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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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"title": "'PEN15' is Back, and Girlhood is Still Painfully Awkward",
"headTitle": "‘PEN15’ is Back, and Girlhood is Still Painfully Awkward | KQED",
"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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"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",
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"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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"title": "Celebrities Boycott Facebook For a Day Over Disinformation, Hate Speech",
"headTitle": "Celebrities Boycott Facebook For a Day Over Disinformation, Hate Speech | KQED",
"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>\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>.” \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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"content": "\u003cp>A community of strange locals, closed-mouthed about their history and their practices but firmly separated from most of society, is a staple of mystery stories. So is the person who stumbles upon them, fascinated and frightened and seduced by the unknown.\u003c/p>\n\u003cp>That’s the basic set-up for \u003cem>The Third Day\u003c/em>, a six-part HBO miniseries that premiered Monday night. Jude Law stars as Sam, a man we first meet while he’s in the middle of a frantic phone call, stopped by the side of a deserted road. We quickly learn that he’s got problems at home, but he’s also on his way to complete a ritual related to grief in his past. He encounters a young teenager in distress, and he wants to help her and take her home, so he follows her directions to Osea Island. Sam finds it—you guessed it—odd, beguiling, confusing, full of mystery.\u003c/p>\n\u003cp>The series is divided into two parts. We will follow Sam’s story for the first three episodes, called “Summer,” and then we will follow a woman named Helen (Naomie Harris) and her daughters—who also find themselves at Osea Island—for three episodes, called “Winter.” How this all comes together into a single narrative is something it wouldn’t be fair to explain (critics were given five out of the six episodes, making reviewing it something of a challenge).\u003c/p>\n\u003cp>\u003cem>The Third Day \u003c/em>is an effective creepy mystery in the early going, setting up question after question—\u003cem>why did that person do that? What is he talking about? What’s that mysterious-looking thing?—\u003c/em>that it will eventually have to answer in order to be satisfying. Many of those questions are answered over the course of the first five episodes, and they do hang together in a coherent fashion. The problem is that the story they tell isn’t all that interesting, nor is it outside the … well, the expected set of explanations for a community of creepy locals. It calls back to numerous other stories of those who stumble into towns from which they probably should skedaddle posthaste, to the point where you could almost diagram at the beginning the flow chart of options for where this is all going, and you wouldn’t have to move very far off the chart by the end.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T43V6z9wYyE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Law is a talented actor who’s expanded his image since his impossibly pretty youth, and this is certainly one of his less glamorous roles. (But let’s face it: He’s still one of the most facially symmetrical actors we have.) He’s always been more interesting when used at an angle, either in a way that makes his beauty tragic (as in \u003cem>The Talented Mr. Ripley\u003c/em>) or that transforms his charisma into something almost grotesque (as in \u003cem>Spy\u003c/em>). Sam is certainly a tortured man with a pained history that gives Law a lot of room to emote, but is the character particularly \u003cem>complex\u003c/em>? I’m not sure. It feels at times like \u003cem>The Third Day \u003c/em>has confusion where it should have nuance, the blunt sense that you’re waiting for an envelope to be opened where you should feel engrossed in the fates of the characters.\u003c/p>\n\u003cp>The cast is solid, even outside of Law, who carries the first half: Harris is a good and protective mom, Emily Watson is fun as one of the townspeople whose entire demeanor should be a red flag for Sam, and Katherine Waterston is just the right amount of normal as a woman who explains to Sam that she came to Osea to study it. It’s possible that choosing any of those characters, rather than Sam, to carry the first three episodes might have been wise, if only to change up the point of view.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s hard to knock a show that knows what its mood is (in this case, creeping dread) and carries it through. Genre pieces feel like the genres they belong to, and it’s unfair to ding them for that. But there’s something that just never quite takes off about these five installments (I’d love to tell you whether the sixth solves the problem, but who knows?). The setting is there, but there’s something disappointing about the reveals, and a little hollow. You want the resolution to a mystery to be expansive like an essay, not just a multiple-choice question where you can finally circle the right answer.\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=%27The+Third+Day%27+Makes+Mysterious+But+Predictable+Promises&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>Law is a talented actor who’s expanded his image since his impossibly pretty youth, and this is certainly one of his less glamorous roles. (But let’s face it: He’s still one of the most facially symmetrical actors we have.) He’s always been more interesting when used at an angle, either in a way that makes his beauty tragic (as in \u003cem>The Talented Mr. Ripley\u003c/em>) or that transforms his charisma into something almost grotesque (as in \u003cem>Spy\u003c/em>). Sam is certainly a tortured man with a pained history that gives Law a lot of room to emote, but is the character particularly \u003cem>complex\u003c/em>? I’m not sure. It feels at times like \u003cem>The Third Day \u003c/em>has confusion where it should have nuance, the blunt sense that you’re waiting for an envelope to be opened where you should feel engrossed in the fates of the characters.\u003c/p>\n\u003cp>The cast is solid, even outside of Law, who carries the first half: Harris is a good and protective mom, Emily Watson is fun as one of the townspeople whose entire demeanor should be a red flag for Sam, and Katherine Waterston is just the right amount of normal as a woman who explains to Sam that she came to Osea to study it. It’s possible that choosing any of those characters, rather than Sam, to carry the first three episodes might have been wise, if only to change up the point of view.