burr, Michael Keaton and more. Directed by filmmaker Mike Binder (himself a former comic), it won’t replace the in-person experience of late-night comedy sets, but it might bring you a little joy. — \u003cem>Aisha\u003c/em> \u003cem>Harris\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>NEXT\u003c/strong>\u003c/em> \u003cstrong>(Fox)\u003c/strong> Tuesday, Oct. 6\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/micrLvzThs8'\n title='//www.youtube.com/embed/micrLvzThs8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this sci-fi miniseries, John Slattery plays a tech billionaire who experiences a change of heart and blows the whistle on an artificial intelligence that, he says, has become sentient and infiltrated “cameras, cellphones—anything with a lens or a mic or a sensor.” The world thinks he’s crazy, but he’s soon recruited by a cybercrime-fighting agency because people have started getting murdered by their tech. Slattery is always fun to watch, but it remains to be seen if, at this precise cultural moment, audiences are clamoring to admit even more paranoia into their daily lives. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Haunting of Bly Manor\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Oct. 9\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/tykS7QfTWMQ'\n title='//www.youtube.com/embed/tykS7QfTWMQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Netflix follows up the success of its 2018 mini-series \u003ca href=\"https://www.npr.org/2018/10/31/662558504/how-haunting-is-hill-house\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Haunting of Hill House\u003c/em>\u003c/a> with this mini-series about another spooky old domicile. This time out, however, creator and showrunner Mike Flanagan won’t be adapting a Shirley Jackson novel, but a handful of stories by Henry James. Several \u003cem>Hill House\u003c/em> cast members return, albeit in new roles. \u003cem>Hill House\u003c/em> was legitimately unsettling, and the Bly Manor trailer starts right off with a sweet-voiced little girl singing tunelessly (which, let’s stipulate, isn’t playing fair), so it’s a safe bet the series will be there for you, and your need to get \u003cem>seriously\u003c/em> creeped out, this Halloween season. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Driving While Black: Race, Space and Mobility in America \u003c/strong>\u003c/em>\u003cstrong>(PBS)\u003c/strong> Tuesday, Oct. 13\u003c/p>\n\u003cp>This documentary makes the compelling case that much of America’s struggle with race and oppression—including the Civil War—can be traced to the fight over controlling Black people by policing their mobility. A string of insightful academics connects Black motorists unfairly stopped by police with the legacy of slave catchers in the Deep South—volunteers who terrorized Black people by demanding travelers show papers from their owners giving permission for their movements. This revealing film charts how, from the slavery era until modern times, little compares to the “gut-wrenching horror that is driving in a racist society.” — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Social Distance\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Thursday, Oct. 15\u003c/p>\n\u003cp>I know. You’re tired of half-baked monologues and thinly-disguised, one-person theater pieces made into TV programs by people on lockdown. But this eight-part anthology series is different, featuring stories about life in isolation that would have been compelling in any setting. The tales include a Latinx family whose conflicts burst open during a memorial service by Zoom call (master character actor Miguel Sandoval is this episode’s ace) and a relentlessly energetic child who spends her days at home alone while her mother works as a quarantined caregiver. Producers chose the stories here with care, focusing on how humanity struggles—and occasionally thrives—in the face of an unparalleled, global exercise in social distance. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Trial of The Chicago 7\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Oct.16\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/FVb6EdKDBfU'\n title='//www.youtube.com/embed/FVb6EdKDBfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aaron Sorkin’s stuff tends to be really good (\u003cem>The West Wing\u003c/em>) or really annoying (\u003cem>The Newsroom\u003c/em>). His latest is a film about the trial of the “Chicago Seven” after the 1968 Democratic National Convention. With a fascinating cast (Joseph Gordon-Levitt, Michael Keaton, Yahya Abdul-Mateen II, and … Sacha Baron Cohen?), it’s a project Sorkin has apparently been working on for years, and because of the pandemic, it’s landing on Netflix instead of in theaters. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>David Byrne’s American Utopia\u003c/em>\u003c/strong> \u003cstrong>(HBO)\u003c/strong> Saturday, Oct. 17\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/lg4hcgtjDPc'\n title='//www.youtube.com/embed/lg4hcgtjDPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Far too few of us got the chance to catch Byrne’s joyous, exultant and expansive smash hit theatrical concert during its too-brief Broadway run, and the pandemic has indefinitely delayed a planned return engagement and touring show. But in October, HBO’s bringing you Spike Lee’s film of the show, in which Byrne and a troupe of 11 musicians, singers and dancers—all barefoot, all clad in gray suits—perform new Byrne tunes and classic Talking Heads songs while executing Anne-B Parson’s astonishing choreography with the exacting precision of a color guard. Yes, sure: They’ll be gyrating and hopping, twisting and running, and you’ll be sitting on your couch scarfing Funyuns. But don’t feel guilty about that. Because by the time they launch into “Once in a Lifetime,” you’ll be dancing around your living room alongside them. – \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rebecca\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Wednesday, Oct. 21\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/LFVhB54UqvQ'\n title='//www.youtube.com/embed/LFVhB54UqvQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Netflix is dreaming of going to Manderley again: This adaptation of Daphne du Maurier’s swoonily gothic novel will have a tough time stepping out of the long shadow of Hitchcock’s classic 1940 film, but the cast is intriguing. Lily James stars as Mrs. de Winter, whose new, impetuous marriage to the dashing Maxim de Winter (Armie Hammer) is threatened by the memory of his first wife—and the forbidding housekeeper Mrs. Danvers (Kristin Scott Thomas), who continually attempts to undermine her employer’s new, too-impressionable wife. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Undoing\u003c/em>\u003c/strong>\u003cstrong> (HBO) \u003c/strong>Sunday, Oct. 25\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/QWoiNlLqLR8'\n title='//www.youtube.com/embed/QWoiNlLqLR8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you like sudsy David E. Kelley dramas (\u003cem>Ally McBeal\u003c/em>, \u003cem>Big Little Lies\u003c/em>), this is probably for you. And if you’ll watch pretty much anything Nicole Kidman and/or Hugh Grant are in, this is probably for you, too. A limited series adapted from Jean Hanff Korelitz’s psychological thriller \u003cem>You Should Have Known\u003c/em>, Kidman and Grant play Grace and Jonathan, a wealthy New York City couple with a son in private school. When Jonathan disappears, Grace is left to pick up the pieces—so viewers can expect yet another arresting performance from the actor amidst the murder, scandal and intrigue this premise promises. — \u003cem>Aisha Harris \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>That Animal Rescue Show\u003c/strong>\u003c/em>\u003cstrong> (CBS All Access)\u003c/strong> Thursday, Oct. 29\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/b10V3imshrU'\n title='//www.youtube.com/embed/b10V3imshrU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beloved filmmaker Richard Linklater (\u003cem>Dazed and Confused, Before Sunrise\u003c/em>) made this documentary series about rescue animals around Austin, Texas. There are episodes about dogs, horses, goats and more, many of which feature the close and special relationships between people and the animals they love and rely on. Linklater has a feel for Texas and for elemental human feelings, and a series that comes with a strong pedigree about one of the world’s most popular subjects might turn out to be just what a stressed-out audience needs. — \u003cem>Linda Holmes \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The LEGO Star Wars Holiday Special\u003c/strong>\u003c/em>\u003cstrong> (Disney+)\u003c/strong> Tuesday, Nov. 17\u003c/p>\n\u003cp>The jaw-droppingly weird 1978 \u003cem>Star Wars Holiday Special—\u003c/em>which was so awe-inspiring in its arrant cheesiness that George Lucas insisted it never be re-aired or released to home video—has become a cult favorite thanks to fans who shared grainy bootleg videotapes of it and \u003ca href=\"https://www.youtube.com/watch?v=6hH8rxarVG8\" target=\"_blank\" rel=\"noopener noreferrer\">uploaded\u003c/a> it to sites like YouTube. Now, at last, the mess that was hotter than Mustafarian lava is getting embraced by the keepers of the Star Wars franchise. LEGO versions of characters from the most recent Star Wars trilogy will interact with characters and settings from the 1978 special. No word yet on whether it will feature a LEGO Bea Arthur belting lyrics to the Mos Eisley cantina song, but we live in hope. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Animaniacs \u003c/em>\u003c/strong>\u003cstrong>(Hulu) \u003c/strong>Friday, Nov. 20\u003c/p>\n\u003cp>Because nothing in Hollywood is ever really new anymore, it was only a matter of time before this beloved ’90s cartoon series would be rebooted like so many other franchises of its era. What makes this particular resurrection feel a little more justified than most: The series’ “zany to the max” pop culture-stuffed humor has basically become one of the primary languages of social media in the ’00s. And luckily for nostalgic millennials—presumably this remake’s primary audience—all of the main players from the original cast have returned, including Rob Paulsen as Pinky and Maurice LaMarche as The Brain. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Prom\u003c/strong>\u003c/em>\u003cstrong> (Netflix) \u003c/strong>Friday, Dec. 11\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/q0V4sA3xDxc'\n title='//www.youtube.com/embed/q0V4sA3xDxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This sudsy, knowingly funny musical ran for less than a year on Broadway, but it’s getting a Netflix adaptation that’s certain to endear it to a wider audience. Unlike \u003cem>The Boys in the Band—\u003c/em>Netflix’s other Broadway adaptation this fall—producer/director Ryan Murphy has ditched the entire (outstanding) Broadway cast in favor of big names like Meryl Streep, Nicole Kidman, Awkwafina and, inevitably, James Corden. That’s unfortunate, but the story (a group of faded, self-important New York theater actors descend on a small town to help a young lesbian take her girlfriend to the high school prom) is strong, the songs are insanely catchy, and the script is loaded with jokes that poke laser-targeted fun at Theater People. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Stand\u003c/strong>\u003c/em>\u003cstrong> (CBS All Access) \u003c/strong>Thursday, Dec. 17\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/2yKoUhGN740'\n title='//www.youtube.com/embed/2yKoUhGN740'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This event series, based on Stephen King’s classic \u003ca href=\"https://www.npr.org/books/titles/139095935/the-stand\" target=\"_blank\" rel=\"noopener noreferrer\">dystopian novel,\u003c/a> gets the Worst Timing Ever Award. Centered on the battle for good and evil after a plague (in the book, it was a killer flu, no less) wipes out most of the world’s population. Whoopi Goldberg, who seems an embodiment of the “magical negro” trope playing Mother Abagail, King’s manifestation of good—opposing Alexander Skarsgård’s evil Randall Flagg—also raises a few, um, red flags. Still, I have hope for this project, which has whipped up an eclectic cast that includes \u003cem>X-Men\u003c/em> alum James Marsden, \u003cem>Aquaman\u003c/em>‘s Amber Heard and rocker Marilyn Manson. Honestly, I’d watch a TV show that featured this group arguing over what to have for dinner. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Your Honor\u003c/strong>\u003c/em>\u003cstrong> (Showtime)\u003c/strong> Dec. TBA\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/ZJPOla_1Px0'\n title='//www.youtube.com/embed/ZJPOla_1Px0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forget about meth-making high school teacher Walter White; Bryan Cranston is now playing another corrupted authority figure in Showtime’s limited series based on an Israeli crime thriller. This time, Cranston is Michael Desiato, a respected judge in New Orleans who fakes evidence and worse to disguise his son’s culpability in a hit and run accident that kills someone. When the victim turns out to be the son of a vicious crime boss—played by another ace character actor, \u003cem>Boardwalk Empire\u003c/em> alum Michael Stuhlbarg—you can guess how complicated everything becomes. And how awesome the acting will be. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+23+Suggestions+For+What+To+Watch+Next&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Rediscovering the Social and Spiritual Legacy of Oakland's Black Jazz Records",
"headTitle": "Rediscovering the Social and Spiritual Legacy of Oakland’s Black Jazz Records | KQED",
