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"content": "\u003cp>It’s always been about timing with \u003cem>Tenet\u003c/em>. Christopher Nolan’s highly anticipated action thriller stars John David Washington as a secret agent who inverts time to try to save the world from an impending World War III.\u003c/p>\n\u003cp>His character apparently doesn’t so much time travel as bend time. The actor has told reporters he had to run and do stunts backwards for his scenes. “Don’t try to understand it, just feel it,” he said to \u003cem>ET Canada\u003c/em>, about the film’s complicated story line. “Just enjoy being in a theater and looking at an event. It’s such wonder and spectacle and location and scale, beautiful scenery … And then on the second and third viewing, try to deconstruct it and break it down.”\u003c/p>\n\u003cp>To open\u003cem> Tenet\u003c/em> in theaters, Warner Brothers also had to bend time. The studio originally slated it to open in July, but repeatedly rescheduled the film’s release while the coronavirus pandemic shuttered cinemas around the globe. Now that theaters have reopened, \u003cem>Tenet\u003c/em> has already premiered in Australia, and opens Wednesday in Canada, South Korea, and much of Europe. Next week, it opens in select American cities, though not Los Angeles or New York. Following that will be Russia, China, Brazil, Mexico and Japan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AZGcmvrTX9M\u003c/p>\n\u003cp>“They wanted enough available theaters to make it worth their while, that over the long term they can make their money back,” says Paul Dergarabedian, senior media analyst with Comscore. “This was not an inexpensive movie.” He says the $200 million plus movie is not the first big film to open overseas before it does domestically:\u003cem> The Avengers\u003c/em> and the \u003cem>Fast and Furious\u003c/em> franchise also opened globally first. But Dergarabedian says \u003cem>Tenet\u003c/em> is seen as the big American studio film that might lure people back to theaters around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is an industry that’s been blind-sided by the pandemic,” Dergarabedian says. “A lot of people are saying it’s over, people are going to just stream movies now at home. That’s not true. People are going back to the movie theater, and they want to feel safe and secure doing that. And \u003cem>Tenet\u003c/em> is the big ticket, the movie that everyone has been waiting for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christopher Nolan, who shot \u003cem>Tenet\u003c/em> on 70 millimeter and IMAX, has long championed the cinematic experience. He made a direct pitch to China, where the film is set to open on Sept. 4. “I like nothing more than escaping to another world through the power of movies,” he said in a video for Chinese audience.” And \u003cem>Tenet\u003c/em> is our attempt to make as big a film as possible, with as immersive action as possible for the big screen.” As for U.S. audiences, there are sneak previews Aug. 30. It opens wider Sept. 3. So if you want to go back to the movies, set your timers.\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=%27Tenet%27+Opens+Internationally.+Will+Be+Shown+In+Select+U.S.+Cities+Next+Month&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Watch actor Sterling K. Brown, and one of the first things you may notice is his eyes.\u003c/p>\n\u003cp>In a scene from the last season of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Brown plays Reggie, a hard-nosed manager who fires comic Midge Maisel from the opening spot of a major tour. [aside postid='pop_107915']\u003c/p>\n\u003cp>As Reggie explains his reasons in an emotional speech, tears well up in his eyes. His language is rough, but his eyes reveal something more: He’s feeling guilty and defensive.\u003c/p>\n\u003cp>Or look at his work on NBC’s hit drama \u003cem>This Is Us\u003c/em>, where Brown plays tightly wound Randall Pearson, a Black man adopted by a white family. In a scene with his adoptive mother that Brown says was one of his most challenging this past season, Randall uses his status as a good son—and the fact that he forgave her for hiding the identity of his biological father—to pressure her into enrolling in an Alzheimer’s clinical trial she has resisted joining.\u003c/p>\n\u003cp>Again, Brown’s eyes reveal a lot: the reluctance to manipulate someone he loves—and the resolve to push her into doing something that might save her life. A tear rolled down his face as punctuation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love eye actors, and Sterling is one,” says Dan Fogelman, the creator and executive producer of \u003cem>This Is Us\u003c/em>. “Just watching him hold [everyone’s attention] with his face and what he delivers and what he’s feeling and believing. … You can’t really put your finger on what that thing is. You just know it when you’re seeing it.”