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s hard to knock a show that knows what its mood is (in this case, creeping dread) and carries it through. Genre pieces feel like the genres they belong to, and it’s unfair to ding them for that. But there’s something that just never quite takes off about these five installments (I’d love to tell you whether the sixth solves the problem, but who knows?). The setting is there, but there’s something disappointing about the reveals, and a little hollow. You want the resolution to a mystery to be expansive like an essay, not just a multiple-choice question where you can finally circle the right answer.\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=%27The+Third+Day%27+Makes+Mysterious+But+Predictable+Promises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of my favorite maps in \u003cem>Tony Hawk’s Pro Skater 2\u003c/em> is Venice Beach.\u003c/p>\n\u003cp>When I was a kid, I would skate around the prettiest parts of the map, near the sand, hopping up onto a low wall and grinding across it, sticking the landing and zooming off to ride up a halfpipe. There were a lot of crashing waves, seagulls, and Papa Roach playing in the background.\u003c/p>\n\u003cp>The release of the original \u003cem>Pro Skater\u003c/em> games brought skateboarding to a wider audience, and I was that wider audience. I could never skate in the real world because I’m a klutz, but I could at least get a feel for how awesome it was by landing cool tricks in Tony Hawk’s digital world. Anytime I saw a kid skateboarding in a parking lot, I immediately thought of him.\u003c/p>\n\u003cp>Those games, released in 1999 and 2000 for the first-generation PlayStation, haven’t aged well. Like other games from that era, the blocky, flatly-colored environment of the original Venice level lacks any true detail or realism—so I haven’t revisited it much.\u003c/p>\n\u003cp>But developer Vicarious Visions and publisher Activision have just released a remastered version that condenses both \u003cem>Pro Skater \u003c/em>\u003cem>1\u003c/em> and \u003cem>2\u003c/em> into a single game with modern graphics, bringing it up to speed for today’s gamers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My old favorite Venice is laid out the same, but everything has a completely new, shinier look. When you skate up to a high area, the palm trees stretch out as far as the eye can see, leading to a huge mountain in the horizon. It’s the same game, but so much better, and it makes exploring the map way more rewarding.\u003c/p>\n\u003cp>For me, the magic of the game is multiplayer, which lets you face off against friends in competitions to see who can land the most complex tricks. But my absolute favorite thing to do with friends is mess around in Free Skate mode, where you can explore the maps and practice without any time limit.\u003c/p>\n\u003cfigure id=\"attachment_13886144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-800x450.png\" alt=\"Japanese Olympian Aori Nishimura is one of the new playable characters in 'Pro Skater 1+2.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Japanese Olympian Aori Nishimura is one of the new playable characters in ‘Pro Skater 1+2.’ \u003ccite>(Courtesy of Activision)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I was a kid, I would sit next to my friend in his living room for hours playing Free Skate mode, listen to the amazing soundtrack, and showing off cool jumps, spins, and secret spots around the map. It takes some practice to be good, just like in real life, and that makes it even more satisfying when you finally land an intricate trick after trying dozens of times.\u003c/p>\n\u003cp>Playing multiplayer with my boyfriend, going absolutely nuts when one of us landed a complex combo worth tens of thousands of points, sent me right back to those childhood afternoons.\u003c/p>\n\u003cp>If you played the original games a lot, you’ll feel right at home with the remake. The controls are slightly different because new mechanics have been added from later titles, but if you haven’t touched a \u003cem>Pro Skater\u003c/em> game since 2000, you’ll still be able to play. It took me a little while to get used to the game again, but my boyfriend picked up the controller and got a high score on his first try, as if no time had passed from his glory days years ago.\u003c/p>\n\u003cp>What hasn’t changed are the settings. You’re still skating around places like New York City and Malibu, and empty warehouses and malls. You unlock new maps by achieving different goals—in the originals, players collected things like tapes, floating fire hydrants, and the letters “SKATE”—those things remain the same.\u003c/p>\n\u003cp>Music was a huge part of \u003cem>Pro Skater\u003c/em> for me. It’s where I first heard of a lot of bands I like today: Papa Roach, Rage Against the Machine, and Dead Kennedys. Songs from the original soundtrack are still there, but now alongside 37 new tracks that fully fit into the game, from artists like Machine Gun Kelly, Sublime, and Billy Talent.\u003c/p>\n\u003cp>The developers applied that same philosophy to the lineup of playable pro skaters, keeping the originals while making sure to bring in a diverse group of today’s pros, including Leo Baker, Nyjah Huston, Tyshawn Jones, Aori Nishimura, and Shane O’Neill.\u003c/p>\n\u003cp>And there’s a welcome addition in the form of challenges. Money isn’t lying around the map like it did in the originals, instead, you’re tasked to complete a specific goal in exchange for in-game currency that you can spend on cosmetics and clothes for your character. You can also build your own skate parks and share them with other players over the internet, which was a feature introduced in 2015’s \u003cem>Pro Skater 5\u003c/em>—I’m really excited to see artistically-minded players take that feature and run with it.\u003c/p>\n\u003cp>\u003cem>Tony Hawk’s Pro Skater 1+2\u003c/em> strikes an amazing balance between old and new content. This isn’t just a high-def clone of a beloved old game—I feel like I’m playing the same game from my childhood, with all the warm fuzzies of nostalgia \u003cem>and\u003c/em> all the best parts of the later games. I don’t think the old games ever fully lost their magic, but the remake makes them really shine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kaity Kline is a columnist for NPR’s \u003c/em>Join the Game\u003cem> and a producer on \u003c/em>1A\u003cem>. She is a native of New Jersey, a lifelong gamer, and a former gaming YouTuber. She tweets at \u003c/em>\u003ca href=\"https://twitter.com/kaitykline?lang=en\">\u003cem>@kaitykline\u003c/em>\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=Remastered+%27Tony+Hawk%27+Games+Land+A+High-Scoring+Trick&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of my favorite maps in \u003cem>Tony Hawk’s Pro Skater 2\u003c/em> is Venice Beach.\u003c/p>\n\u003cp>When I was a kid, I would skate around the prettiest parts of the map, near the sand, hopping up onto a low wall and grinding across it, sticking the landing and zooming off to ride up a halfpipe. There were a lot of crashing waves, seagulls, and Papa Roach playing in the background.