"content": "\u003cp>The dawn of the ’70s were heady times for keyboardist Doug Carn and drummer Michael Carvin. Both men had recently relocated to Los Angeles from points south; Carn came from Florida, Carvin from Houston. Carn was getting gigs with well-known bands like Nat Adderly and Earth, Wind And Fire, while Carvin was getting work in television bands as a sideman. Most central to the pair, though, was the demo the two had recorded along with Carn’s wife, vocalist Jean Carn, that they thought marked the future of jazz. Inspired by three legendary African-Americans—Dr. Martin Luther King, John Coltrane and Muhammad Ali—Carn had written lyrics for music composed by Coltrane, McCoy Tyner and Wayne Shorter, which were then sung by Jean, who imbued the songs with an energetic vibrance. “I felt we were creating a new set of standards,” Doug Carn tells NPR Music.\u003c/p>\n\u003cp>Carn took the demo to some of the prominent jazz labels of the time, like Blue Note, Impulse! and Columbia, but, to his honest surprise, found no takers. Even in retrospect, it is a head-scratcher; the music’s spiritual overtones both echoed Coltrane, just a few years removed from his death and already a towering figure, and the work of one of Coltrane’s proteges, Pharoah Sanders, who notched a hit in 1969 with the song “The Creator Has a Master Plan,” from his 1969 recording \u003cem>Karma—\u003c/em>a cornerstone of the spiritual jazz that Carn was creating. Plus, the sound of Carn’s ensemble had a pan-African feel in the rhythms, which echoed a trend in several jazz styles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=QZ6lB7FKxi8\u003c/p>\n\u003cp>Still without a home for their recordings, Carn and Carvin then heard of a new label, Black Jazz Records, which was being run in Oakland by Gene Russell, a pianist who had scored a minor hit with the piano trio album \u003cem>Up And Away\u003c/em>, which featured covers of contemporary pop tunes. Russell was planning to make his new label focus on artistic self-determination, rather than conformity to the marketplace.\u003c/p>\n\u003cfigure id=\"attachment_13886751\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe\" alt=\"The cover photograph for Gene Russell's album 'New Direction,' the first release on Black Jazz.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0-160x160.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The cover photograph for Gene Russell’s album ‘New Direction,’ the first release on Black Jazz. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover art told the story of his transition: Russell’s Decca recording had featured its title in a bright, psychedelic color scheme, overlaid on a photo of Russell in the engine of an airplane, holding balloons. It’s presentation was whimsical; almost a rebuttal of the tumult in the streets. The first release on Black Jazz, his own album, aptly titled \u003cem>New Direction,\u003c/em> featured a black-and-white photo with a black frame and white typeface. The logo featured a soul-brother handshake, and the photo of Russell was of him in a black hat and blue jeans, assertively looking at the camera, clearly an independent urban spirit. In style it was an endorsement of post Civil Rights life for African Americans; there was less need to please the dominant society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carn and Carvin were all-too-right about their hunch. Russell heard the demo and, rather than send them into the studio to record fuller versions of the music, simply released it as \u003cem>Infant Eyes\u003c/em>, one of the first recordings on his new imprint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=38OXtiRZ2ig\u003c/p>\n\u003cp>Jazz has always been a celebration of Black self-determination, but the jazz recording industry often failed to reflect that priority. Russell and his co-founder, Dick Schory, were among several artists and businessmen eager to challenge the paradigm. They weren’t alone—the late ’60s and early ’70s witnessed a flowering of independent spirit in the jazz community. Collectives sprung up around the country—the Association of the Advancement of Creative Musicians in Chicago (AACM), the Black Artists Group in St. Louis, the Union of God’s Musicians and Artists Ascension in Los Angeles all among them—to present and nurture the creation of a new music.\u003c/p>\n\u003cp>Artist-run labels followed in the same spirit. Sun Ra had created El Saturn Records to release his own work. Betty Carter created Bet-Car for hers. Trumpeter Charles Tolliver and pianist Stanley Cowell formed Strata East as a home for their work and that of their peers. DJ and impresario Jimmy Gray and saxophonist James Branch launched Black Fire Records to document the burgeoning African-American music scene in Washington, D.C. All of these labels captured a moment when Black people—musicians and fans alike—were resisting the definitions that had been imposed on them by white society and creating different sounds of blackness. Black Jazz Records was one of the biggest and most ambitious among them.\u003c/p>\n\u003cfigure id=\"attachment_13886752\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg\" alt=\"The Black Jazz logo featured a soul-brother handshake.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Jazz logo. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Jazz was founded in Oakland, also home to the Black Panther Party, an enduring icon of the African-American struggle for self-determination. Russell and Schory ran it from that city until 1975, after having released 20 albums, and in the ensuing 45 years the music has gone in and out of print, admired by jazz-influenced hip-hop artists and DJs and crate diggers everywhere. In late summer, Real Gone Music, an imprint dedicated to reviving lost catalogues of albums, \u003ca href=\"https://urldefense.com/v3/__https://shop.realgonemusic.com/collections/vinyl/black-jazz__;!!Iwwt!B9lSnzFCndHopsQyvms2e3BM_TUqcAIvNfn5QwrPPrNGfz07b8dhSp4UljbqGw%24\" target=\"_blank\" rel=\"noopener noreferrer\">launched an eighteen-month program\u003c/a> which will put the entirety of the Black Jazz Records portfolio back in print. The breadth of the work is exceptional; even from an era where musical boundaries blurred, the Black Records sound is unusually diverse. There is classic piano-trio music from Russell, innovative larger-group work by bands like The Awakening and stunning vocal albums by newcomers like Kellee Patterson. Aaron Cohen, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/M/bo18705279.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Move On Up: Chicago Soul Music and Black Cultural Power\u003c/em>\u003c/a>, wrote of the era: “… it seems like there was a conscious effort to find artists who engaged with the manifold and diverse expressions of African-American music at the time, whether it was more popular leaning or more experimental. Indeed, Black Jazz showed that those impulses need not be mutually exclusive.”\u003c/p>\n\u003cp>The range of recordings in the first batch of Black Jazz Records reissues show this clearly. Carn’s \u003cem>Spirit of the New Land\u003c/em> has the distinctive style hallmarks of the Black Jazz catalog (\u003cem>Infant Eyes\u003c/em> will release in spring 2021). An illustrious ensemble that included Tolliver on flugelhorn, Alphonse Mouzon (who later gained renown with Larry Coryell and Weather Report) on drums and Earl McIntyre, whose credits range from Stevie Wonder to Cecil Taylor, on tuba, all playing Carn originals as well as Miles Davis’s “Blue in Green” and Lee Morgan’s “Search for the New Land,” each with lyrics added by the keyboardist. He said it reflected that it was “a crucial time on Black struggle in America.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q1iYOsc0dv4&list=PLwZ1XNI9r5B6IDrYVEwz85GQoMLMJu097\u003c/p>\n\u003cp>The other recordings in the first set of reissues are a dynamic session led by pianist Walter Bishop, with trumpeter Woody Shaw, saxophonist Harold Vick and bassist Reggie Johnson, and a superb recording by the Chicago-based group The Awakening, a band which featured several musicians associated with the AACM there. That latter album begins and ends with recitations of poetry, and in-between features exceptional hard bop-inspired virtuosity. In late September, the label will release \u003cem>Maiden Voyage\u003c/em>, the debut recording from Kellee Patterson, who was the first Black woman to compete in the Miss America Pageant.\u003c/p>\n\u003cp>By 1975, Russell was looking to branch out beyond jazz. He closed Black Jazz Records and launched a new imprint, Aquarican, but managed to release only one album through it (\u003cem>Chyenne’s Coming\u003c/em> by Chyenne Flower, a jazz-rock group somewhat reminiscent of Tower of Power) before his death in 1981. Although Russell’s artists continued to thrive—most notably Jean Carn who, as Jean Carne, had a stellar career as an R&B singer—the music of Russell’s Black Jazz Records label has remained obscure, principally known only to aficionados like the DJ and producer Gilles Peterson.Gordon Anderson of Real Gone Music, a nine-year-old company that specializes in reviving vintage catalogs, took an interest in remedying that obscurity. He says that he was motivated in part by the prices Black Jazz Records were fetching from collectors, “here’s a label with only 20 records that [were all] very sought after.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QjysP0PTthY\u003c/p>\n\u003cp>But, as the release dates for the first Black Jazz reissues approached, ownership disputes broke out, with several parties claiming rights to the music and Russell’s heirs wanting their share, too. As of this writing, there is no legal clarity around the matter; all of the parties are searching for documents to substantiate their contentions. Meanwhile, many of the musicians involved acknowledge that, while Russell presented the label as his, there was doubt that he had funded it himself.\u003c/p>\n\u003cp>The pending reissues triggered another strong reaction overseas, where concerts were held in advance of the 50th anniversary of the label. Last autumn, there were sold-out shows in Paris and Berlin (a London booking was postponed due to the pandemic). “It was amazing,” said Carvin. “Almost 50 years after the release of these records, places were sold out, standing-room-only-type crowds, to hear the music we were making back then.” He was also pleased to see that the crowds weren’t older people indulging nostalgia, but younger folks discovering the style, too.\u003c/p>\n\u003cp>In some ways, it’s not surprising. The Afro-Diasporic sound of Black Jazz can be found in numerous artists on today’s scene: Kamasi Washington, Nubya Garcia, Shabaka Hutchings and many more echo both the musical diversity and spiritual aspects of the Black Jazz aesthetic. Cohen agrees with the resonance, noting that artists like Angel Bat Dawid likely heard the music of\u003cem> The Awakening\u003c/em>, and that the underlying philosophy from that era has spread far and wide.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The jazz, R&B and spoken word hybrids from decades ago have clear connections to jazz, R&B and hip hop/spoken word today. The times that Black Jazz records have been sampled have also been a part of its legacy (I counted at least a dozen on whosampled.com),” Cohen writes in an email. Also, he notes the self-reliance aspect being crucial to music in the diminished state of the recording industry today, and he concluded, “issues of social consciousness that undoubtedly fueled the rise of such companies as Black Jazz have reverberated today through the Black Lives Matter movement.”\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=Rediscovering+The+Enormous+Social+And+Spiritual+Legacy+Of+Black+Jazz+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The dawn of the ’70s were heady times for keyboardist Doug Carn and drummer Michael Carvin. Both men had recently relocated to Los Angeles from points south; Carn came from Florida, Carvin from Houston. Carn was getting gigs with well-known bands like Nat Adderly and Earth, Wind And Fire, while Carvin was getting work in television bands as a sideman. Most central to the pair, though, was the demo the two had recorded along with Carn’s wife, vocalist Jean Carn, that they thought marked the future of jazz. Inspired by three legendary African-Americans—Dr. Martin Luther King, John Coltrane and Muhammad Ali—Carn had written lyrics for music composed by Coltrane, McCoy Tyner and Wayne Shorter, which were then sung by Jean, who imbued the songs with an energetic vibrance. “I felt we were creating a new set of standards,” Doug Carn tells NPR Music.\u003c/p>\n\u003cp>Carn took the demo to some of the prominent jazz labels of the time, like Blue Note, Impulse! and Columbia, but, to his honest surprise, found no takers. Even in retrospect, it is a head-scratcher; the music’s spiritual overtones both echoed Coltrane, just a few years removed from his death and already a towering figure, and the work of one of Coltrane’s proteges, Pharoah Sanders, who notched a hit in 1969 with the song “The Creator Has a Master Plan,” from his 1969 recording \u003cem>Karma—\u003c/em>a cornerstone of the spiritual jazz that Carn was creating. Plus, the sound of Carn’s ensemble had a pan-African feel in the rhythms, which echoed a trend in several jazz styles.\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/QZ6lB7FKxi8'\n title='//www.youtube.com/embed/QZ6lB7FKxi8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still without a home for their recordings, Carn and Carvin then heard of a new label, Black Jazz Records, which was being run in Oakland by Gene Russell, a pianist who had scored a minor hit with the piano trio album \u003cem>Up And Away\u003c/em>, which featured covers of contemporary pop tunes. Russell was planning to make his new label focus on artistic self-determination, rather than conformity to the marketplace.\u003c/p>\n\u003cfigure id=\"attachment_13886751\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe\" alt=\"The cover photograph for Gene Russell's album 'New Direction,' the first release on Black Jazz.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0-160x160.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The cover photograph for Gene Russell’s album ‘New Direction,’ the first release on Black Jazz. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover art told the story of his transition: Russell’s Decca recording had featured its title in a bright, psychedelic color scheme, overlaid on a photo of Russell in the engine of an airplane, holding balloons. It’s presentation was whimsical; almost a rebuttal of the tumult in the streets. The first release on Black Jazz, his own album, aptly titled \u003cem>New Direction,\u003c/em> featured a black-and-white photo with a black frame and white typeface. The logo featured a soul-brother handshake, and the photo of Russell was of him in a black hat and blue jeans, assertively looking at the camera, clearly an independent urban spirit. In style it was an endorsement of post Civil Rights life for African Americans; there was less need to please the dominant society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carn and Carvin were all-too-right about their hunch. Russell heard the demo and, rather than send them into the studio to record fuller versions of the music, simply released it as \u003cem>Infant Eyes\u003c/em>, one of the first recordings on his new imprint.\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/38OXtiRZ2ig'\n title='//www.youtube.com/embed/38OXtiRZ2ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jazz has always been a celebration of Black self-determination, but the jazz recording industry often failed to reflect that priority. Russell and his co-founder, Dick Schory, were among several artists and businessmen eager to challenge the paradigm. They weren’t alone—the late ’60s and early ’70s witnessed a flowering of independent spirit in the jazz community. Collectives sprung up around the country—the Association of the Advancement of Creative Musicians in Chicago (AACM), the Black Artists Group in St. Louis, the Union of God’s Musicians and Artists Ascension in Los Angeles all among them—to present and nurture the creation of a new music.