\u003c/p>\n\u003cp>Brown says that even as he realized Randall was crossing a line with his mother, he understood why the character was doing it: “He just couldn’t lose her. I knew that was going to land on people in a really painful and uncomfortable way. So I had to release whatever judgment that I have for Randall’s actions and just be like, ‘Hey … there’s a need here.’ ”\u003c/p>\n\u003cp>Those two performances have allowed Brown to make Emmy history this year; nominated as best lead actor in a drama series for \u003cem>This Is Us\u003c/em> and best supporting actor in a comedy series for \u003cem>The Marvelous Mrs. Maisel\u003c/em> on Amazon’s Prime Video.\u003c/p>\n\u003cp>Other performers have been nominated in the same year in different categories. But Brown is the first person to be nominated in the same year as a series regular in comedy and drama categories presented on the Emmy broadcast, according to a spokesperson for the Academy of Television Arts and Sciences.\u003c/p>\n\u003cp>Grateful as he is for his nominations, Brown also sees \u003ca href=\"https://variety.com/2020/tv/awards/emmy-nominations-black-actors-diversity-2020-1234716405/\" target=\"_blank\" rel=\"noopener noreferrer\">the record number of Black performers nominated for Emmys\u003c/a>—about 34% of acting nominees this year—as a welcome reaction to the civil rights reckoning and Black Lives Matter protests of the summer.\u003c/p>\n\u003cp>“We cannot detach the Emmys themselves from everything else that’s happening in the country,” Brown says. “Black Lives Matter … it’s nice to feel like there are considerable allies saying, ‘Yes, they do.’ And they showed it in their vote.”\u003c/p>\n\u003cp>The actor says it’s also part of a long march toward recognition for Black performers, held back by oppression in Hollywood stretching back to the early 1900s, when white people wore blackface to play Black characters in films.\u003c/p>\n\u003cp>“The history that Black folks have as performers in the industry is a very specific one … dating back to [the 1915 film] \u003cem>Birth of a Nation\u003c/em> where we’re not even allowed to play ourselves … [and] grossly mischaracterized and made to look buffoonish by white people,” he adds. “It’s taken a long time to be fully recognized as human in front of the camera and in life.”\u003c/p>\n\u003cp>Brown has made history at awards shows before; in 2018, he became the first Black man to win best actor in a drama at both the Golden Globes and the Screen Actors Guild awards.\u003c/p>\n\u003cp>And even though some fans may have just discovered Brown relatively recently—perhaps in 2016 when he played Christopher Darden on FX’s \u003cem>People v. O.J. Simpson: American Crime Story\u003c/em>—his success was years in the making.\u003c/p>\n\u003cp>With degrees from Stanford University and New York University’s Tisch School of the Arts, Brown has spent about two decades appearing on TV shows like Lifetime’s \u003cem>Army Wives\u003c/em> and his first series regular role, playing a cop with bulimia on FX’s short-lived 2005 drama \u003cem>Starved\u003c/em>.\u003c/p>\n\u003cp>“I would pull over delivery guys on trumped up traffic charges, then steal their food as compensation for not giving them a ticket,” he says, laughing. “It [debuted] the same year they launched \u003cem>It’s Always Sunny in Philadelphia\u003c/em>. \u003cem>Sunny\u003c/em> stuck around and we did not.”\u003c/p>\n\u003cp>“This isn’t an overnight success story,” Fogelman adds. “One of the things that makes this moment so earned and so special is … this is a guy who put in the work and learned his craft and he’s an explosive actor because of it.”\u003c/p>\n\u003cp>These days, both Fogelman and Brown are excited about the new season of \u003cem>This Is Us\u003c/em>, which will begin with two episodes addressing both the coronavirus pandemic and the Black Lives Matter protests.\u003c/p>\n\u003cp>“I felt like, considering everything that’s going on in our country, we have an opportunity and almost a responsibility—without getting into the politics of it all—to capture what this is … a very unusual, landmark moment in time,” says Fogelman, who still isn’t sure when the show will resume filming.\u003c/p>\n\u003cp>And Brown has also started his own production company devoted to film and TV projects championing diversity called Indian Meadows, named for an area of his native St. Louis. [aside postid='pop_102572']\u003c/p>\n\u003cp>Ask how he’s coping amid all the discussions on race kicked off by the killing by police of Black people like George Floyd and Breonna Taylor and Brown hesitates—repeating the question a few times while recalling an emotional discussion he had on the Tulsa race massacre with his 9-year-old son.\u003c/p>\n\u003cp>“How do I feel? I feel like it’s 2020 and a lot of the conversations that we’ve had historically are still as present,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think people are [realizing] the system has never been broken,” Brown adds. “The system has functioned exactly the way it was intended to, and the time for full integration is now. … Because I don’t want my kid to have the same conversation with his kids.