\u003c/p>\n\u003cp>The release of the original \u003cem>Pro Skater\u003c/em> games brought skateboarding to a wider audience, and I was that wider audience. I could never skate in the real world because I’m a klutz, but I could at least get a feel for how awesome it was by landing cool tricks in Tony Hawk’s digital world. Anytime I saw a kid skateboarding in a parking lot, I immediately thought of him.\u003c/p>\n\u003cp>Those games, released in 1999 and 2000 for the first-generation PlayStation, haven’t aged well. Like other games from that era, the blocky, flatly-colored environment of the original Venice level lacks any true detail or realism—so I haven’t revisited it much.\u003c/p>\n\u003cp>But developer Vicarious Visions and publisher Activision have just released a remastered version that condenses both \u003cem>Pro Skater \u003c/em>\u003cem>1\u003c/em> and \u003cem>2\u003c/em> into a single game with modern graphics, bringing it up to speed for today’s gamers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My old favorite Venice is laid out the same, but everything has a completely new, shinier look. When you skate up to a high area, the palm trees stretch out as far as the eye can see, leading to a huge mountain in the horizon. It’s the same game, but so much better, and it makes exploring the map way more rewarding.\u003c/p>\n\u003cp>For me, the magic of the game is multiplayer, which lets you face off against friends in competitions to see who can land the most complex tricks. But my absolute favorite thing to do with friends is mess around in Free Skate mode, where you can explore the maps and practice without any time limit.\u003c/p>\n\u003cfigure id=\"attachment_13886144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-800x450.png\" alt=\"Japanese Olympian Aori Nishimura is one of the new playable characters in 'Pro Skater 1+2.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/new_skater_anishimura_final_wide-296d582ca13c0e5609de25d2a01f4227e534c848-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Japanese Olympian Aori Nishimura is one of the new playable characters in ‘Pro Skater 1+2.’ \u003ccite>(Courtesy of Activision)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I was a kid, I would sit next to my friend in his living room for hours playing Free Skate mode, listen to the amazing soundtrack, and showing off cool jumps, spins, and secret spots around the map. It takes some practice to be good, just like in real life, and that makes it even more satisfying when you finally land an intricate trick after trying dozens of times.\u003c/p>\n\u003cp>Playing multiplayer with my boyfriend, going absolutely nuts when one of us landed a complex combo worth tens of thousands of points, sent me right back to those childhood afternoons.\u003c/p>\n\u003cp>If you played the original games a lot, you’ll feel right at home with the remake. The controls are slightly different because new mechanics have been added from later titles, but if you haven’t touched a \u003cem>Pro Skater\u003c/em> game since 2000, you’ll still be able to play. It took me a little while to get used to the game again, but my boyfriend picked up the controller and got a high score on his first try, as if no time had passed from his glory days years ago.\u003c/p>\n\u003cp>What hasn’t changed are the settings. You’re still skating around places like New York City and Malibu, and empty warehouses and malls. You unlock new maps by achieving different goals—in the originals, players collected things like tapes, floating fire hydrants, and the letters “SKATE”—those things remain the same.\u003c/p>\n\u003cp>Music was a huge part of \u003cem>Pro Skater\u003c/em> for me. It’s where I first heard of a lot of bands I like today: Papa Roach, Rage Against the Machine, and Dead Kennedys. Songs from the original soundtrack are still there, but now alongside 37 new tracks that fully fit into the game, from artists like Machine Gun Kelly, Sublime, and Billy Talent.\u003c/p>\n\u003cp>The developers applied that same philosophy to the lineup of playable pro skaters, keeping the originals while making sure to bring in a diverse group of today’s pros, including Leo Baker, Nyjah Huston, Tyshawn Jones, Aori Nishimura, and Shane O’Neill.\u003c/p>\n\u003cp>And there’s a welcome addition in the form of challenges. Money isn’t lying around the map like it did in the originals, instead, you’re tasked to complete a specific goal in exchange for in-game currency that you can spend on cosmetics and clothes for your character. You can also build your own skate parks and share them with other players over the internet, which was a feature introduced in 2015’s \u003cem>Pro Skater 5\u003c/em>—I’m really excited to see artistically-minded players take that feature and run with it.\u003c/p>\n\u003cp>\u003cem>Tony Hawk’s Pro Skater 1+2\u003c/em> strikes an amazing balance between old and new content. This isn’t just a high-def clone of a beloved old game—I feel like I’m playing the same game from my childhood, with all the warm fuzzies of nostalgia \u003cem>and\u003c/em> all the best parts of the later games. I don’t think the old games ever fully lost their magic, but the remake makes them really shine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kaity Kline is a columnist for NPR’s \u003c/em>Join the Game\u003cem> and a producer on \u003c/em>1A\u003cem>. She is a native of New Jersey, a lifelong gamer, and a former gaming YouTuber. She tweets at \u003c/em>\u003ca href=\"https://twitter.com/kaitykline?lang=en\">\u003cem>@kaitykline\u003c/em>\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=Remastered+%27Tony+Hawk%27+Games+Land+A+High-Scoring+Trick&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Controversial Movie 'Cuties' Calls Out the Hypersexualization of Young Girls",
"headTitle": "Controversial Movie ‘Cuties’ Calls Out the Hypersexualization of Young Girls | KQED",
"content": "\u003cp>The French film, \u003cem>Cuties\u003c/em>, is being praised for its critique of the hyper sexualization of young girls—and the consequences of that—as they rush to become adults in the age of social media.\u003c/p>\n\u003cp>It began several years ago when filmmaker Maimouna Doucouré was at a neighborhood gathering and her jaw dropped. A group of young girls in revealing outfits came out on a stage and performed a choreographed routine.\u003c/p>\n\u003cp>Doucouré says they couldn’t have been more than 11 years old.\u003c/p>\n\u003cp>“And they were dancing very sensually, sexually and I was very disturbed about what I was seeing.”\u003c/p>\n\u003cp>But instead of passing judgment, the self-taught writer and filmmaker says she wanted to understand what she was seeing. She dove into research, interviewing more than one hundred adolescent girls over the course of a year and a half.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a period [that’s] very specific,” Doucouré says, “where you are not any more totally a child and you are not an adult. You are looking for yourself and everything is changing very fast.”\u003c/p>\n\u003cp>Doucouré combines her findings with elements of her own upbringing in her first feature length film, \u003cem>Cuties\u003c/em>.\u003c/p>\n\u003cp>It’s about what it means to be an adolescent girl in the age of TikTok and Instagram, where ‘likes’ have become the currency of self-esteem and keeping kids away from anything on the Internet is near impossible.