\u003c/p>\n\u003cp>Artist-run labels followed in the same spirit. Sun Ra had created El Saturn Records to release his own work. Betty Carter created Bet-Car for hers. Trumpeter Charles Tolliver and pianist Stanley Cowell formed Strata East as a home for their work and that of their peers. DJ and impresario Jimmy Gray and saxophonist James Branch launched Black Fire Records to document the burgeoning African-American music scene in Washington, D.C. All of these labels captured a moment when Black people—musicians and fans alike—were resisting the definitions that had been imposed on them by white society and creating different sounds of blackness. Black Jazz Records was one of the biggest and most ambitious among them.\u003c/p>\n\u003cfigure id=\"attachment_13886752\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg\" alt=\"The Black Jazz logo featured a soul-brother handshake.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Jazz logo. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Jazz was founded in Oakland, also home to the Black Panther Party, an enduring icon of the African-American struggle for self-determination. Russell and Schory ran it from that city until 1975, after having released 20 albums, and in the ensuing 45 years the music has gone in and out of print, admired by jazz-influenced hip-hop artists and DJs and crate diggers everywhere. In late summer, Real Gone Music, an imprint dedicated to reviving lost catalogues of albums, \u003ca href=\"https://urldefense.com/v3/__https://shop.realgonemusic.com/collections/vinyl/black-jazz__;!!Iwwt!B9lSnzFCndHopsQyvms2e3BM_TUqcAIvNfn5QwrPPrNGfz07b8dhSp4UljbqGw%24\" target=\"_blank\" rel=\"noopener noreferrer\">launched an eighteen-month program\u003c/a> which will put the entirety of the Black Jazz Records portfolio back in print. The breadth of the work is exceptional; even from an era where musical boundaries blurred, the Black Records sound is unusually diverse. There is classic piano-trio music from Russell, innovative larger-group work by bands like The Awakening and stunning vocal albums by newcomers like Kellee Patterson. Aaron Cohen, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/M/bo18705279.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Move On Up: Chicago Soul Music and Black Cultural Power\u003c/em>\u003c/a>, wrote of the era: “… it seems like there was a conscious effort to find artists who engaged with the manifold and diverse expressions of African-American music at the time, whether it was more popular leaning or more experimental. Indeed, Black Jazz showed that those impulses need not be mutually exclusive.”\u003c/p>\n\u003cp>The range of recordings in the first batch of Black Jazz Records reissues show this clearly. Carn’s \u003cem>Spirit of the New Land\u003c/em> has the distinctive style hallmarks of the Black Jazz catalog (\u003cem>Infant Eyes\u003c/em> will release in spring 2021). An illustrious ensemble that included Tolliver on flugelhorn, Alphonse Mouzon (who later gained renown with Larry Coryell and Weather Report) on drums and Earl McIntyre, whose credits range from Stevie Wonder to Cecil Taylor, on tuba, all playing Carn originals as well as Miles Davis’s “Blue in Green” and Lee Morgan’s “Search for the New Land,” each with lyrics added by the keyboardist. He said it reflected that it was “a crucial time on Black struggle in America.”\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/Q1iYOsc0dv4'\n title='//www.youtube.com/embed/Q1iYOsc0dv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other recordings in the first set of reissues are a dynamic session led by pianist Walter Bishop, with trumpeter Woody Shaw, saxophonist Harold Vick and bassist Reggie Johnson, and a superb recording by the Chicago-based group The Awakening, a band which featured several musicians associated with the AACM there. That latter album begins and ends with recitations of poetry, and in-between features exceptional hard bop-inspired virtuosity. In late September, the label will release \u003cem>Maiden Voyage\u003c/em>, the debut recording from Kellee Patterson, who was the first Black woman to compete in the Miss America Pageant.\u003c/p>\n\u003cp>By 1975, Russell was looking to branch out beyond jazz. He closed Black Jazz Records and launched a new imprint, Aquarican, but managed to release only one album through it (\u003cem>Chyenne’s Coming\u003c/em> by Chyenne Flower, a jazz-rock group somewhat reminiscent of Tower of Power) before his death in 1981. Although Russell’s artists continued to thrive—most notably Jean Carn who, as Jean Carne, had a stellar career as an R&B singer—the music of Russell’s Black Jazz Records label has remained obscure, principally known only to aficionados like the DJ and producer Gilles Peterson.Gordon Anderson of Real Gone Music, a nine-year-old company that specializes in reviving vintage catalogs, took an interest in remedying that obscurity. He says that he was motivated in part by the prices Black Jazz Records were fetching from collectors, “here’s a label with only 20 records that [were all] very sought after.”\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/QjysP0PTthY'\n title='//www.youtube.com/embed/QjysP0PTthY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But, as the release dates for the first Black Jazz reissues approached, ownership disputes broke out, with several parties claiming rights to the music and Russell’s heirs wanting their share, too. As of this writing, there is no legal clarity around the matter; all of the parties are searching for documents to substantiate their contentions. Meanwhile, many of the musicians involved acknowledge that, while Russell presented the label as his, there was doubt that he had funded it himself.\u003c/p>\n\u003cp>The pending reissues triggered another strong reaction overseas, where concerts were held in advance of the 50th anniversary of the label. Last autumn, there were sold-out shows in Paris and Berlin (a London booking was postponed due to the pandemic). “It was amazing,” said Carvin. “Almost 50 years after the release of these records, places were sold out, standing-room-only-type crowds, to hear the music we were making back then.” He was also pleased to see that the crowds weren’t older people indulging nostalgia, but younger folks discovering the style, too.\u003c/p>\n\u003cp>In some ways, it’s not surprising. The Afro-Diasporic sound of Black Jazz can be found in numerous artists on today’s scene: Kamasi Washington, Nubya Garcia, Shabaka Hutchings and many more echo both the musical diversity and spiritual aspects of the Black Jazz aesthetic. Cohen agrees with the resonance, noting that artists like Angel Bat Dawid likely heard the music of\u003cem> The Awakening\u003c/em>, and that the underlying philosophy from that era has spread far and wide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The jazz, R&B and spoken word hybrids from decades ago have clear connections to jazz, R&B and hip hop/spoken word today. The times that Black Jazz records have been sampled have also been a part of its legacy (I counted at least a dozen on whosampled.com),” Cohen writes in an email. Also, he notes the self-reliance aspect being crucial to music in the diminished state of the recording industry today, and he concluded, “issues of social consciousness that undoubtedly fueled the rise of such companies as Black Jazz have reverberated today through the Black Lives Matter movement.”\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=Rediscovering+The+Enormous+Social+And+Spiritual+Legacy+Of+Black+Jazz+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Plucky” is one of those words that doesn’t get out and about much anymore.\u003c/p>\n\u003cp>Something about it feels off, a bit—regressive, condescending, even vaguely sexist, as it’s usually only seen in the company of the word “heroine” these days.\u003c/p>\n\u003cp>But I’m gonna dust it off and use it here, because there’s just no getting around it—”plucky,” after all, means “spirited, determined and courageous, especially when things are looking grim” and 16-year-old Enola Holmes (as played by Millie Bobby Brown, who’s also—tellingly, I think—one of the film’s producers) is \u003cem>precisely \u003c/em>that. She is pluckiness made flesh. Pluck incarnate.\u003c/p>\n\u003cp>The bright, breezy Netflix film \u003cem>Enola Holmes\u003c/em>, which is based on a series of YA novels by Nancy Springer, benefits hugely from Brown’s lively, intelligent and charming performance. She’s so good here that even the character’s tendency to turn to the camera and address the audience—which she does a great deal (seriously, this film has more asides than an adodecahedron)—never gets wearying. You even start to find yourself looking forward to them, if you can imagine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1d0Zf9sXlHk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plot: Enola awakens on her 16th birthday (she was 14 in the novel) to discover that her mother (Helena Bonham Carter)—an eccentric but brilliant thinker and suffragist—is missing. Following clues involving anagrams and cyphers, she sets off to London to find her, all while attempting to evade her older brothers Mycroft (Sam Claflin) and Sherlock (Henry Cavill), who are seeking to cart Enola off to a finishing school.\u003c/p>\n\u003cp>Do I need to tell you that the dour, prim head of the finishing school in question is played by Fiona Shaw? Or that Burn Gorman shows up as a villainous thug, forever lurking in doorways? I don’t, right? You guessed all that right away, yes?\u003c/p>\n\u003cp>The script is witty, the cast slightly more diverse than you’re likely expecting, and there are fun references to canonical Holmes elements throughout. True, this is a lighter and frothier take on Victorian England than we’re used to seeing, though it does flirt with some darker themes involving the mother’s fate that threaten to throw off the film’s tonal balance. And speaking of flirting — a romantic subplot involving a young marquess (Louis Partridge), who looks like what you’d get if Victorian farmers had grown boy bands out on the heath, generates neither heat nor sparks, and comes off as one of the film’s more formulaic YA components.\u003c/p>\n\u003cp>And I’m honestly puzzled by Cavill’s performance as Sherlock here, which, while it may comport with the books’ portrayal, feels wildly out-of-step with past interpretations of Arthur Conan Doyle’s hero. O.G. Sherlock is, after all, cold, shrewd, impatient and famously tetchy. Cavill, in stark contrast, is ridiculously warm and empathetic, even tender; the ultimate effect feels less like a radical re-interpretation and more like a clumsy mis-interpretation. (Plus there’s the small but telling fact that when classic Sherlock roamed the streets of London, he did so without bulging out of his tweed frock coat, as Cavill does. He could also put his arms down at his sides, as Cavill cannot.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are six books in the\u003cem> Enola Holmes Mysteries\u003c/em> series, and the film plants several seeds that will only come to fruition should a sequel or two happen. Here’s hoping they do, because the world of this film is a pleasure to disappear into, and in Enola, Brown has found a role to which she seems perfectly—even uncannily—matched.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Lively+%27Enola+Holmes%2C%27+Sherlock%27s+Little+Sister+Goes+Sleuthing&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 plot: Enola awakens on her 16th birthday (she was 14 in the novel) to discover that her mother (Helena Bonham Carter)—an eccentric but brilliant thinker and suffragist—is missing. Following clues involving anagrams and cyphers, she sets off to London to find her, all while attempting to evade her older brothers Mycroft (Sam Claflin) and Sherlock (Henry Cavill), who are seeking to cart Enola off to a finishing school.\u003c/p>\n\u003cp>Do I need to tell you that the dour, prim head of the finishing school in question is played by Fiona Shaw? Or that Burn Gorman shows up as a villainous thug, forever lurking in doorways? I don’t, right? You guessed all that right away, yes?\u003c/p>\n\u003cp>The script is witty, the cast slightly more diverse than you’re likely expecting, and there are fun references to canonical Holmes elements throughout. True, this is a lighter and frothier take on Victorian England than we’re used to seeing, though it does flirt with some darker themes involving the mother’s fate that threaten to throw off the film’s tonal balance. And speaking of flirting — a romantic subplot involving a young marquess (Louis Partridge), who looks like what you’d get if Victorian farmers had grown boy bands out on the heath, generates neither heat nor sparks, and comes off as one of the film’s more formulaic YA components.\u003c/p>\n\u003cp>And I’m honestly puzzled by Cavill’s performance as Sherlock here, which, while it may comport with the books’ portrayal, feels wildly out-of-step with past interpretations of Arthur Conan Doyle’s hero. O.G. Sherlock is, after all, cold, shrewd, impatient and famously tetchy. Cavill, in stark contrast, is ridiculously warm and empathetic, even tender; the ultimate effect feels less like a radical re-interpretation and more like a clumsy mis-interpretation. (Plus there’s the small but telling fact that when classic Sherlock roamed the streets of London, he did so without bulging out of his tweed frock coat, as Cavill does. He could also put his arms down at his sides, as Cavill cannot.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are six books in the\u003cem> Enola Holmes Mysteries\u003c/em> series, and the film plants several seeds that will only come to fruition should a sequel or two happen. Here’s hoping they do, because the world of this film is a pleasure to disappear into, and in Enola, Brown has found a role to which she seems perfectly—even uncannily—matched.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Lively+%27Enola+Holmes%2C%27+Sherlock%27s+Little+Sister+Goes+Sleuthing&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When big, important people die, it’s easy to overuse the term “iconic,” but the title fits Justice Ruth Bader Ginsburg. Outside the halls of the Supreme Court, she had another life in pop culture as a symbol of both dissent and feminism. And maybe nothing has cemented her place there more than \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>Played by \u003cem>SNL\u003c/em> cast member Kate McKinnon, this version of Ginsburg—let’s call her RBG—was spry and punchy. As questions about the real Ginsburg’s age and health popped up in the news, RBG on \u003cem>SNL\u003c/em> danced and yelled and rolled her eyes, tossing out insults that would be known as “Ginsburns.” Particularly as President Trump’s administration came into power, the driving message behind RBG was—she wasn’t going anywhere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aY8A2cpK6tg\u003c/p>\n\u003cp>In a statement, McKinnon said it was a “profound joy” to play her.