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Watch actor Sterling K. Brown, and one of the first things you may notice is his eyes.\u003c/p>\n\u003cp>In a scene from the last season of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Brown plays Reggie, a hard-nosed manager who fires comic Midge Maisel from the opening spot of a major tour. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Reggie explains his reasons in an emotional speech, tears well up in his eyes. His language is rough, but his eyes reveal something more: He’s feeling guilty and defensive.\u003c/p>\n\u003cp>Or look at his work on NBC’s hit drama \u003cem>This Is Us\u003c/em>, where Brown plays tightly wound Randall Pearson, a Black man adopted by a white family. In a scene with his adoptive mother that Brown says was one of his most challenging this past season, Randall uses his status as a good son—and the fact that he forgave her for hiding the identity of his biological father—to pressure her into enrolling in an Alzheimer’s clinical trial she has resisted joining.\u003c/p>\n\u003cp>Again, Brown’s eyes reveal a lot: the reluctance to manipulate someone he loves—and the resolve to push her into doing something that might save her life. A tear rolled down his face as punctuation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love eye actors, and Sterling is one,” says Dan Fogelman, the creator and executive producer of \u003cem>This Is Us\u003c/em>. “Just watching him hold [everyone’s attention] with his face and what he delivers and what he’s feeling and believing. … You can’t really put your finger on what that thing is. You just know it when you’re seeing it.”\u003c/p>\n\u003cp>Brown says that even as he realized Randall was crossing a line with his mother, he understood why the character was doing it: “He just couldn’t lose her. I knew that was going to land on people in a really painful and uncomfortable way. So I had to release whatever judgment that I have for Randall’s actions and just be like, ‘Hey … there’s a need here.’ ”\u003c/p>\n\u003cp>Those two performances have allowed Brown to make Emmy history this year; nominated as best lead actor in a drama series for \u003cem>This Is Us\u003c/em> and best supporting actor in a comedy series for \u003cem>The Marvelous Mrs. Maisel\u003c/em> on Amazon’s Prime Video.\u003c/p>\n\u003cp>Other performers have been nominated in the same year in different categories. But Brown is the first person to be nominated in the same year as a series regular in comedy and drama categories presented on the Emmy broadcast, according to a spokesperson for the Academy of Television Arts and Sciences.\u003c/p>\n\u003cp>Grateful as he is for his nominations, Brown also sees \u003ca href=\"https://variety.com/2020/tv/awards/emmy-nominations-black-actors-diversity-2020-1234716405/\" target=\"_blank\" rel=\"noopener noreferrer\">the record number of Black performers nominated for Emmys\u003c/a>—about 34% of acting nominees this year—as a welcome reaction to the civil rights reckoning and Black Lives Matter protests of the summer.\u003c/p>\n\u003cp>“We cannot detach the Emmys themselves from everything else that’s happening in the country,” Brown says. “Black Lives Matter … it’s nice to feel like there are considerable allies saying, ‘Yes, they do.’ And they showed it in their vote.”\u003c/p>\n\u003cp>The actor says it’s also part of a long march toward recognition for Black performers, held back by oppression in Hollywood stretching back to the early 1900s, when white people wore blackface to play Black characters in films.\u003c/p>\n\u003cp>“The history that Black folks have as performers in the industry is a very specific one … dating back to [the 1915 film] \u003cem>Birth of a Nation\u003c/em> where we’re not even allowed to play ourselves … [and] grossly mischaracterized and made to look buffoonish by white people,” he adds. “It’s taken a long time to be fully recognized as human in front of the camera and in life.”\u003c/p>\n\u003cp>Brown has made history at awards shows before; in 2018, he became the first Black man to win best actor in a drama at both the Golden Globes and the Screen Actors Guild awards.\u003c/p>\n\u003cp>And even though some fans may have just discovered Brown relatively recently—perhaps in 2016 when he played Christopher Darden on FX’s \u003cem>People v. O.J. Simpson: American Crime Story\u003c/em>—his success was years in the making.\u003c/p>\n\u003cp>With degrees from Stanford University and New York University’s Tisch School of the Arts, Brown has spent about two decades appearing on TV shows like Lifetime’s \u003cem>Army Wives\u003c/em> and his first series regular role, playing a cop with bulimia on FX’s short-lived 2005 drama \u003cem>Starved\u003c/em>.\u003c/p>\n\u003cp>“I would pull over delivery guys on trumped up traffic charges, then steal their food as compensation for not giving them a ticket,” he says, laughing. “It [debuted] the same year they launched \u003cem>It’s Always Sunny in Philadelphia\u003c/em>. \u003cem>Sunny\u003c/em> stuck around and we did not.”