\u003c/p>\n\u003cp>The film is told from the perspective of 11-year-old Amy who, like Doucouré, is the daughter of Muslim Senegalese immigrants growing up in northeast Paris.\u003c/p>\n\u003cp>Amy is unimpressed by the traditional path for women laid out by the matriarchs in her family.\u003c/p>\n\u003cp>As her strict Grand-Aunt tries to groom her to become a wife and mother, Amy watches her own mom struggle to hide tears when she gets a call from her husband in Senegal. As is tradition for many men there, he’s taken a second wife.\u003c/p>\n\u003cp>To escape the drama playing out at home, Amy befriends a group of popular girls at school who have formed a dance troop called ‘Les Mignonnes’ or ‘the Cuties.’\u003c/p>\n\u003cp>Amy spends hours nailing down choreography to provocative music videos so she can impress her new friends.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M0O7lLe4SmA\u003c/p>\n\u003cp>Filmmaker Doucouré says social media adds a layer of complexity to what it means to be an adolescent in 2020.\u003c/p>\n\u003cp>“Today you have that exposition of your body on social media,” Doucouré says, “and you also have this big competition of finding ‘likes’ and followers and that is for me a new kind of finding love.”\u003c/p>\n\u003cp>The film provokes many questions, but doesn’t provide many answers. And that’s the intention, says French film critic Jennifer Padjemi, who says it’s also important that \u003cem>Cuties\u003c/em> was made by a woman who comes from the same background and culture as her characters.\u003c/p>\n\u003cp>“It’s really important to have more coming of age movies in France in general and not with only white casts,” Padjemi says, “because its important to represent children of every background because even if we live the same way we don’t have the same cultural path and its really important to see this specific age between childhood and teenage-hood and I hope Maimouna open[s] the door for other movies like this.”\u003c/p>\n\u003cp>That door almost didn’t open.\u003c/p>\n\u003cp>Even though \u003cem>Cuties\u003c/em> has received widespread acclaim in France and won a Sundance award, a publicity gaffe from its US distributor, Netflix, almost cost the movie its reputation.\u003c/p>\n\u003cp>After Netflix published a marketing \u003ca href=\"https://twitter.com/littlewarior9/status/1296188537084182533\" target=\"_blank\" rel=\"noopener noreferrer\">poster\u003c/a> showing the ‘Cuties’ twerking in revealing cheerleading outfits without any context, an online petition calling for the cancellation of the US release received more than \u003ca href=\"https://www.vulture.com/2020/09/netflix-cuties-twerking-poster-drama-explained.html\" target=\"_blank\" rel=\"noopener noreferrer\">140 thousand signatures\u003c/a>.\u003c/p>\n\u003cp>Doucouré was accused, on social media, of being a pedophile and even received death threats.\u003c/p>\n\u003cp>She says she hopes those who signed the petition will watch the film.\u003c/p>\n\u003cp>“And after that, they will see that we have the same fight and we are all together about that issue of hyper sexualization of our children and protect our children.”\u003c/p>\n\u003cp>In the end, Doucouré says her film is about a choice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The choice [of] who we want to become, who we want to really become and as a child, take the time to be a child. Keep that innocence to grow up in our society.”\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=%27Cuties%27+Calls+Out+The+Hypersexualization+Of+Young+Girls+-+And+Gets+Criticized&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The French film, \u003cem>Cuties\u003c/em>, is being praised for its critique of the hyper sexualization of young girls—and the consequences of that—as they rush to become adults in the age of social media.\u003c/p>\n\u003cp>It began several years ago when filmmaker Maimouna Doucouré was at a neighborhood gathering and her jaw dropped. A group of young girls in revealing outfits came out on a stage and performed a choreographed routine.\u003c/p>\n\u003cp>Doucouré says they couldn’t have been more than 11 years old.\u003c/p>\n\u003cp>“And they were dancing very sensually, sexually and I was very disturbed about what I was seeing.”\u003c/p>\n\u003cp>But instead of passing judgment, the self-taught writer and filmmaker says she wanted to understand what she was seeing. She dove into research, interviewing more than one hundred adolescent girls over the course of a year and a half.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a period [that’s] very specific,” Doucouré says, “where you are not any more totally a child and you are not an adult. You are looking for yourself and everything is changing very fast.”\u003c/p>\n\u003cp>Doucouré combines her findings with elements of her own upbringing in her first feature length film, \u003cem>Cuties\u003c/em>.\u003c/p>\n\u003cp>It’s about what it means to be an adolescent girl in the age of TikTok and Instagram, where ‘likes’ have become the currency of self-esteem and keeping kids away from anything on the Internet is near impossible.\u003c/p>\n\u003cp>The film is told from the perspective of 11-year-old Amy who, like Doucouré, is the daughter of Muslim Senegalese immigrants growing up in northeast Paris.\u003c/p>\n\u003cp>Amy is unimpressed by the traditional path for women laid out by the matriarchs in her family.\u003c/p>\n\u003cp>As her strict Grand-Aunt tries to groom her to become a wife and mother, Amy watches her own mom struggle to hide tears when she gets a call from her husband in Senegal. As is tradition for many men there, he’s taken a second wife.\u003c/p>\n\u003cp>To escape the drama playing out at home, Amy befriends a group of popular girls at school who have formed a dance troop called ‘Les Mignonnes’ or ‘the Cuties.’\u003c/p>\n\u003cp>Amy spends hours nailing down choreography to provocative music videos so she can impress her new friends.\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/M0O7lLe4SmA'\n title='//www.youtube.com/embed/M0O7lLe4SmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker Doucouré says social media adds a layer of complexity to what it means to be an adolescent in 2020.\u003c/p>\n\u003cp>“Today you have that exposition of your body on social media,” Doucouré says, “and you also have this big competition of finding ‘likes’ and followers and that is for me a new kind of finding love.”\u003c/p>\n\u003cp>The film provokes many questions, but doesn’t provide many answers. And that’s the intention, says French film critic Jennifer Padjemi, who says it’s also important that \u003cem>Cuties\u003c/em> was made by a woman who comes from the same background and culture as her characters.\u003c/p>\n\u003cp>“It’s really important to have more coming of age movies in France in general and not with only white casts,” Padjemi says, “because its important to represent children of every background because even if we live the same way we don’t have the same cultural path and its really important to see this specific age between childhood and teenage-hood and I hope Maimouna open[s] the door for other movies like this.”