\u003c/p>\n\u003cblockquote>\u003cp>For so many of us, Justice Ginsburg was a real-life superhero: a beacon of hope, a warrior for justice, a robed crusader who saved the day time and again. Playing her on \u003cem>SNL\u003c/em> was a profound joy because I could always feel the overwhelming love and gratitude that the audience had for her. It was one of the great honors of my life to meet Justice Ginsburg, to shake her hand, and to thank her for her lifetime of service to this country.\u003c/p>\u003c/blockquote>\n\u003cp>Of course, the RBG phenomenon went beyond \u003cem>Saturday Night Live\u003c/em>. In 2018 she got both her own biopic and Oscar-nominated documentary. People were enraptured—finding out about her clothes, her accessories, her diet and exercise regimen (her trainer, Bryant Johnson, \u003ca href=\"http://rbgworkout.com/in-the-news/\" target=\"_blank\" rel=\"noopener noreferrer\">published a book\u003c/a> about her workout, inspiring headlines like “\u003ca href=\"https://melmagazine.com/en-us/story/i-got-my-ass-kicked-by-ruth-bader-ginsburgs-personal-trainer\" target=\"_blank\" rel=\"noopener noreferrer\">I Got My Ass Kicked By Ruth Bader Ginsburg’s Personal Trainer\u003c/a>“).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=0oBodJHX1Vg\u003c/p>\n\u003cp>She was even given a nickname, The Notorious RBG—cribbed from the late rapper The Notorious B.I.G. Whenever she was asked how she felt about the comparison, such as in the above clip from \u003cem>The Late Show with Stephen Colbert\u003c/em>, she’d reply that she had one thing in common with the rapper: “We were both born and raised in Brooklyn, New York.”\u003c/p>\n\u003cp>Shana Knizhnik doesn’t think the similarity ended there; “I think they both speak truth to power and can pack a verbal punch,” she told NPR in 2015.\u003c/p>\n\u003cp>Knizhnik started the \u003ca href=\"https://notoriousrbg.tumblr.com/\">Tumblr page\u003c/a> that propelled much of the RBG fandom when she was a law student at NYU. Knizhnik and journalist Irin Carmon turned the page into a book, \u003cem>Notorious RBG: The Life and Times of Ruth Bader Ginsburg\u003c/em>. Carmon told NPR upon the book’s publication that the Internet allowed women to choose their own heroes, and it’s no surprise that many were drawn to a figure who was constantly underestimated.\u003c/p>\n\u003cp>“I think a lot of young women know what it’s like to be underestimated in that way, and they’re inspired by the fact that she has so much integrity in who she is,” said Carmon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=biIRlcQqmOc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The memeification of RBG of course means that you can find her face on T-Shirts and tote bags and onesies and mugs. There are \u003ca href=\"https://www.cnn.com/2020/09/20/us/rbg-mural-black-lives-matter-plaza-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">murals of her\u003c/a> \u003ca href=\"https://www.washingtonpost.com/dc-md-va/2019/09/19/newest-mural-town-ruth-bader-ginsburg-is-larger-than-life-u-street/\" target=\"_blank\" rel=\"noopener noreferrer\">in Washington, D.C.\u003c/a> In a way, RBG actually has more in common with Biggie than the real Justice Ginsburg might have realized—both became icons who will continue to have a \u003ca href=\"https://www.youtube.com/watch?v=fidVl3QOwQ8&list=PLA9F10DF923CED93A&index=1\" target=\"_blank\" rel=\"noopener noreferrer\">life after death\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=From+%27SNL%27+To+Workout+Videos%2C+How+RBG+Became+A+Pop+Culture+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When big, important people die, it’s easy to overuse the term “iconic,” but the title fits Justice Ruth Bader Ginsburg. Outside the halls of the Supreme Court, she had another life in pop culture as a symbol of both dissent and feminism. And maybe nothing has cemented her place there more than \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>Played by \u003cem>SNL\u003c/em> cast member Kate McKinnon, this version of Ginsburg—let’s call her RBG—was spry and punchy. As questions about the real Ginsburg’s age and health popped up in the news, RBG on \u003cem>SNL\u003c/em> danced and yelled and rolled her eyes, tossing out insults that would be known as “Ginsburns.” Particularly as President Trump’s administration came into power, the driving message behind RBG was—she wasn’t going anywhere.\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/aY8A2cpK6tg'\n title='//www.youtube.com/embed/aY8A2cpK6tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a statement, McKinnon said it was a “profound joy” to play her.\u003c/p>\n\u003cblockquote>\u003cp>For so many of us, Justice Ginsburg was a real-life superhero: a beacon of hope, a warrior for justice, a robed crusader who saved the day time and again. Playing her on \u003cem>SNL\u003c/em> was a profound joy because I could always feel the overwhelming love and gratitude that the audience had for her. It was one of the great honors of my life to meet Justice Ginsburg, to shake her hand, and to thank her for her lifetime of service to this country.\u003c/p>\u003c/blockquote>\n\u003cp>Of course, the RBG phenomenon went beyond \u003cem>Saturday Night Live\u003c/em>. In 2018 she got both her own biopic and Oscar-nominated documentary. People were enraptured—finding out about her clothes, her accessories, her diet and exercise regimen (her trainer, Bryant Johnson, \u003ca href=\"http://rbgworkout.com/in-the-news/\" target=\"_blank\" rel=\"noopener noreferrer\">published a book\u003c/a> about her workout, inspiring headlines like “\u003ca href=\"https://melmagazine.com/en-us/story/i-got-my-ass-kicked-by-ruth-bader-ginsburgs-personal-trainer\" target=\"_blank\" rel=\"noopener noreferrer\">I Got My Ass Kicked By Ruth Bader Ginsburg’s Personal Trainer\u003c/a>“).\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/0oBodJHX1Vg'\n title='//www.youtube.com/embed/0oBodJHX1Vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She was even given a nickname, The Notorious RBG—cribbed from the late rapper The Notorious B.I.G. Whenever she was asked how she felt about the comparison, such as in the above clip from \u003cem>The Late Show with Stephen Colbert\u003c/em>, she’d reply that she had one thing in common with the rapper: “We were both born and raised in Brooklyn, New York.”\u003c/p>\n\u003cp>Shana Knizhnik doesn’t think the similarity ended there; “I think they both speak truth to power and can pack a verbal punch,” she told NPR in 2015.\u003c/p>\n\u003cp>Knizhnik started the \u003ca href=\"https://notoriousrbg.tumblr.com/\">Tumblr page\u003c/a> that propelled much of the RBG fandom when she was a law student at NYU. Knizhnik and journalist Irin Carmon turned the page into a book, \u003cem>Notorious RBG: The Life and Times of Ruth Bader Ginsburg\u003c/em>. Carmon told NPR upon the book’s publication that the Internet allowed women to choose their own heroes, and it’s no surprise that many were drawn to a figure who was constantly underestimated.\u003c/p>\n\u003cp>“I think a lot of young women know what it’s like to be underestimated in that way, and they’re inspired by the fact that she has so much integrity in who she is,” said Carmon.\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/biIRlcQqmOc'\n title='//www.youtube.com/embed/biIRlcQqmOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The memeification of RBG of course means that you can find her face on T-Shirts and tote bags and onesies and mugs. There are \u003ca href=\"https://www.cnn.com/2020/09/20/us/rbg-mural-black-lives-matter-plaza-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">murals of her\u003c/a> \u003ca href=\"https://www.washingtonpost.com/dc-md-va/2019/09/19/newest-mural-town-ruth-bader-ginsburg-is-larger-than-life-u-street/\" target=\"_blank\" rel=\"noopener noreferrer\">in Washington, D.C.\u003c/a> In a way, RBG actually has more in common with Biggie than the real Justice Ginsburg might have realized—both became icons who will continue to have a \u003ca href=\"https://www.youtube.com/watch?v=fidVl3QOwQ8&list=PLA9F10DF923CED93A&index=1\" target=\"_blank\" rel=\"noopener noreferrer\">life after death\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=From+%27SNL%27+To+Workout+Videos%2C+How+RBG+Became+A+Pop+Culture+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On her 2001 album \u003cem>Britney\u003c/em>, Britney Spears declared herself “\u003ca href=\"https://www.youtube.com/watch?v=dOumNJK1X_M\" target=\"_blank\" rel=\"noopener noreferrer\">not a girl, not yet a woman\u003c/a>.” In that sleepy ballad, the then-19-year-old pop star and sex symbol stressed her need for more time to grow up while cautioning you, the listener, against trying to protect her. “I’ve seen so much more than you know now/ So don’t tell me to shut my eyes,” she croons in her signature guttural, Britney-like way.\u003c/p>\n\u003cp>I thought a lot about this song while watching the first half of \u003cem>PEN15 \u003c/em>Season 2, Hulu’s charmingly perceptive coming-of-age comedy, released on September 18. The protagonists Maya and Anna are not teen idols, and at 13, they are still firmly in girlhood. But as suburban middle-schoolers entering puberty during the peak-Britney era—the show is set in 2000—they understand profoundly what it means to oscillate between burgeoning maturity and childish innocence.\u003c/p>\n\u003cp>The first season deftly conveyed the messy, painful, exciting and horrifying nuances of adolescence through period-specific devices like AOL Instant Messenger and an ingenious bit of casting: The millennial co-creators (along with Sam Zvibleman) Maya Erskine and Anna Konkle star as versions of their much younger selves alongside actual 13-year-old actors. In Season 2 they’ve found new ways to burrow the growing pangs and embarrassments even deeper, to cathartic effect.\u003c/p>\n\u003cp>The show picks up just two days after the events of the Season 1 finale, which included Maya and Anna being felt up by Maya’s crush Brandt (Jonah Beres) in the janitor’s closet at the fall dance. Brandt admitted he likes Maya, too, but warned her not to tell anyone.\u003c/p>\n\u003cp>Of course crushes rarely stay secret for long among loose-lipped tweens, and this is doubly true for any experimenting they do with one another. When Brandt rebuffs Maya at a pool party in the first of the new episodes and insists their closet encounter never happened, a despondent Maya and Anna proceed to go around to each of their classmates and divulge the details to prove that it did. The gossip backfires on the girls; at school, they are slut-shamed and given a nickname based on the dismissive (and false) description Brandt tells his guy friends about what he did with them at the dance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The land of Y.A.-themed pop culture is littered with versions of this plotline, and recent dramas like the cringe-inducing \u003cem>Eighth Grade\u003c/em> and the \u003ca href=\"https://www.npr.org/2020/09/06/909753465/cuties-calls-out-the-hypersexualization-of-young-girls-and-gets-criticized\" target=\"_blank\" rel=\"noopener noreferrer\">unjustifiably ridiculed \u003cem>Cuties\u003c/em>\u003c/a> have offered thoughtful and progressive examinations of how young girls are simultaneously encouraged to grow up fast and scolded for doing so.\u003cem> PEN15 \u003c/em>does the same, but it aims to find a sweet spot between comedic and dramatic extremes. Maya and Anna’s immaturity and (attempts at) maturity are embraced equally: The girls are proud of their PG-rated dalliance, but they deal with the fallout—as well as other issues requiring a level of sophistication they understandably don’t possess quite yet—in distinctively childlike ways.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oFAHiU0g0xQ\u003c/p>\n\u003cp>In the third episode “Vendy Wiccany,” for instance, they become obsessed with creating their own wiccan practice as a way to channel anxieties about everything going on at school and home—Anna is struggling to come to terms with the dissolution of her parents’ marriage and Maya misses her father, who is constantly traveling for work. Both are trying to cope with the Brandt rumors. (“If he was my boyfriend, then no one would be saying the stuff they’re saying to us,” Maya reasons, when deciding to cast a love spell on Brandt.)\u003c/p>\n\u003cp>But the game of pretend spirals out of control quickly, to the point where it disturbs their classmates and reveals their underdeveloped emotional EQs. Maya unfurls unsettling stalker-like tendencies toward Brandt. They threaten to cast a hex on students who spy on them in the school greenhouse, and burst into a horrifying (but funny) chant of gibberish while convulsing, which ultimately gets them sent to the principal’s office and draws in their bewildered parents.\u003c/p>\n\u003cp>This realm of make-believe is an extension of a lighter facet of their personalities. Despite being in their early teens, a time when most of us are eager to ditch any childhood affinities that might make our peers think we’re stuck in elementary school, the girls still play with dolls unironically. At a sleepover with a new friend, they play a prank on the other girls in attendance involving Maya emerging from a duffle bag as if she were \u003ca href=\"https://www.youtube.com/watch?v=JjIXwkX1e48\" target=\"_blank\" rel=\"noopener noreferrer\">The Thing bursting from Norris’ chest\u003c/a>; the joke receives only a tepid reception. (“You guys are so weird sometimes,” their friend reacts condescendingly.)\u003c/p>\n\u003cp>Like most kids, Maya and Anna want to fit in and have newly developed sexual urges. But they are also still, undeniably, 13-year-olds—13-year-olds who seem very cognizant, perhaps for the first time in their short lives, of the passage of time and how it is changing them. At the end of “Vendy Wiccany,” the girls break down over the realization that life isn’t as simple as it once was. As Maya embraces a crying Anna and tells her that she loves her, the bond between them is visceral; \u003cem>PEN15\u003c/em>‘s unique ability to tap into the many gradients of puberty is palpable.