\u003c/p>\n\u003cp>“This isn’t an overnight success story,” Fogelman adds. “One of the things that makes this moment so earned and so special is … this is a guy who put in the work and learned his craft and he’s an explosive actor because of it.”\u003c/p>\n\u003cp>These days, both Fogelman and Brown are excited about the new season of \u003cem>This Is Us\u003c/em>, which will begin with two episodes addressing both the coronavirus pandemic and the Black Lives Matter protests.\u003c/p>\n\u003cp>“I felt like, considering everything that’s going on in our country, we have an opportunity and almost a responsibility—without getting into the politics of it all—to capture what this is … a very unusual, landmark moment in time,” says Fogelman, who still isn’t sure when the show will resume filming.\u003c/p>\n\u003cp>And Brown has also started his own production company devoted to film and TV projects championing diversity called Indian Meadows, named for an area of his native St. Louis. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ask how he’s coping amid all the discussions on race kicked off by the killing by police of Black people like George Floyd and Breonna Taylor and Brown hesitates—repeating the question a few times while recalling an emotional discussion he had on the Tulsa race massacre with his 9-year-old son.\u003c/p>\n\u003cp>“How do I feel? I feel like it’s 2020 and a lot of the conversations that we’ve had historically are still as present,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think people are [realizing] the system has never been broken,” Brown adds. “The system has functioned exactly the way it was intended to, and the time for full integration is now. … Because I don’t want my kid to have the same conversation with his kids.”\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=Sterling+K.+Brown%3A+Black+Actors+Have+Waited+%27A+Long+Time+To+Be+Fully+Recognized%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bill S. Preston Esquire and Ted “Theodore” Logan have been to heaven and hell, the past and the future. They’ve befriended Abraham Lincoln and Joan of Arc. They’ve bested the Grim Reaper in a game of Battleship.\u003c/p>\n\u003cp>Now, nearly 30 years after we last saw them, the duo reunite in the new movie, \u003cem>Bill & Ted Face the Music.\u003c/em>\u003c/p>\n\u003cp>“We were excited by the idea that we first heard from the writers,” says Alex Winter, who plays Bill, “and then we had to set about actually finding these guys again.” How did they do that? “Magic,” Winter jokes.\u003c/p>\n\u003cp>Keanu Reeves, who plays Ted, chimes in: “Working on the script, and working with the director Dean Parisot, the writers, Chris Matheson and Ed Solomon were really collaborative with is. And Alex and I just internally kind of rehearsing with each other, and just got to that first day—and the first shot we had to get in the phone booth, and there we were. And here we go.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1gPGeAYo3yU\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting into character as Bill and Ted, 30 years on\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Winter: There was kind of a two pronged approach to the preparation. There was figuring out who these guys were at this point in their lives in a very kind of story-driven way. And as Keanu said, that was about he and I working together and looking at just the actual circumstances of these guys in their lives. And that was fun. But then there was a whole kind of physical preparation because there was this crazy narrative of us acting opposite all these different versions of ourselves. And so finding the physicality of present day Bill and Ted, and then finding the physicality of all these different versions of us, took a little bit of time too, but it was fun.\u003c/p>\n\u003cp>Reeves: We really were reacting to the writers and their idea that our characters 30 years ago had this destiny and they didn’t fulfill it. So this idea of where are they now? It was like, who are these guys now? They’re offered another kind of chance, but that’s even more, in a Bill and Ted way, ridiculous, you know, and I thought that model felt like a worthwhile and funny idea.\u003c/p>\n\u003cp>\u003cstrong>Reeves on what playing Bill taught him about comedy, and whether people confused him with the character\u003c/strong>\u003c/p>\n\u003cp>I was from the critics and journalists, but not by the industry. But in terms of, I guess, comedy—you just can’t play funny. You know, you have to play the real of it. And then hopefully the funny will come after that. But that’s not to say that there are techniques and skills and … timing. I think you just have to do it, you have to practice, and you have to consider it.\u003c/p>\n\u003cp>\u003cstrong>On the fact that \u003cem>Face the Music\u003c/em> will be one of the first pandemic-era films shown in theaters.