\u003c/p>\n\u003cp>That door almost didn’t open.\u003c/p>\n\u003cp>Even though \u003cem>Cuties\u003c/em> has received widespread acclaim in France and won a Sundance award, a publicity gaffe from its US distributor, Netflix, almost cost the movie its reputation.\u003c/p>\n\u003cp>After Netflix published a marketing \u003ca href=\"https://twitter.com/littlewarior9/status/1296188537084182533\" target=\"_blank\" rel=\"noopener noreferrer\">poster\u003c/a> showing the ‘Cuties’ twerking in revealing cheerleading outfits without any context, an online petition calling for the cancellation of the US release received more than \u003ca href=\"https://www.vulture.com/2020/09/netflix-cuties-twerking-poster-drama-explained.html\" target=\"_blank\" rel=\"noopener noreferrer\">140 thousand signatures\u003c/a>.\u003c/p>\n\u003cp>Doucouré was accused, on social media, of being a pedophile and even received death threats.\u003c/p>\n\u003cp>She says she hopes those who signed the petition will watch the film.\u003c/p>\n\u003cp>“And after that, they will see that we have the same fight and we are all together about that issue of hyper sexualization of our children and protect our children.”\u003c/p>\n\u003cp>In the end, Doucouré says her film is about a choice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The choice [of] who we want to become, who we want to really become and as a child, take the time to be a child. Keep that innocence to grow up in our society.”\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=%27Cuties%27+Calls+Out+The+Hypersexualization+Of+Young+Girls+-+And+Gets+Criticized&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Mann's 'Heat' at 25: A Newly Relevant Study in Loneliness",
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"content": "\u003cp>I decided to watch \u003cem>Heat\u003c/em> because of the epidemic.\u003c/p>\n\u003cp>Not the most obvious choice, maybe. With things as bleak as they seem, Michael Mann’s 1995 crime epic doesn’t promise the comforts of a good rom-com like \u003cem>When Harry Met Sally…\u003c/em> or a classic family film like \u003cem>Finding Nemo\u003c/em>, movies that offer the kind of happy ending we’re looking for these days.\u003c/p>\n\u003cp>Nor does it provide the perverse pleasures of Steven Soderbergh’s 2011 film \u003cem>Contagion; \u003c/em>that film’s take on a global pandemic eerily mirrors our own, and helps us imagine just how bad things could get.\u003c/p>\n\u003cp>I did watch \u003cem>Contagion\u003c/em> during the pandemic, and it did creep me out a little, with its shots of desolate stores and streets. But \u003cem>Heat\u003c/em>, which turns 25 years old this year, deals with a more existential kind of emptiness—one that becomes the film’s steady, plaintive bassline against the catchy melody of its cops-and-robbers plotting. And in its own strange and very specific way, it comforted me.\u003c/p>\n\u003cp>Al Pacino’s relentless detective Vincent Hanna chases Robert De Niro’s brooding thief Neil McCauly, who’s after “one last score” before he gets out of town. Many filmmakers, from Ben Affleck to Christopher Nolan, have copied the film’s melody—its shootouts, double-crosses and close calls—but few have bothered with that haunting bassline, which conveys the loneliness of modern existence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mann evokes that aching feeling visually: Figures framed against cold, hard glass and sharp angles, or overlooking an endless, glittering cityscape—LA as it might have been painted by Edward Hopper.\u003c/p>\n\u003cp>In one scene, De Niro’s McCauley slinks wearily into his home, somehow silhouetted in rooms already sunk in deep shadow, and leans against a large window that frames a churning body of water and a somber blue sky. Here Mann captures a mood of desperate longing—a need for something too far away to be seen.\u003c/p>\n\u003cp>Mann often shoots his characters dwarfed by their environments like this. Action filmmakers more given to glamorizing their cops-and-robbers characters—Michael Bay, Peter Berg, David Ayer—tend to avoid having them appear so small and impotent, as they make films that expressly avoid engaging with impotence of any kind.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GfZl4kuVNI\u003c/p>\n\u003cp>For the last few months, the threat of COVID-19 has forced millions of Americans to go against our biological and emotional needs and stay apart from one another. Physical touch has gone from comfort to taboo, other people represent potential dangers rather than safe havens.\u003c/p>\n\u003cp>Feelings of impotence are bound up in our current state of loneliness, in the understanding that you, yourself, are not enough, even as you also understand that you’re unable to do anything about that.\u003c/p>\n\u003cp>The tragedy in \u003cem>Heat\u003c/em> lies with characters who try, and fail, to do something about it. De Niro’s McCauley falls for another lonely soul, but he won’t commit to her, knowing that he’ll always be on the run. Pacino’s Hanna, a ghostly figure in his (third) marriage, comes to life only when he’s out on the hunt for McCauley and his crew. In one muted sequence, Hanna’s wife Justine (played by Diane Verona) speaks of his growing absence in their relationship:\u003c/p>\n\u003cp>“You walk among the remains of dead people,” she tells him.\u003c/p>\n\u003cp>And in another quiet conversation—the film’s most famous scene—Hanna and McCauley share a moment of truce over a cup of coffee. As they study each other, cop and criminal, each man begins to see his reflection in the other: a man defined by what he does—and nothing else. Theirs is the most intimate relationship in the film, but the path of collision on which they’re trapped dictates that their closeness cannot last. In the end, only one of the two men will survive.\u003c/p>\n\u003cp>Even the film’s minor characters seem perpetually on the verge of a sort of disappearance. Hanna’s adolescent step-daughter (a young Natalie Portman), for example, suffers anxiety attacks and retreats into herself because her biological father (pointedly unseen in the film) never shows up for her. An ex-convict (Dennis Haysbert) wants to make an honest living working at a diner, but he must deal with an abusive boss—and a society that would prefer for all those who have entered the industrial prison complex to just disappear.\u003c/p>\n\u003cp>Ultimately both of these characters will commit acts of self-destruction. Another film might have cut these subplots, but Mann seeks to create a world with living and breathing characters, lost though they might be, existing both at its center and at its margins. In \u003cem>Heat\u003c/em>, individuals have both solitude and suffering in common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Movies don’t have to uplift or inspire, of course. Sometimes they need only to understand. You can find a cathartic release in being understood, and in watching \u003cem>Heat\u003c/em>, I felt my own struggle with loneliness understood, and clarified—which is to say: seen. This struggle isn’t new, and many of us grappled with it long before COVID-19, and will do so long after. I feel lucky that I’ve gotten to see some of my loved ones and cherish their company. But even in those fleeting, happy moments when the loneliness subsides, I can’t help but think about the characters in \u003cem>Heat—\u003c/em>the cop, the thief, the young girl, the ex-con—who will remain alone.