\u003c/p>\n\u003cp>In 1999, when she was just 17, Britney Spears was featured in an \u003ca href=\"https://www.rollingstone.com/music/music-news/britney-spears-teen-queen-rolling-stones-1999-cover-story-254871/\" target=\"_blank\" rel=\"noopener noreferrer\">infamous \u003cem>Rolling Stone\u003c/em> cover shoot\u003c/a>, cradling a stuffed purple Teletubby toy in one arm while posed against a pink satin backdrop in lingerie. It succinctly encapsulated the blurry, polarizing line she often straddled between bubbly, youthful innocence and teen sex symbol at the time. I remember being around the same age as Maya and Anna are when that cover came out, and aware of the handwringing it caused over how it might influence young girls like myself. Much of the public didn’t know what to make of this dichotomy (and still doesn’t, judging by the faux outrage aimed at \u003cem>Cuties\u003c/em> earlier this month). It’s not surprising that Britney would go on to record “I’m Not a Girl, Not Yet a Woman,” a song utterly transparent in its attempt to acknowledge the mixed reactions to her image as a child star.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>PEN15 \u003c/em>is the weirder, funnier and completely un-sexy spiritual companion to Britney cradling that Teletubby, and the more soulful counterpart to “Not a Girl.” It works because, amidst the delightful crudeness and silliness, its creators show a clear compassion for their younger selves, a compassion that is too often not extended to the Mayas, Annas or Britneys of the world.\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=%27PEN15%27+Is+Back%2C+And+Girlhood+Is+Still+Painfully+Awkward+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On her 2001 album \u003cem>Britney\u003c/em>, Britney Spears declared herself “\u003ca href=\"https://www.youtube.com/watch?v=dOumNJK1X_M\" target=\"_blank\" rel=\"noopener noreferrer\">not a girl, not yet a woman\u003c/a>.” In that sleepy ballad, the then-19-year-old pop star and sex symbol stressed her need for more time to grow up while cautioning you, the listener, against trying to protect her. “I’ve seen so much more than you know now/ So don’t tell me to shut my eyes,” she croons in her signature guttural, Britney-like way.\u003c/p>\n\u003cp>I thought a lot about this song while watching the first half of \u003cem>PEN15 \u003c/em>Season 2, Hulu’s charmingly perceptive coming-of-age comedy, released on September 18. The protagonists Maya and Anna are not teen idols, and at 13, they are still firmly in girlhood. But as suburban middle-schoolers entering puberty during the peak-Britney era—the show is set in 2000—they understand profoundly what it means to oscillate between burgeoning maturity and childish innocence.\u003c/p>\n\u003cp>The first season deftly conveyed the messy, painful, exciting and horrifying nuances of adolescence through period-specific devices like AOL Instant Messenger and an ingenious bit of casting: The millennial co-creators (along with Sam Zvibleman) Maya Erskine and Anna Konkle star as versions of their much younger selves alongside actual 13-year-old actors. In Season 2 they’ve found new ways to burrow the growing pangs and embarrassments even deeper, to cathartic effect.\u003c/p>\n\u003cp>The show picks up just two days after the events of the Season 1 finale, which included Maya and Anna being felt up by Maya’s crush Brandt (Jonah Beres) in the janitor’s closet at the fall dance. Brandt admitted he likes Maya, too, but warned her not to tell anyone.\u003c/p>\n\u003cp>Of course crushes rarely stay secret for long among loose-lipped tweens, and this is doubly true for any experimenting they do with one another. When Brandt rebuffs Maya at a pool party in the first of the new episodes and insists their closet encounter never happened, a despondent Maya and Anna proceed to go around to each of their classmates and divulge the details to prove that it did. The gossip backfires on the girls; at school, they are slut-shamed and given a nickname based on the dismissive (and false) description Brandt tells his guy friends about what he did with them at the dance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The land of Y.A.-themed pop culture is littered with versions of this plotline, and recent dramas like the cringe-inducing \u003cem>Eighth Grade\u003c/em> and the \u003ca href=\"https://www.npr.org/2020/09/06/909753465/cuties-calls-out-the-hypersexualization-of-young-girls-and-gets-criticized\" target=\"_blank\" rel=\"noopener noreferrer\">unjustifiably ridiculed \u003cem>Cuties\u003c/em>\u003c/a> have offered thoughtful and progressive examinations of how young girls are simultaneously encouraged to grow up fast and scolded for doing so.\u003cem> PEN15 \u003c/em>does the same, but it aims to find a sweet spot between comedic and dramatic extremes. Maya and Anna’s immaturity and (attempts at) maturity are embraced equally: The girls are proud of their PG-rated dalliance, but they deal with the fallout—as well as other issues requiring a level of sophistication they understandably don’t possess quite yet—in distinctively childlike ways.\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/oFAHiU0g0xQ'\n title='//www.youtube.com/embed/oFAHiU0g0xQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the third episode “Vendy Wiccany,” for instance, they become obsessed with creating their own wiccan practice as a way to channel anxieties about everything going on at school and home—Anna is struggling to come to terms with the dissolution of her parents’ marriage and Maya misses her father, who is constantly traveling for work. Both are trying to cope with the Brandt rumors. (“If he was my boyfriend, then no one would be saying the stuff they’re saying to us,” Maya reasons, when deciding to cast a love spell on Brandt.)\u003c/p>\n\u003cp>But the game of pretend spirals out of control quickly, to the point where it disturbs their classmates and reveals their underdeveloped emotional EQs. Maya unfurls unsettling stalker-like tendencies toward Brandt. They threaten to cast a hex on students who spy on them in the school greenhouse, and burst into a horrifying (but funny) chant of gibberish while convulsing, which ultimately gets them sent to the principal’s office and draws in their bewildered parents.\u003c/p>\n\u003cp>This realm of make-believe is an extension of a lighter facet of their personalities. Despite being in their early teens, a time when most of us are eager to ditch any childhood affinities that might make our peers think we’re stuck in elementary school, the girls still play with dolls unironically. At a sleepover with a new friend, they play a prank on the other girls in attendance involving Maya emerging from a duffle bag as if she were \u003ca href=\"https://www.youtube.com/watch?v=JjIXwkX1e48\" target=\"_blank\" rel=\"noopener noreferrer\">The Thing bursting from Norris’ chest\u003c/a>; the joke receives only a tepid reception. (“You guys are so weird sometimes,” their friend reacts condescendingly.)\u003c/p>\n\u003cp>Like most kids, Maya and Anna want to fit in and have newly developed sexual urges. But they are also still, undeniably, 13-year-olds—13-year-olds who seem very cognizant, perhaps for the first time in their short lives, of the passage of time and how it is changing them. At the end of “Vendy Wiccany,” the girls break down over the realization that life isn’t as simple as it once was. As Maya embraces a crying Anna and tells her that she loves her, the bond between them is visceral; \u003cem>PEN15\u003c/em>‘s unique ability to tap into the many gradients of puberty is palpable.\u003c/p>\n\u003cp>In 1999, when she was just 17, Britney Spears was featured in an \u003ca href=\"https://www.rollingstone.com/music/music-news/britney-spears-teen-queen-rolling-stones-1999-cover-story-254871/\" target=\"_blank\" rel=\"noopener noreferrer\">infamous \u003cem>Rolling Stone\u003c/em> cover shoot\u003c/a>, cradling a stuffed purple Teletubby toy in one arm while posed against a pink satin backdrop in lingerie. It succinctly encapsulated the blurry, polarizing line she often straddled between bubbly, youthful innocence and teen sex symbol at the time. I remember being around the same age as Maya and Anna are when that cover came out, and aware of the handwringing it caused over how it might influence young girls like myself. Much of the public didn’t know what to make of this dichotomy (and still doesn’t, judging by the faux outrage aimed at \u003cem>Cuties\u003c/em> earlier this month). It’s not surprising that Britney would go on to record “I’m Not a Girl, Not Yet a Woman,” a song utterly transparent in its attempt to acknowledge the mixed reactions to her image as a child star.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>PEN15 \u003c/em>is the weirder, funnier and completely un-sexy spiritual companion to Britney cradling that Teletubby, and the more soulful counterpart to “Not a Girl.” It works because, amidst the delightful crudeness and silliness, its creators show a clear compassion for their younger selves, a compassion that is too often not extended to the Mayas, Annas or Britneys of the world.\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=%27PEN15%27+Is+Back%2C+And+Girlhood+Is+Still+Painfully+Awkward+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Emmys Pull Off a Good Show as 'Schitt's Creek' and 'Watchmen' Shine",
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"content": "\u003cp>In the pandemic era, the Emmy Awards are not the first major event that can’t be a traditional shindig, but they’re perhaps the most high-profile awards show so far to attempt quite this kind of socially distanced, mask-wearing, virtual ceremony. Host Jimmy Kimmel and everyone producing the broadcast had a pretty tough hill to climb in making it watchable.\u003c/p>\n\u003cp>And surprisingly enough, it was. It wasn’t just watchable; it was … pretty good.\u003c/p>\n\u003cp>The opening bit featured Kimmel apparently doing a typical Emmy monologue, but of course it was just a monologue that they mixed with old audience footage. While it probably went on too long (what doesn’t?), it was a pretty effective way of easing people into this strange format, like going into a cold pool a few inches at a time. I wouldn’t have come up with it as an idea, and it didn’t seem like an especially \u003cem>good \u003c/em>idea as it became clear what they were doing. But it looked better by the time they’d taken it through to Kimmel saying that, of course, they were \u003cem>not \u003c/em>all together, there was \u003cem>not \u003c/em>an audience, and they’d be mostly showing people in remote locations.\u003c/p>\n\u003cp>They did have a sort of skeleton crew on hand with Kimmel, with a few presenters there in person with him, including Jennifer Aniston, Anthony Anderson and Tracee Ellis Ross. The nominees in each major category were read, and then the nominees would be shown on camera at home, waiting to hear the results. The winners got to make speeches on video, just like the presentations you get to make at work.\u003c/p>\n\u003cp>But there was something kind of … sweet about it. In some cases, with shows that had many nominations, casts and crews had gathered together, [mostly] wearing masks and in some cases (\u003cem>Watchmen \u003c/em>was one) making sure you knew they’d been tested. The result, while it wasn’t normal (what is?), achieved an intimacy and a genuinely unpredictable quality that is \u003cem>exactly \u003c/em>what’s missing in nearly every awards show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What makes awards shows so bad, so long, such a \u003cem>drag \u003c/em>so much of the time, is that they’re supposed to be celebratory, but they usually carry a weird sense of obligation. They’re often a fairly bloodless march through the categories, interrupted only by people pretending to laugh at bad banter.\u003c/p>\n\u003cp>For a number of years now, they’ve been clustering awards in each genre (comedy, drama, etc.) together, but they’ve held out the top prizes for the very end of the show. This year, they just gave everything out at once. That emphasized the sweep of the televised awards in comedy that went to \u003cem>Schitt’s Creek\u003c/em>, a show that never won a single Emmy award before this year, but this year took the comedy awards for lead actor (Eugene Levy), lead actress (Catherine O’Hara), supporting actor (Dan Levy), supporting actress (Annie Murphy), writing, directing and comedy series. For a show that was on for six seasons, seven Emmy awards is not a lot! One award in each of those categories is not a lot. It’s just that they came all at once, and all in a row, and there’s no way for that not to be boring, particularly if you don’t adore \u003cem>Schitt’s Creek \u003c/em>(which, full disclosure, I do).\u003c/p>\n\u003cp>It’s worth noting that there were other awards that went to comedies that weren’t part of this broadcast—\u003cem>Insecure \u003c/em>won one for editing, \u003cem>The Marvelous Mrs. Maisel \u003c/em>won one for music supervision, and Eddie Murphy and Maya Rudolph both won for guest appearances on \u003cem>Saturday Night Live\u003c/em>. But on the main broadcast, it was all \u003cem>Schitt’s Creek\u003c/em>, which did make for an awkward beginning. It didn’t help that it came at the expense of a couple of very beloved shows, including \u003cem>Insecure \u003c/em>and \u003cem>The Good Place\u003c/em>, both of which have also been nominated and not won in previous years.\u003c/p>\n\u003cp>Things picked up a little as they moved on, although it was still a night with some pretty dominant properties. \u003cem>Watchmen \u003c/em>won big with the top prize for outstanding limited series, plus well-earned awards for actress Regina King, supporting actor Yahya Abdul-Mateen II, and writing by Damon Lindelof and Cord Jefferson. Other winners in limited series were Uzo Aduba for her great work as Shirley Chisholm in \u003cem>Mrs. America\u003c/em> and Mark Ruffalo for HBO’s \u003cem>I Know This Much Is True\u003c/em>.\u003c/p>\n\u003cp>In the drama field, \u003cem>Succession \u003c/em>was the big winner. It also managed to avoid the danger of splitting votes between Jeremy Strong and Brian Cox, and Strong emerged the winner. \u003cem>Succession \u003c/em>also won for writing and directing. It did not, however, go on a tear of the kind that \u003cem>Schitt’s Creek \u003c/em>did. Zendaya won for her very well-regarded turn in HBO’s \u003cem>Euphoria\u003c/em>, a welcome win for a younger actor who took the opportunity in her acceptance to acknowledge activism among her peers.\u003c/p>\n\u003cp>Vote-splitting may have led to the three \u003cem>Succession \u003c/em>actors in the supporting actor category losing out. But winner Billy Crudup did have something working for him: He was the one consistently terrific thing about the high-profile but creatively shaky Apple offering \u003cem>The Morning Show\u003c/em>. In the supporting actress category, Julia Garner won for \u003cem>Ozark\u003c/em>, a show that’s been a consistent awards performer for Netflix.\u003c/p>\n\u003cp>Some other winners: \u003cem>Saturday Night Live \u003c/em>for sketch series, \u003cem>Last Week Tonight \u003c/em>for talk series and \u003cem>RuPaul’s Drag Race \u003c/em>for reality competition series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sunday night wasn’t necessarily an argument that every awards show should be made with all the winners at home. But it was certainly an argument that not every awards show has to look like the dry, fake-laughter-filled productions we get in every other year. One day, the crowds will return. But perhaps some of these innovations would be worth keeping.