\u003c/strong>\u003c/p>\n\u003cp>Winter: I think that the industry is rightly very concerned about the cinema experience, but also they’re very concerned about the economics for exhibitors who, you know—keep the movie business alive and we want the exhibitors to stay afloat at the same time. We want people to be safe in a pandemic. And people need to be given an option to watch this movie safely at home. So we feel really good about the fact that the studio is willing to throw in behind that rollout plan. But we are also looking forward to a world in which the movie experience is back.\u003c/p>\n\u003cp>Reeves: I mean, I think everyone’s going to put all the protocols in place to make it as safe as possible for people who do feel comfortable. That opportunity presents itself if they want to go to the cinema. And it’s also on pay per view or streaming. So there’s that option as well.\u003c/p>\n\u003cp>\u003cstrong>On what they want audiences to get out of the return of Bill and Ted\u003c/strong>\u003c/p>\n\u003cp>Reeves: Wow, just to laugh, to enjoy the ride, to, you know, feel good, feel positive and to share that, spread that around.\u003c/p>\n\u003cp>Winter: People have a an inclination to be weighed down by the gravitas of what’s going on in the world at the moment. But I do think that cinema gives you an outlet for certain emotions in a collective way. And the film doesn’t take itself seriously. It’s not trying to present a message, but it has themes, and the themes are quite sweet and lovely. And the theme of this movie is very much about the whole world coming together and helping one another. But it’s also, there’s a lot of whimsy, and I think an hour and a half of genuine, open-hearted, innocent whimsy may not be the worst thing for people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Danny Hensel and Ed McNulty, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Not+Heinous+At+All%3A+Bill+And+Ted+Are+Back+To+%27Face+The+Music%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill S. Preston Esquire and Ted “Theodore” Logan have been to heaven and hell, the past and the future. They’ve befriended Abraham Lincoln and Joan of Arc. They’ve bested the Grim Reaper in a game of Battleship.\u003c/p>\n\u003cp>Now, nearly 30 years after we last saw them, the duo reunite in the new movie, \u003cem>Bill & Ted Face the Music.\u003c/em>\u003c/p>\n\u003cp>“We were excited by the idea that we first heard from the writers,” says Alex Winter, who plays Bill, “and then we had to set about actually finding these guys again.” How did they do that? “Magic,” Winter jokes.\u003c/p>\n\u003cp>Keanu Reeves, who plays Ted, chimes in: “Working on the script, and working with the director Dean Parisot, the writers, Chris Matheson and Ed Solomon were really collaborative with is. And Alex and I just internally kind of rehearsing with each other, and just got to that first day—and the first shot we had to get in the phone booth, and there we were. And here we go.”\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/1gPGeAYo3yU'\n title='//www.youtube.com/embed/1gPGeAYo3yU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting into character as Bill and Ted, 30 years on\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Winter: There was kind of a two pronged approach to the preparation. There was figuring out who these guys were at this point in their lives in a very kind of story-driven way. And as Keanu said, that was about he and I working together and looking at just the actual circumstances of these guys in their lives. And that was fun. But then there was a whole kind of physical preparation because there was this crazy narrative of us acting opposite all these different versions of ourselves. And so finding the physicality of present day Bill and Ted, and then finding the physicality of all these different versions of us, took a little bit of time too, but it was fun.\u003c/p>\n\u003cp>Reeves: We really were reacting to the writers and their idea that our characters 30 years ago had this destiny and they didn’t fulfill it. So this idea of where are they now? It was like, who are these guys now? They’re offered another kind of chance, but that’s even more, in a Bill and Ted way, ridiculous, you know, and I thought that model felt like a worthwhile and funny idea.\u003c/p>\n\u003cp>\u003cstrong>Reeves on what playing Bill taught him about comedy, and whether people confused him with the character\u003c/strong>\u003c/p>\n\u003cp>I was from the critics and journalists, but not by the industry. But in terms of, I guess, comedy—you just can’t play funny. You know, you have to play the real of it. And then hopefully the funny will come after that. But that’s not to say that there are techniques and skills and … timing. I think you just have to do it, you have to practice, and you have to consider it.\u003c/p>\n\u003cp>\u003cstrong>On the fact that \u003cem>Face the Music\u003c/em> will be one of the first pandemic-era films shown in theaters.