\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=Michael+Mann%27s+%27Heat%27+At+25%3A+A+Newly+Relevant+Study+In+Loneliness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I decided to watch \u003cem>Heat\u003c/em> because of the epidemic.\u003c/p>\n\u003cp>Not the most obvious choice, maybe. With things as bleak as they seem, Michael Mann’s 1995 crime epic doesn’t promise the comforts of a good rom-com like \u003cem>When Harry Met Sally…\u003c/em> or a classic family film like \u003cem>Finding Nemo\u003c/em>, movies that offer the kind of happy ending we’re looking for these days.\u003c/p>\n\u003cp>Nor does it provide the perverse pleasures of Steven Soderbergh’s 2011 film \u003cem>Contagion; \u003c/em>that film’s take on a global pandemic eerily mirrors our own, and helps us imagine just how bad things could get.\u003c/p>\n\u003cp>I did watch \u003cem>Contagion\u003c/em> during the pandemic, and it did creep me out a little, with its shots of desolate stores and streets. But \u003cem>Heat\u003c/em>, which turns 25 years old this year, deals with a more existential kind of emptiness—one that becomes the film’s steady, plaintive bassline against the catchy melody of its cops-and-robbers plotting. And in its own strange and very specific way, it comforted me.\u003c/p>\n\u003cp>Al Pacino’s relentless detective Vincent Hanna chases Robert De Niro’s brooding thief Neil McCauly, who’s after “one last score” before he gets out of town. Many filmmakers, from Ben Affleck to Christopher Nolan, have copied the film’s melody—its shootouts, double-crosses and close calls—but few have bothered with that haunting bassline, which conveys the loneliness of modern existence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mann evokes that aching feeling visually: Figures framed against cold, hard glass and sharp angles, or overlooking an endless, glittering cityscape—LA as it might have been painted by Edward Hopper.\u003c/p>\n\u003cp>In one scene, De Niro’s McCauley slinks wearily into his home, somehow silhouetted in rooms already sunk in deep shadow, and leans against a large window that frames a churning body of water and a somber blue sky. Here Mann captures a mood of desperate longing—a need for something too far away to be seen.\u003c/p>\n\u003cp>Mann often shoots his characters dwarfed by their environments like this. Action filmmakers more given to glamorizing their cops-and-robbers characters—Michael Bay, Peter Berg, David Ayer—tend to avoid having them appear so small and impotent, as they make films that expressly avoid engaging with impotence of any kind.\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/2GfZl4kuVNI'\n title='//www.youtube.com/embed/2GfZl4kuVNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the last few months, the threat of COVID-19 has forced millions of Americans to go against our biological and emotional needs and stay apart from one another. Physical touch has gone from comfort to taboo, other people represent potential dangers rather than safe havens.\u003c/p>\n\u003cp>Feelings of impotence are bound up in our current state of loneliness, in the understanding that you, yourself, are not enough, even as you also understand that you’re unable to do anything about that.\u003c/p>\n\u003cp>The tragedy in \u003cem>Heat\u003c/em> lies with characters who try, and fail, to do something about it. De Niro’s McCauley falls for another lonely soul, but he won’t commit to her, knowing that he’ll always be on the run. Pacino’s Hanna, a ghostly figure in his (third) marriage, comes to life only when he’s out on the hunt for McCauley and his crew. In one muted sequence, Hanna’s wife Justine (played by Diane Verona) speaks of his growing absence in their relationship:\u003c/p>\n\u003cp>“You walk among the remains of dead people,” she tells him.\u003c/p>\n\u003cp>And in another quiet conversation—the film’s most famous scene—Hanna and McCauley share a moment of truce over a cup of coffee. As they study each other, cop and criminal, each man begins to see his reflection in the other: a man defined by what he does—and nothing else. Theirs is the most intimate relationship in the film, but the path of collision on which they’re trapped dictates that their closeness cannot last. In the end, only one of the two men will survive.\u003c/p>\n\u003cp>Even the film’s minor characters seem perpetually on the verge of a sort of disappearance. Hanna’s adolescent step-daughter (a young Natalie Portman), for example, suffers anxiety attacks and retreats into herself because her biological father (pointedly unseen in the film) never shows up for her. An ex-convict (Dennis Haysbert) wants to make an honest living working at a diner, but he must deal with an abusive boss—and a society that would prefer for all those who have entered the industrial prison complex to just disappear.\u003c/p>\n\u003cp>Ultimately both of these characters will commit acts of self-destruction. Another film might have cut these subplots, but Mann seeks to create a world with living and breathing characters, lost though they might be, existing both at its center and at its margins. In \u003cem>Heat\u003c/em>, individuals have both solitude and suffering in common.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Movies don’t have to uplift or inspire, of course. Sometimes they need only to understand. You can find a cathartic release in being understood, and in watching \u003cem>Heat\u003c/em>, I felt my own struggle with loneliness understood, and clarified—which is to say: seen. This struggle isn’t new, and many of us grappled with it long before COVID-19, and will do so long after. I feel lucky that I’ve gotten to see some of my loved ones and cherish their company. But even in those fleeting, happy moments when the loneliness subsides, I can’t help but think about the characters in \u003cem>Heat—\u003c/em>the cop, the thief, the young girl, the ex-con—who will remain alone.\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=Michael+Mann%27s+%27Heat%27+At+25%3A+A+Newly+Relevant+Study+In+Loneliness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Feels Good Man' Traces Pepe the Frog From Hate Symbol to Democracy Icon",
"headTitle": "‘Feels Good Man’ Traces Pepe the Frog From Hate Symbol to Democracy Icon | KQED",