\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=The+Emmys+Pull+Off+A+Good+Show+As+%27Schitt%27s+Creek%27+And+%27Watchmen%27+Shine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the pandemic era, the Emmy Awards are not the first major event that can’t be a traditional shindig, but they’re perhaps the most high-profile awards show so far to attempt quite this kind of socially distanced, mask-wearing, virtual ceremony. Host Jimmy Kimmel and everyone producing the broadcast had a pretty tough hill to climb in making it watchable.\u003c/p>\n\u003cp>And surprisingly enough, it was. It wasn’t just watchable; it was … pretty good.\u003c/p>\n\u003cp>The opening bit featured Kimmel apparently doing a typical Emmy monologue, but of course it was just a monologue that they mixed with old audience footage. While it probably went on too long (what doesn’t?), it was a pretty effective way of easing people into this strange format, like going into a cold pool a few inches at a time. I wouldn’t have come up with it as an idea, and it didn’t seem like an especially \u003cem>good \u003c/em>idea as it became clear what they were doing. But it looked better by the time they’d taken it through to Kimmel saying that, of course, they were \u003cem>not \u003c/em>all together, there was \u003cem>not \u003c/em>an audience, and they’d be mostly showing people in remote locations.\u003c/p>\n\u003cp>They did have a sort of skeleton crew on hand with Kimmel, with a few presenters there in person with him, including Jennifer Aniston, Anthony Anderson and Tracee Ellis Ross. The nominees in each major category were read, and then the nominees would be shown on camera at home, waiting to hear the results. The winners got to make speeches on video, just like the presentations you get to make at work.\u003c/p>\n\u003cp>But there was something kind of … sweet about it. In some cases, with shows that had many nominations, casts and crews had gathered together, [mostly] wearing masks and in some cases (\u003cem>Watchmen \u003c/em>was one) making sure you knew they’d been tested. The result, while it wasn’t normal (what is?), achieved an intimacy and a genuinely unpredictable quality that is \u003cem>exactly \u003c/em>what’s missing in nearly every awards show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What makes awards shows so bad, so long, such a \u003cem>drag \u003c/em>so much of the time, is that they’re supposed to be celebratory, but they usually carry a weird sense of obligation. They’re often a fairly bloodless march through the categories, interrupted only by people pretending to laugh at bad banter.\u003c/p>\n\u003cp>For a number of years now, they’ve been clustering awards in each genre (comedy, drama, etc.) together, but they’ve held out the top prizes for the very end of the show. This year, they just gave everything out at once. That emphasized the sweep of the televised awards in comedy that went to \u003cem>Schitt’s Creek\u003c/em>, a show that never won a single Emmy award before this year, but this year took the comedy awards for lead actor (Eugene Levy), lead actress (Catherine O’Hara), supporting actor (Dan Levy), supporting actress (Annie Murphy), writing, directing and comedy series. For a show that was on for six seasons, seven Emmy awards is not a lot! One award in each of those categories is not a lot. It’s just that they came all at once, and all in a row, and there’s no way for that not to be boring, particularly if you don’t adore \u003cem>Schitt’s Creek \u003c/em>(which, full disclosure, I do).\u003c/p>\n\u003cp>It’s worth noting that there were other awards that went to comedies that weren’t part of this broadcast—\u003cem>Insecure \u003c/em>won one for editing, \u003cem>The Marvelous Mrs. Maisel \u003c/em>won one for music supervision, and Eddie Murphy and Maya Rudolph both won for guest appearances on \u003cem>Saturday Night Live\u003c/em>. But on the main broadcast, it was all \u003cem>Schitt’s Creek\u003c/em>, which did make for an awkward beginning. It didn’t help that it came at the expense of a couple of very beloved shows, including \u003cem>Insecure \u003c/em>and \u003cem>The Good Place\u003c/em>, both of which have also been nominated and not won in previous years.\u003c/p>\n\u003cp>Things picked up a little as they moved on, although it was still a night with some pretty dominant properties. \u003cem>Watchmen \u003c/em>won big with the top prize for outstanding limited series, plus well-earned awards for actress Regina King, supporting actor Yahya Abdul-Mateen II, and writing by Damon Lindelof and Cord Jefferson. Other winners in limited series were Uzo Aduba for her great work as Shirley Chisholm in \u003cem>Mrs. America\u003c/em> and Mark Ruffalo for HBO’s \u003cem>I Know This Much Is True\u003c/em>.\u003c/p>\n\u003cp>In the drama field, \u003cem>Succession \u003c/em>was the big winner. It also managed to avoid the danger of splitting votes between Jeremy Strong and Brian Cox, and Strong emerged the winner. \u003cem>Succession \u003c/em>also won for writing and directing. It did not, however, go on a tear of the kind that \u003cem>Schitt’s Creek \u003c/em>did. Zendaya won for her very well-regarded turn in HBO’s \u003cem>Euphoria\u003c/em>, a welcome win for a younger actor who took the opportunity in her acceptance to acknowledge activism among her peers.\u003c/p>\n\u003cp>Vote-splitting may have led to the three \u003cem>Succession \u003c/em>actors in the supporting actor category losing out. But winner Billy Crudup did have something working for him: He was the one consistently terrific thing about the high-profile but creatively shaky Apple offering \u003cem>The Morning Show\u003c/em>. In the supporting actress category, Julia Garner won for \u003cem>Ozark\u003c/em>, a show that’s been a consistent awards performer for Netflix.\u003c/p>\n\u003cp>Some other winners: \u003cem>Saturday Night Live \u003c/em>for sketch series, \u003cem>Last Week Tonight \u003c/em>for talk series and \u003cem>RuPaul’s Drag Race \u003c/em>for reality competition series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sunday night wasn’t necessarily an argument that every awards show should be made with all the winners at home. But it was certainly an argument that not every awards show has to look like the dry, fake-laughter-filled productions we get in every other year. One day, the crowds will return. But perhaps some of these innovations would be worth keeping.\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=The+Emmys+Pull+Off+A+Good+Show+As+%27Schitt%27s+Creek%27+And+%27Watchmen%27+Shine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ryan Murphy's 'Ratched' Is Pretty, But Makes Almost No Sense Whatsoever",
"headTitle": "Ryan Murphy’s ‘Ratched’ Is Pretty, But Makes Almost No Sense Whatsoever | KQED",
"content": "\u003cp>\u003cem>Ratched \u003c/em>is beautiful, but it’s really bad.\u003c/p>\n\u003cp>The messy eight-episode first season of the Netflix horror thriller (a second season is on the way) creates a backstory for Nurse Ratched, the heartless villain who has McMurphy lobotomized in \u003cem>One Flew Over The Cuckoo’s Nest\u003c/em>. Created by megaproducer Ryan Murphy and newcomer Evan Romansky, \u003cem>Ratched \u003c/em>succeeds as a compendium of stunning images, but that’s about it. As a story, it is nonsensical, self-indulgent and unsuccessful at saying anything about Ratched herself except something along the lines of “people do the darnedest things.”\u003c/p>\n\u003cp>This was probably a doomed project from the start, because Mildred Ratched doesn’t need a history and can’t be given one without breaking the character’s purpose. In \u003cem>Cuckoo’s Nest\u003c/em>, she is the pitiless and relentless face of the institution and the state. She grinds her patients down simply because she does and because she can and because she believes in rules; that is what makes her frightening. She represents an inhuman and inhumane society in its crushing of the individual, really, so she’s not meant to be thought of as a realistic and nuanced person. “How did her childhood make her so mean?” is beside the point when a character represents the absence of individuality and frailty and the surrender of your unique soul. And \u003cem>Ratched \u003c/em>does little to answer the questions it poses anyway, so confused is its presentation of the character.\u003c/p>\n\u003cp>Murphy’s creative bond with Sarah Paulson, who has appeared over and over in his series (including \u003cem>American Horror Story\u003c/em> and \u003cem>American Crime Story\u003c/em>), fails them both here. As Mildred, Paulson seems adrift in a way she has rarely been as an actor, because the way Mildred is written is largely incoherent. At first, we think we are perhaps seeing a sadist in the earliest days of her reign—a woman whose opportunistic brutality isn’t yet entirely funneled through her job. But then when the plot demands it, she becomes gentle and helpful, siding with patients in precisely the way she would never do in \u003cem>Cuckoo’s Nest\u003c/em>. The things that are meant to unlock Mildred’s psyche—that she’s a lesbian, that she suffered horrible childhood trauma, that she lost her parents very young—are baubles that dot the characterization, but none feel like insights into her behavior. It goes without saying that being a closeted lesbian doesn’t cause violence or cruelty, and Murphy surely doesn’t mean to suggest it does. But when you set out to give a backstory to a heartless character and this is so much a part of it, it’s awfully easy to be misunderstood. Mildred’s gentle romance with Gwendolyn (Cynthia Nixon) is likely intended as a tragic grace note, given that we know where all of this is headed and what Mildred’s future holds. But these are potent tropes with which to play.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZU9ZtlkSnnE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a built-in defense against any unease viewers will bump into—a reflexive urge to say, “Look, I get what they’re going for”—because the style here is all grand gore and cheerful vulgarity. It’s very much like a season of \u003cem>American Horror Story\u003c/em>, suffused with Murphy’s longstanding fascination with body horror. But here, that fascination has been transplanted into the world of the mentally ill and the literally sickening treatments to which they’ve been subjected over decades. And really … why? It is one thing to know about the brutality and human rights violations that resulted in icepick lobotomies and trepanning and submersion in freezing or very hot water to “treat” everything from hallucinations to homosexuality. But using explicit images of those things in this context—where there is also a shocking amount of blood and gore of other kinds—seems uncomfortably close to mere exploitation, making a spectacle of atrocities that don’t deserve to be treated as spectacle.\u003c/p>\n\u003cp>Few of the other characters shed much light on Mildred’s story. Jon Jon Briones as Dr. Hanover is often more interesting than Mildred is, but his story eventually devolves into absurdity. Sharon Stone is swanning around with a monkey on her shoulder, playing the be-caftan-ed role in this production that Jessica Lange usually plays in Murphy’s stuff. But because she’s shoehorned into the story, the character is more shoulder-monkey than human. Judy Davis is terrific as Mildred’s initial adversary, Nurse Bucket, who at first is the ice-cold authoritarian Ratched is in \u003cem>Cuckoo’s Nest\u003c/em>. But just like Mildred herself, Bucket experiences personality swings between cruelty and kindness that don’t follow any discernible pattern except what’s needed to further the plot. The same goes for Finn Wittrock’s Edmund, who has come to the hospital after murdering a bunch of priests (would you like to guess whether you’ll get to see these murders in great detail?), and who seesaws between embodiment of evil and wounded victim.\u003c/p>\n\u003cp>The whole thing just doesn’t make any sense, and the more you think about it, the sillier it is. (Why can a patient institutionalized as “criminally insane,” who’s shackled at all times, suddenly … attend a \u003cem>hospital dance\u003c/em> that has one security guard? These things are troubling.)\u003c/p>\n\u003cp>\u003cem>Ratched\u003c/em> is, however, visually arresting. The use of color, in particular, is as breathtaking and inventive as any design you’ll find in television or film, and it’s almost worth watching this absurd series just to enjoy it. It is the deep blues of this institution that play off the pale colors we know from most hospital shows. But it’s everything else as well. It’s this stunning shot of Sophie Okonedo—who plays a patient who disassociates—simply sitting on a couch. The pink, the green of the sofa and the green of the carpet and the green in the skirt (all different but unified in an unexpected way), the blue curtains that bring in the hospital.\u003c/p>\n\u003cfigure id=\"attachment_13886545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-800x450.jpg\" alt=\"Sophie Okonedo plays Charlotte in 'Ratched.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophie Okonedo plays Charlotte in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this shot of the staff, with uniforms that have that deep hospital tone, but also are touched with a paler blue-green, all standing on a copper carpet.\u003c/p>\n\u003cfigure id=\"attachment_13886539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_107_unit_00784r_wide-d185d361d1403802b8e1f87f19fc3417ac6f873a-800x450.jpg\" alt=\"The staff assembles in front of Nurse Bucket (Judy Davis) in 'Ratched.'\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">The staff assembles in front of Nurse Bucket (Judy Davis) in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this meticulous composition—coppers and peaches in the foreground, blues further back, with Mildred in black in the middle.\u003c/p>\n\u003cfigure id=\"attachment_13886540\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_108_unit_00249rc2_wide-ee57a867454d33b96831089a763b1117c7d3796b-800x450.jpg\" alt=\"Sarah Paulson stands out as Mildred in her hospital in 'Ratched.'\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Sarah Paulson stands out as Mildred in her hospital in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This series would make a stunning book of photographs, and production designer Judy Becker, locations manager Robert Foulkes, and costume designers Lou Eyrich and Rebecca Guzzi deserve great credit for creating an impeccable world that deserved to have much more interesting things happen inside of it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ratched \u003c/em>has some of the telltale weaknesses of many pieces that come from creators who are so powerful that their freedoms have, paradoxically, become limiting. Netflix has, for years, bragged about the input it doesn’t offer, the notes it doesn’t give, the “no” it wouldn’t think to direct at an auteur. But here, perhaps a small dose of notes—from \u003cem>someone\u003c/em>—would have been useful. Perhaps someone needed to say, “This really doesn’t make any sense.” Very often, to be edited is to be well-served and to be told no is to be rescued from the excesses of your own creative mind. It’s possible that Netflix, in its collaborations with idiosyncratic producers, needs a more robust Department Of No.\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=%27Ratched%27+Is+Pretty%2C+But+Very+Silly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Packed with gorgeous visuals and Murphy's signature excess, 'Ratched' would, in the end, make a better photo album than show.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ratched \u003c/em>is beautiful, but it’s really bad.\u003c/p>\n\u003cp>The messy eight-episode first season of the Netflix horror thriller (a second season is on the way) creates a backstory for Nurse Ratched, the heartless villain who has McMurphy lobotomized in \u003cem>One Flew Over The Cuckoo’s Nest\u003c/em>. Created by megaproducer Ryan Murphy and newcomer Evan Romansky, \u003cem>Ratched \u003c/em>succeeds as a compendium of stunning images, but that’s about it. As a story, it is nonsensical, self-indulgent and unsuccessful at saying anything about Ratched herself except something along the lines of “people do the darnedest things.”\u003c/p>\n\u003cp>This was probably a doomed project from the start, because Mildred Ratched doesn’t need a history and can’t be given one without breaking the character’s purpose. In \u003cem>Cuckoo’s Nest\u003c/em>, she is the pitiless and relentless face of the institution and the state. She grinds her patients down simply because she does and because she can and because she believes in rules; that is what makes her frightening. She represents an inhuman and inhumane society in its crushing of the individual, really, so she’s not meant to be thought of as a realistic and nuanced person. “How did her childhood make her so mean?” is beside the point when a character represents the absence of individuality and frailty and the surrender of your unique soul. And \u003cem>Ratched \u003c/em>does little to answer the questions it poses anyway, so confused is its presentation of the character.\u003c/p>\n\u003cp>Murphy’s creative bond with Sarah Paulson, who has appeared over and over in his series (including \u003cem>American Horror Story\u003c/em> and \u003cem>American Crime Story\u003c/em>), fails them both here. As Mildred, Paulson seems adrift in a way she has rarely been as an actor, because the way Mildred is written is largely incoherent. At first, we think we are perhaps seeing a sadist in the earliest days of her reign—a woman whose opportunistic brutality isn’t yet entirely funneled through her job. But then when the plot demands it, she becomes gentle and helpful, siding with patients in precisely the way she would never do in \u003cem>Cuckoo’s Nest\u003c/em>. The things that are meant to unlock Mildred’s psyche—that she’s a lesbian, that she suffered horrible childhood trauma, that she lost her parents very young—are baubles that dot the characterization, but none feel like insights into her behavior. It goes without saying that being a closeted lesbian doesn’t cause violence or cruelty, and Murphy surely doesn’t mean to suggest it does. But when you set out to give a backstory to a heartless character and this is so much a part of it, it’s awfully easy to be misunderstood. Mildred’s gentle romance with Gwendolyn (Cynthia Nixon) is likely intended as a tragic grace note, given that we know where all of this is headed and what Mildred’s future holds. But these are potent tropes with which to play.\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/ZU9ZtlkSnnE'\n title='//www.youtube.com/embed/ZU9ZtlkSnnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a built-in defense against any unease viewers will bump into—a reflexive urge to say, “Look, I get what they’re going for”—because the style here is all grand gore and cheerful vulgarity. It’s very much like a season of \u003cem>American Horror Story\u003c/em>, suffused with Murphy’s longstanding fascination with body horror. But here, that fascination has been transplanted into the world of the mentally ill and the literally sickening treatments to which they’ve been subjected over decades. And really … why? It is one thing to know about the brutality and human rights violations that resulted in icepick lobotomies and trepanning and submersion in freezing or very hot water to “treat” everything from hallucinations to homosexuality. But using explicit images of those things in this context—where there is also a shocking amount of blood and gore of other kinds—seems uncomfortably close to mere exploitation, making a spectacle of atrocities that don’t deserve to be treated as spectacle.\u003c/p>\n\u003cp>Few of the other characters shed much light on Mildred’s story. Jon Jon Briones as Dr. Hanover is often more interesting than Mildred is, but his story eventually devolves into absurdity. Sharon Stone is swanning around with a monkey on her shoulder, playing the be-caftan-ed role in this production that Jessica Lange usually plays in Murphy’s stuff. But because she’s shoehorned into the story, the character is more shoulder-monkey than human. Judy Davis is terrific as Mildred’s initial adversary, Nurse Bucket, who at first is the ice-cold authoritarian Ratched is in \u003cem>Cuckoo’s Nest\u003c/em>. But just like Mildred herself, Bucket experiences personality swings between cruelty and kindness that don’t follow any discernible pattern except what’s needed to further the plot. The same goes for Finn Wittrock’s Edmund, who has come to the hospital after murdering a bunch of priests (would you like to guess whether you’ll get to see these murders in great detail?), and who seesaws between embodiment of evil and wounded victim.\u003c/p>\n\u003cp>The whole thing just doesn’t make any sense, and the more you think about it, the sillier it is. (Why can a patient institutionalized as “criminally insane,” who’s shackled at all times, suddenly … attend a \u003cem>hospital dance\u003c/em> that has one security guard? These things are troubling.)\u003c/p>\n\u003cp>\u003cem>Ratched\u003c/em> is, however, visually arresting. The use of color, in particular, is as breathtaking and inventive as any design you’ll find in television or film, and it’s almost worth watching this absurd series just to enjoy it. It is the deep blues of this institution that play off the pale colors we know from most hospital shows. But it’s everything else as well. It’s this stunning shot of Sophie Okonedo—who plays a patient who disassociates—simply sitting on a couch. The pink, the green of the sofa and the green of the carpet and the green in the skirt (all different but unified in an unexpected way), the blue curtains that bring in the hospital.\u003c/p>\n\u003cfigure id=\"attachment_13886545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886545\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-800x450.jpg\" alt=\"Sophie Okonedo plays Charlotte in 'Ratched.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/ratched_105_unit_00822r_wide-bf5d527166d0d10032c765a7391f54ab2f8f5ab4-s1500-c85.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophie Okonedo plays Charlotte in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this shot of the staff, with uniforms that have that deep hospital tone, but also are touched with a paler blue-green, all standing on a copper carpet.\u003c/p>\n\u003cfigure id=\"attachment_13886539\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_107_unit_00784r_wide-d185d361d1403802b8e1f87f19fc3417ac6f873a-800x450.jpg\" alt=\"The staff assembles in front of Nurse Bucket (Judy Davis) in 'Ratched.'\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">The staff assembles in front of Nurse Bucket (Judy Davis) in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this meticulous composition—coppers and peaches in the foreground, blues further back, with Mildred in black in the middle.\u003c/p>\n\u003cfigure id=\"attachment_13886540\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/ratched_108_unit_00249rc2_wide-ee57a867454d33b96831089a763b1117c7d3796b-800x450.jpg\" alt=\"Sarah Paulson stands out as Mildred in her hospital in 'Ratched.'\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Sarah Paulson stands out as Mildred in her hospital in ‘Ratched.’ \u003ccite>(Saeed Adyani/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This series would make a stunning book of photographs, and production designer Judy Becker, locations manager Robert Foulkes, and costume designers Lou Eyrich and Rebecca Guzzi deserve great credit for creating an impeccable world that deserved to have much more interesting things happen inside of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ratched \u003c/em>has some of the telltale weaknesses of many pieces that come from creators who are so powerful that their freedoms have, paradoxically, become limiting. Netflix has, for years, bragged about the input it doesn’t offer, the notes it doesn’t give, the “no” it wouldn’t think to direct at an auteur. But here, perhaps a small dose of notes—from \u003cem>someone\u003c/em>—would have been useful. Perhaps someone needed to say, “This really doesn’t make any sense.” Very often, to be edited is to be well-served and to be told no is to be rescued from the excesses of your own creative mind. It’s possible that Netflix, in its collaborations with idiosyncratic producers, needs a more robust Department Of No.\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=%27Ratched%27+Is+Pretty%2C+But+Very+Silly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Soothing 'Great Pottery Throw Down' Makes Great Isolation TV",
"headTitle": "The Soothing ‘Great Pottery Throw Down’ Makes Great Isolation TV | KQED",
"content": "\u003cp>It’s very easy to explain the appeal of \u003cem>The Great Pottery Throw Down\u003c/em>, which comes to HBO MAX on September 17: It’s \u003cem>The Great British Bake-Off\u003c/em>, but for pottery, and it has the same gentle, good-hearted energy.\u003c/p>\n\u003cp>\u003cem>Throw Down \u003c/em>began on the BBC in 2015, so there are three seasons in the queue, and HBO MAX has all of them. That’s six episodes from season one, eight from season two, and ten from season three. I gobbled all 24 episodes eagerly over the space of a few quarantined days.\u003c/p>\n\u003cp>The format is \u003cem>Bake-Off \u003c/em>(known to U.S. viewers as \u003cem>The Great British Baking Show \u003c/em>for legal reasons) with only very modest adjustments. A host (Sara Cox for the first two seasons, Melanie Sykes for the third) brings warmth and support, two judges (Keith Brymer Jones in all three seasons, joined by Kate Malone for two seasons and Sue Pryke in the third) evaluate the results, and a lineup of lovely contestants with a spirit of teamwork rather than cutthroat competition works through a series of challenges.\u003c/p>\n\u003cp>I know far less about pottery than I do about baking, but it didn’t matter. The host and judges are good at explaining what goes into making a beautiful pot or a graceful handle for a pitcher. Each episode has one major challenge, plus one or two smaller ones that are easy to incorporate into the progress of the episode, since large pieces of pottery take so much time to dry and fire. (This is a thing I know all about now, you know. Ask me about outdoor kilns and pit-firing!) When you think about pottery, you might be envisioning plates and cups and bowls, and there’s plenty of that. But the judges also challenge the potters to create large garden sculptures, light fixtures, and—intriguingly—working toilets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VwipdMH4UIg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the things pottery has in common with baking is suspense. Just as you never know whether a cake will rise until you put it in the oven, you often can’t tell whether a piece of pottery is structurally sound until it comes out of the kiln. The friendly kiln man in all three seasons, whose name is Rich, is responsible for carefully placing each piece in to be fired, and for returning the pieces to the potters, who only then discover whether a piece has developed cracks or, in some cases, very nearly blown up. Populating a show like this with friendly and appealing people makes that suspense both more meaningful (“Oh no! Poor James!”) and less devastating (“Well, they’ll all give him supportive hugs!”).\u003c/p>\n\u003cp>If I have a complaint—I should muster something, right?—it’s that the bigger the projects become, the more they are engineering feats and the less success relies on elements of expression. The perfect balance between knowing how to make a heavy object support itself and knowing how to put a gorgeous glaze on a vase is worthy of reward, but at times, the larger projects tip toward people who know how to do large-scale 3D modeling, which can get a little dry for my taste. I like watching the creation of a delicate teacup more than I do a sturdy base that won’t collapse—even knowing both are perfectly legitimate parts of pottery. This may be a matter of personal preference and doesn’t reflect a lack of respect for building; I have nothing but admiration for anyone who can hand-build a toilet. (A phrase I never expected to place in a review.)\u003c/p>\n\u003cfigure id=\"attachment_13886468\" class=\"wp-caption alignright\" style=\"max-width: 264px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png\" alt=\"Does it get any better than romantic lens flare over a handmade toilet?\" width=\"264\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png 264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM-160x133.png 160w\" sizes=\"(max-width: 264px) 100vw, 264px\">\u003cfigcaption class=\"wp-caption-text\">Does it get any better than romantic lens flare over a handmade toilet? \u003ccite>(Love Productions/HBO MAX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Timing is everything with baking, and with pottery—and sometimes with television, too. I would have welcomed, at any time, the opportunity to couch out (you know what I mean) with such a pleasant celebration of crafts. But right now, these 24 episodes, which are gentle and decent and educational and serene, and which celebrate patience and beauty and the creation of things that are sturdy and will last, arrived like a shipment of fuzzy slippers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?v=VwipdMH4UIg\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Soothing+%27Great+Pottery+Throw+Down%27+Makes+Great+Isolation+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s very easy to explain the appeal of \u003cem>The Great Pottery Throw Down\u003c/em>, which comes to HBO MAX on September 17: It’s \u003cem>The Great British Bake-Off\u003c/em>, but for pottery, and it has the same gentle, good-hearted energy.