"content": "\u003cp>You’ve probably seen him by now—the thin, red lips. The big, expressive eyes. The deep green skin. Sometimes he looks innocent and sweet, like a friend crashing on your couch. Other times he looks like a smugly grinning jerk. The thing about Pepe the Frog is that he can be whatever you want him to be—a stoner icon, a symbol of hatred and bigotry, a beacon of democracy.\u003c/p>\n\u003cp>The new documentary \u003cem>Feels Good Man\u003c/em> traces Pepe through all these transformations, and follows the frog’s creator, cartoonist Matt Furie, and his at-times futile attempts to try to control something inherently uncontrollable: memes. The movie attempts to set the record straight and make clear who Pepe is, but functions more as a case study in how we communicate now and the collateral damage that communication leaves behind.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZEiqZWw5vYs\u003c/p>\n\u003cp>Furie is a meek, soft spoken guy who feels more comfortable alone at a drafting table than at the forefront of online discourse. Pepe started as a character in Furie’s 2005 small indie comic \u003cem>Boys Club\u003c/em>. One comic in particular featured Pepe urinating with his pants pushed all the way down to his ankles, explaining to his roommate that it “feels good, man.” It was a punchline that became a slogan for a certain carefree lifestyle that thrives in between beers and bong hits. From there Pepe was excerpted, repeated, excerpted, repeated—each time drifting further away from his original context, and away from Furie’s hands.\u003c/p>\n\u003cp>“I didn’t really have the resources to stop it, ” says Furie in an interview with NPR. “Nobody really knew what the protocol was because it’s all online.” There’s not much you can do about anonymous teenagers posting inside jokes online. And for a long while, it stayed that way—just jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It wasn’t until it got really bad that I stepped up and wanted to try and take a stand,” says Furie.\u003c/p>\n\u003cp>The documentary explains in detail how and why it got really bad (and it did), but the short version is: Pepe started getting so popular with mainstream culture that the original fans of this no-longer “inside” joke tried to push the normies away with even edgier versions of Pepes—racist Pepes, homophobic Pepes, anti-semitic Pepes. This coincided with President Trump’s similarly trolling presidential campaign, and the then-burgeoning “alt-right” movement, and all of a sudden Furie saw his own creation end up on the Anti-Defamation League’s \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener noreferrer\">list of hate symbols\u003c/a>, with the normiest of normies, Hillary Clinton, \u003ca href=\"https://www.theverge.com/2016/9/15/12926976/hillary-clinton-trump-pepe-the-frog-alt-right-explainer\" target=\"_blank\" rel=\"noopener noreferrer\">explaining why Pepe was bad\u003c/a>.\u003c/p>\n\u003cp>If this all feels a little stupid—that’s all intentional. Through interviews with journalists and experts on extremism on the internet, the documentary explores the well-oiled right wing propaganda machine built on bad faith arguments meant to make you feel unsure, and dumb, and ridiculous. If you go back and look at the \u003ca href=\"https://www.latimes.com/politics/la-na-pol-pepe-the-frog-hate-symbol-20161011-snap-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">plethora\u003c/a> \u003ca href=\"https://www.theatlantic.com/politics/archive/2016/09/its-not-easy-being-green/499892/\" target=\"_blank\" rel=\"noopener noreferrer\">of interviews\u003c/a> \u003ca href=\"https://www.esquire.com/news-politics/news/a49057/pepe-frog-creator-voting-hillary/\" target=\"_blank\" rel=\"noopener noreferrer\">Furie did\u003c/a> around the time of the ADL listing, there’s a sense of wishful thinking on Furie’s part: that this is just a phase, Pepe won’t be a hate symbol forever. He tried working with the ADL and fellow cartoonists to flood the online space with “positive” Pepe imagery. He tried “killing” Pepe in one of his comics to wash his hands of it. Both fundamental misunderstandings of how the internet works. But the documentary’s director, Arthur Jones says those were the tools Furie had available to him.\u003c/p>\n\u003cp>“Those were his earnest attempts to try to express the true intentions of Pepe as a character,” says Jones.\u003c/p>\n\u003cfigure id=\"attachment_13885870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gettyimages-1173238050-e53b99fafa93cf9adefbea7ff1dc1de2b6b53165-800x600.jpg\" alt=\"During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance. \u003ccite>(Mohd Rasfan/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the corners of the internet where racist Pepes run rampant, earnestness doesn’t count for much. Lawsuits, on the other hand, do. \u003ca href=\"https://www.npr.org/2019/06/11/731520403/alex-jones-to-pay-15-000-in-pepe-the-frog-copyright-infringement-case\" target=\"_blank\" rel=\"noopener noreferrer\">The wins\u003c/a> Furie collects under his belt in the movie are mostly legal ones, using copyright law to issue take down notices, file suits, etc. Which he was only able to do through the help of a law firm working pro-bono. See, cartoons taken out of context aren’t new, nor solely relegated to the internet. Stroll down any boardwalk and you’ll eventually catch some bootleg \u003cem>Minions \u003c/em>merch. But these are mostly kept in check through legal actions by people who can afford them.\u003c/p>\n\u003cp>“[Furie] doesn’t have this multi-million dollar conglomerate behind him pushing the character and the branding of Pepe,” says the documentary’s producer Giorgio Angelini. “So in that void, the collective consciousness of the internet creates that brand.”\u003c/p>\n\u003cp>And as the internet has shown time and time again, if you allow its collective consciousness to fill a void, that void will get filled with Nazis.\u003c/p>\n\u003cp>But Furie wasn’t wholly wrong when he said that the link between Pepe and hatred would last forever. Pepe showing up at the \u003ca href=\"https://www.wired.com/story/pepe-the-frog-meme-hong-kong/\" target=\"_blank\" rel=\"noopener noreferrer\">pro-democracy protests\u003c/a> in Hong Kong in 2019 took the filmmakers by surprise. Elsewhere, on the popular live streaming platform Twitch, Pepes are thrown around in the chat apolitically, mostly devoid of the problematic baggage he was saddled with four years ago. But who knows how long this will last. With another presidential election in just a few months, the meme wars will only continue to heat up, and phases do tend to repeat themselves given a long enough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talking to Furie over Zoom, there was a Pepe plushie hanging on a wall over his shoulder. Furie has at times been sick, defensive and exasperated with Pepe. But as much as the internet can separate Pepe from Furie, Furie can never really separate himself from Pepe—and so clearing Pepe’s name is just as important as clearing his own.\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=%27Feels+Good+Man%27+Traces+Pepe+The+Frog+From+Hate+Symbol+To+Democracy+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably seen him by now—the thin, red lips. The big, expressive eyes. The deep green skin. Sometimes he looks innocent and sweet, like a friend crashing on your couch. Other times he looks like a smugly grinning jerk. The thing about Pepe the Frog is that he can be whatever you want him to be—a stoner icon, a symbol of hatred and bigotry, a beacon of democracy.\u003c/p>\n\u003cp>The new documentary \u003cem>Feels Good Man\u003c/em> traces Pepe through all these transformations, and follows the frog’s creator, cartoonist Matt Furie, and his at-times futile attempts to try to control something inherently uncontrollable: memes. The movie attempts to set the record straight and make clear who Pepe is, but functions more as a case study in how we communicate now and the collateral damage that communication leaves behind.\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/ZEiqZWw5vYs'\n title='//www.youtube.com/embed/ZEiqZWw5vYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Furie is a meek, soft spoken guy who feels more comfortable alone at a drafting table than at the forefront of online discourse. Pepe started as a character in Furie’s 2005 small indie comic \u003cem>Boys Club\u003c/em>. One comic in particular featured Pepe urinating with his pants pushed all the way down to his ankles, explaining to his roommate that it “feels good, man.” It was a punchline that became a slogan for a certain carefree lifestyle that thrives in between beers and bong hits. From there Pepe was excerpted, repeated, excerpted, repeated—each time drifting further away from his original context, and away from Furie’s hands.\u003c/p>\n\u003cp>“I didn’t really have the resources to stop it, ” says Furie in an interview with NPR. “Nobody really knew what the protocol was because it’s all online.” There’s not much you can do about anonymous teenagers posting inside jokes online. And for a long while, it stayed that way—just jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It wasn’t until it got really bad that I stepped up and wanted to try and take a stand,” says Furie.\u003c/p>\n\u003cp>The documentary explains in detail how and why it got really bad (and it did), but the short version is: Pepe started getting so popular with mainstream culture that the original fans of this no-longer “inside” joke tried to push the normies away with even edgier versions of Pepes—racist Pepes, homophobic Pepes, anti-semitic Pepes. This coincided with President Trump’s similarly trolling presidential campaign, and the then-burgeoning “alt-right” movement, and all of a sudden Furie saw his own creation end up on the Anti-Defamation League’s \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener noreferrer\">list of hate symbols\u003c/a>, with the normiest of normies, Hillary Clinton, \u003ca href=\"https://www.theverge.com/2016/9/15/12926976/hillary-clinton-trump-pepe-the-frog-alt-right-explainer\" target=\"_blank\" rel=\"noopener noreferrer\">explaining why Pepe was bad\u003c/a>.\u003c/p>\n\u003cp>If this all feels a little stupid—that’s all intentional. Through interviews with journalists and experts on extremism on the internet, the documentary explores the well-oiled right wing propaganda machine built on bad faith arguments meant to make you feel unsure, and dumb, and ridiculous. If you go back and look at the \u003ca href=\"https://www.latimes.com/politics/la-na-pol-pepe-the-frog-hate-symbol-20161011-snap-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">plethora\u003c/a> \u003ca href=\"https://www.theatlantic.com/politics/archive/2016/09/its-not-easy-being-green/499892/\" target=\"_blank\" rel=\"noopener noreferrer\">of interviews\u003c/a> \u003ca href=\"https://www.esquire.com/news-politics/news/a49057/pepe-frog-creator-voting-hillary/\" target=\"_blank\" rel=\"noopener noreferrer\">Furie did\u003c/a> around the time of the ADL listing, there’s a sense of wishful thinking on Furie’s part: that this is just a phase, Pepe won’t be a hate symbol forever. He tried working with the ADL and fellow cartoonists to flood the online space with “positive” Pepe imagery. He tried “killing” Pepe in one of his comics to wash his hands of it. Both fundamental misunderstandings of how the internet works. But the documentary’s director, Arthur Jones says those were the tools Furie had available to him.\u003c/p>\n\u003cp>“Those were his earnest attempts to try to express the true intentions of Pepe as a character,” says Jones.\u003c/p>\n\u003cfigure id=\"attachment_13885870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gettyimages-1173238050-e53b99fafa93cf9adefbea7ff1dc1de2b6b53165-800x600.jpg\" alt=\"During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">During the 2019 pro-democracy protests in Hong Kong, Pepe became a symbol of resistance. \u003ccite>(Mohd Rasfan/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the corners of the internet where racist Pepes run rampant, earnestness doesn’t count for much. Lawsuits, on the other hand, do. \u003ca href=\"https://www.npr.org/2019/06/11/731520403/alex-jones-to-pay-15-000-in-pepe-the-frog-copyright-infringement-case\" target=\"_blank\" rel=\"noopener noreferrer\">The wins\u003c/a> Furie collects under his belt in the movie are mostly legal ones, using copyright law to issue take down notices, file suits, etc. Which he was only able to do through the help of a law firm working pro-bono. See, cartoons taken out of context aren’t new, nor solely relegated to the internet. Stroll down any boardwalk and you’ll eventually catch some bootleg \u003cem>Minions \u003c/em>merch. But these are mostly kept in check through legal actions by people who can afford them.\u003c/p>\n\u003cp>“[Furie] doesn’t have this multi-million dollar conglomerate behind him pushing the character and the branding of Pepe,” says the documentary’s producer Giorgio Angelini. “So in that void, the collective consciousness of the internet creates that brand.”\u003c/p>\n\u003cp>And as the internet has shown time and time again, if you allow its collective consciousness to fill a void, that void will get filled with Nazis.\u003c/p>\n\u003cp>But Furie wasn’t wholly wrong when he said that the link between Pepe and hatred would last forever. Pepe showing up at the \u003ca href=\"https://www.wired.com/story/pepe-the-frog-meme-hong-kong/\" target=\"_blank\" rel=\"noopener noreferrer\">pro-democracy protests\u003c/a> in Hong Kong in 2019 took the filmmakers by surprise. Elsewhere, on the popular live streaming platform Twitch, Pepes are thrown around in the chat apolitically, mostly devoid of the problematic baggage he was saddled with four years ago. But who knows how long this will last. With another presidential election in just a few months, the meme wars will only continue to heat up, and phases do tend to repeat themselves given a long enough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Talking to Furie over Zoom, there was a Pepe plushie hanging on a wall over his shoulder. Furie has at times been sick, defensive and exasperated with Pepe. But as much as the internet can separate Pepe from Furie, Furie can never really separate himself from Pepe—and so clearing Pepe’s name is just as important as clearing his own.\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=%27Feels+Good+Man%27+Traces+Pepe+The+Frog+From+Hate+Symbol+To+Democracy+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"isBot": true
},
"requestOutcomesReducer": {
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},
"navPromosReducer": {
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"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