\u003c/p>\n\u003cp>\u003cem>Throw Down \u003c/em>began on the BBC in 2015, so there are three seasons in the queue, and HBO MAX has all of them. That’s six episodes from season one, eight from season two, and ten from season three. I gobbled all 24 episodes eagerly over the space of a few quarantined days.\u003c/p>\n\u003cp>The format is \u003cem>Bake-Off \u003c/em>(known to U.S. viewers as \u003cem>The Great British Baking Show \u003c/em>for legal reasons) with only very modest adjustments. A host (Sara Cox for the first two seasons, Melanie Sykes for the third) brings warmth and support, two judges (Keith Brymer Jones in all three seasons, joined by Kate Malone for two seasons and Sue Pryke in the third) evaluate the results, and a lineup of lovely contestants with a spirit of teamwork rather than cutthroat competition works through a series of challenges.\u003c/p>\n\u003cp>I know far less about pottery than I do about baking, but it didn’t matter. The host and judges are good at explaining what goes into making a beautiful pot or a graceful handle for a pitcher. Each episode has one major challenge, plus one or two smaller ones that are easy to incorporate into the progress of the episode, since large pieces of pottery take so much time to dry and fire. (This is a thing I know all about now, you know. Ask me about outdoor kilns and pit-firing!) When you think about pottery, you might be envisioning plates and cups and bowls, and there’s plenty of that. But the judges also challenge the potters to create large garden sculptures, light fixtures, and—intriguingly—working toilets.\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/VwipdMH4UIg'\n title='//www.youtube.com/embed/VwipdMH4UIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the things pottery has in common with baking is suspense. Just as you never know whether a cake will rise until you put it in the oven, you often can’t tell whether a piece of pottery is structurally sound until it comes out of the kiln. The friendly kiln man in all three seasons, whose name is Rich, is responsible for carefully placing each piece in to be fired, and for returning the pieces to the potters, who only then discover whether a piece has developed cracks or, in some cases, very nearly blown up. Populating a show like this with friendly and appealing people makes that suspense both more meaningful (“Oh no! Poor James!”) and less devastating (“Well, they’ll all give him supportive hugs!”).\u003c/p>\n\u003cp>If I have a complaint—I should muster something, right?—it’s that the bigger the projects become, the more they are engineering feats and the less success relies on elements of expression. The perfect balance between knowing how to make a heavy object support itself and knowing how to put a gorgeous glaze on a vase is worthy of reward, but at times, the larger projects tip toward people who know how to do large-scale 3D modeling, which can get a little dry for my taste. I like watching the creation of a delicate teacup more than I do a sturdy base that won’t collapse—even knowing both are perfectly legitimate parts of pottery. This may be a matter of personal preference and doesn’t reflect a lack of respect for building; I have nothing but admiration for anyone who can hand-build a toilet. (A phrase I never expected to place in a review.)\u003c/p>\n\u003cfigure id=\"attachment_13886468\" class=\"wp-caption alignright\" style=\"max-width: 264px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png\" alt=\"Does it get any better than romantic lens flare over a handmade toilet?\" width=\"264\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM.png 264w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-17-at-10.59.41-AM-160x133.png 160w\" sizes=\"(max-width: 264px) 100vw, 264px\">\u003cfigcaption class=\"wp-caption-text\">Does it get any better than romantic lens flare over a handmade toilet? \u003ccite>(Love Productions/HBO MAX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Timing is everything with baking, and with pottery—and sometimes with television, too. I would have welcomed, at any time, the opportunity to couch out (you know what I mean) with such a pleasant celebration of crafts. But right now, these 24 episodes, which are gentle and decent and educational and serene, and which celebrate patience and beauty and the creation of things that are sturdy and will last, arrived like a shipment of fuzzy slippers.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?v=VwipdMH4UIg\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Soothing+%27Great+Pottery+Throw+Down%27+Makes+Great+Isolation+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A small—though prominent—group of public figures is taking a 24-hour break from the platforms that magnify their celebrity to protest what they see as Facebook’s failure to control disinformation and hate speech.\u003c/p>\n\u003cp>The campaign, \u003ca href=\"https://twitter.com/hashtag/StopHateForProfit?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#StopHateForProfit\u003c/a>, is aimed at Facebook and Instagram and has attracted such disparate individuals as Kim Kardashian West, Sacha Baron Cohen and Mark Ruffalo.\u003c/p>\n\u003cp>All have said they will not post to their accounts on Wednesday. Collectively they reach millions of followers.\u003c/p>\n\u003cp>Cohen is a longtime outspoken critic of Mark Zuckerberg, Facebook’s chief executive, arguing the platform is a publisher and as such should be held responsible for the material on its site.\u003c/p>\n\u003cfigure id=\"attachment_13886392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886392\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/zuckerberg_wide-1de283525ca328ac194a111d9d1fb976dcb0a961-800x450.jpg\" alt=\"Facebook CEO Mark Zuckerberg speaks via video conference during a House Judiciary subcommittee hearing on antitrust on Capitol Hill in July.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Facebook CEO Mark Zuckerberg speaks via video conference during a House Judiciary subcommittee hearing on antitrust on Capitol Hill in July. \u003ccite>(Graeme Jennings/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.theguardian.com/technology/2019/nov/22/sacha-baron-cohen-facebook-propaganda\" target=\"_blank\" rel=\"noopener noreferrer\">In remarks\u003c/a> last November to the Anti-Defamation League, Cohen said, “It’s time to finally call these companies what they really are—the largest publishers in history. And here’s an idea for them: abide by basic standards and practices just like newspapers, magazines and TV news do every day.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Facebook—stop spreading the hate, lies and conspiracies that inflame our societies!” Cohen \u003ca href=\"https://twitter.com/SachaBaronCohen\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> in advance of the boycott.\u003c/p>\n\u003cp>https://twitter.com/KimKardashian/status/1305942213667557378\u003c/p>\n\u003cp>Kardashian West, another near-constant presence on social media, tweeted: “I love that I can connect directly with you through Instagram and Facebook, but I can’t sit by and stay silent while these platforms continue to allow the spreading of hate, propaganda and misinformation—created by groups to sow division and split America apart—only to take steps after people are killed. Misinformation shared on social media has a serious impact on our elections and undermines our democracy. Please join me tomorrow when I will be ‘freezing’ my Instagram and FB account to tell Facebook to \u003ca href=\"https://twitter.com/hashtag/StopHateForProfit?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#StopHateForProfit\u003c/a>.” [aside postid='arts_13882749']\u003c/p>\n\u003cp>The immediate impact on Facebook is sure to be minimal, as is the sacrifice the celebrities are making to show their support. But the campaign is part of a larger effort by civil rights organizations such as the NAACP, Color of Change and the ADL to draw attention to Facebook’s policies as calls mount for the social media behemoth be regulated or even broken apart in an antitrust action.\u003c/p>\n\u003cp>“Facebook’s \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/08/26/906145086/3-shot-1-fatally-in-kenosha-wis-as-protests-continue-over-police-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">role in the Kenosha shooting\u003c/a>—which was flagged as violating their policies hundreds of times—is a reminder that changing policies without changing enforcement means little. It reinforces the fact that lives are on the line,” the coalition says on its website.\u003c/p>\n\u003cp>Facebook removed accounts and pages belonging to both the shooter and a group called the Kenosha Guard, which discussed possible violence, but only after they had received much attention.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An advertising “\u003ca href=\"https://www.npr.org/2020/07/01/885853634/big-brands-abandon-facebook-threatening-to-derail-a-70b-advertising-juggernaut\" target=\"_blank\" rel=\"noopener noreferrer\">pause\u003c/a>” in July, led by the same coalition, involved nearly 1,100 companies. That same month, Facebook released the results of an \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/07/08/888888476/report-slams-facebook-for-vexing-and-heartbreaking-decisions-on-political-speech\" target=\"_blank\" rel=\"noopener noreferrer\">independent audit\u003c/a> that it had commissioned. The report faulted the company for “vexing and heartbreaking decisions,” including \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/05/871302687/facebook-will-review-policies-on-posts-about-state-violence-voting\" target=\"_blank\" rel=\"noopener noreferrer\">leaving up posts\u003c/a> by President Trump that “clearly violated” the company’s policies on hate and violent speech and voter suppression; exempting politicians from third-party fact-checking; and being reluctant to limit misinformation about voting.\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=Celebrities+Boycott+Facebook+And+Instagram+For+A+Day+Over+Disinformation%2C+Hate+Speech&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A small—though prominent—group of public figures is taking a 24-hour break from the platforms that magnify their celebrity to protest what they see as Facebook’s failure to control disinformation and hate speech.\u003c/p>\n\u003cp>The campaign, \u003ca href=\"https://twitter.com/hashtag/StopHateForProfit?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#StopHateForProfit\u003c/a>, is aimed at Facebook and Instagram and has attracted such disparate individuals as Kim Kardashian West, Sacha Baron Cohen and Mark Ruffalo.\u003c/p>\n\u003cp>All have said they will not post to their accounts on Wednesday. Collectively they reach millions of followers.\u003c/p>\n\u003cp>Cohen is a longtime outspoken critic of Mark Zuckerberg, Facebook’s chief executive, arguing the platform is a publisher and as such should be held responsible for the material on its site.\u003c/p>\n\u003cfigure id=\"attachment_13886392\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886392\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/zuckerberg_wide-1de283525ca328ac194a111d9d1fb976dcb0a961-800x450.jpg\" alt=\"Facebook CEO Mark Zuckerberg speaks via video conference during a House Judiciary subcommittee hearing on antitrust on Capitol Hill in July.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Facebook CEO Mark Zuckerberg speaks via video conference during a House Judiciary subcommittee hearing on antitrust on Capitol Hill in July. \u003ccite>(Graeme Jennings/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.theguardian.com/technology/2019/nov/22/sacha-baron-cohen-facebook-propaganda\" target=\"_blank\" rel=\"noopener noreferrer\">In remarks\u003c/a> last November to the Anti-Defamation League, Cohen said, “It’s time to finally call these companies what they really are—the largest publishers in history. And here’s an idea for them: abide by basic standards and practices just like newspapers, magazines and TV news do every day.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The immediate impact on Facebook is sure to be minimal, as is the sacrifice the celebrities are making to show their support. But the campaign is part of a larger effort by civil rights organizations such as the NAACP, Color of Change and the ADL to draw attention to Facebook’s policies as calls mount for the social media behemoth be regulated or even broken apart in an antitrust action.\u003c/p>\n\u003cp>“Facebook’s \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/08/26/906145086/3-shot-1-fatally-in-kenosha-wis-as-protests-continue-over-police-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">role in the Kenosha shooting\u003c/a>—which was flagged as violating their policies hundreds of times—is a reminder that changing policies without changing enforcement means little. It reinforces the fact that lives are on the line,” the coalition says on its website.\u003c/p>\n\u003cp>Facebook removed accounts and pages belonging to both the shooter and a group called the Kenosha Guard, which discussed possible violence, but only after they had received much attention.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An advertising “\u003ca href=\"https://www.npr.org/2020/07/01/885853634/big-brands-abandon-facebook-threatening-to-derail-a-70b-advertising-juggernaut\" target=\"_blank\" rel=\"noopener noreferrer\">pause\u003c/a>” in July, led by the same coalition, involved nearly 1,100 companies. That same month, Facebook released the results of an \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/07/08/888888476/report-slams-facebook-for-vexing-and-heartbreaking-decisions-on-political-speech\" target=\"_blank\" rel=\"noopener noreferrer\">independent audit\u003c/a> that it had commissioned. The report faulted the company for “vexing and heartbreaking decisions,” including \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/05/871302687/facebook-will-review-policies-on-posts-about-state-violence-voting\" target=\"_blank\" rel=\"noopener noreferrer\">leaving up posts\u003c/a> by President Trump that “clearly violated” the company’s policies on hate and violent speech and voter suppression; exempting politicians from third-party fact-checking; and being reluctant to limit misinformation about voting.\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=Celebrities+Boycott+Facebook+And+Instagram+For+A+Day+Over+Disinformation%2C+Hate+Speech&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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