\u003c/strong>\u003c/p>\n\u003cp>Winter: I think that the industry is rightly very concerned about the cinema experience, but also they’re very concerned about the economics for exhibitors who, you know—keep the movie business alive and we want the exhibitors to stay afloat at the same time. We want people to be safe in a pandemic. And people need to be given an option to watch this movie safely at home. So we feel really good about the fact that the studio is willing to throw in behind that rollout plan. But we are also looking forward to a world in which the movie experience is back.\u003c/p>\n\u003cp>Reeves: I mean, I think everyone’s going to put all the protocols in place to make it as safe as possible for people who do feel comfortable. That opportunity presents itself if they want to go to the cinema. And it’s also on pay per view or streaming. So there’s that option as well.\u003c/p>\n\u003cp>\u003cstrong>On what they want audiences to get out of the return of Bill and Ted\u003c/strong>\u003c/p>\n\u003cp>Reeves: Wow, just to laugh, to enjoy the ride, to, you know, feel good, feel positive and to share that, spread that around.\u003c/p>\n\u003cp>Winter: People have a an inclination to be weighed down by the gravitas of what’s going on in the world at the moment. But I do think that cinema gives you an outlet for certain emotions in a collective way. And the film doesn’t take itself seriously. It’s not trying to present a message, but it has themes, and the themes are quite sweet and lovely. And the theme of this movie is very much about the whole world coming together and helping one another. But it’s also, there’s a lot of whimsy, and I think an hour and a half of genuine, open-hearted, innocent whimsy may not be the worst thing for people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Danny Hensel and Ed McNulty, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Not+Heinous+At+All%3A+Bill+And+Ted+Are+Back+To+%27Face+The+Music%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Wild and Daring, 'Tesla' Captures the Spirit of an Unorthodox Inventor",
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"content": "\u003cp>The writer and director Michael Almereyda is making some of the most thoughtful and inventive biographical dramas of any filmmaker working today.\u003c/p>\n\u003cp>He’s fascinated by the lives of scientists and intellectuals, but rather than merely rattling off their accomplishments, he uses the medium of cinema itself to explore how their minds actually worked. A few years ago he directed \u003ca href=\"https://www.npr.org/2015/10/23/451111456/experimenter-revisits-a-decades-old-trial-of-free-will-and-compassion\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Experimenter\u003c/em>\u003c/a>, a portrait of the controversial researcher \u003ca href=\"https://www.npr.org/2013/08/28/209559002/taking-a-closer-look-at-milgrams-shocking-obedience-study\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Milgram\u003c/a> that played its own sly psychological games with the audience.\u003c/p>\n\u003cp>Almereyda’s new film, \u003cem>Tesla\u003c/em>, is a quieter, moodier affair than \u003cem>Experimenter\u003c/em>, but it has the same invigorating playfulness. It unfolds as a series of funny-sad vignettes from the life of Nikola Tesla, the Serbian-American inventor who has often been relegated to a historical footnote—as the younger, hipper rival to Thomas Edison. But Tesla, played here by a superb \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Ethan Hawke\u003c/a>, looms ever larger these days in the public imagination. He’s been a character in novels, video games and quite a few movies, like \u003ca href=\"https://www.npr.org/2019/10/24/771307612/the-current-war-director-s-cut-shines-at-low-but-steady-wattage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Current War\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6359512\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>The Prestige\u003c/em>\u003c/a>\u003cem>,\u003c/em> in which he was played by none other than David Bowie.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>doesn’t follow the usual cradle-to-the-grave biopic trajectory. There are oddball comic asides, like the scene where Tesla and Edison attack each other with ice-cream cones; needless-to-say, the movie tells us, that didn’t really happen. Sometimes a narrator interrupts the action to run Google searches on the characters, a nifty little fact-checking device that also underscores the story’s relevance. It connects Tesla, a pioneer in the field of wireless communications, directly to the internet technology we use today.\u003c/p>\n\u003cp>Aside from the occasional leaps forward and backward, the movie is told in mostly chronological order. It begins in the 1880s, not long after Tesla, who was born in what is now Croatia, has emigrated to New York City. There, he gets a job working for Edison, played with snappish wit and a rich vein of melancholy by Kyle MacLachlan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tesla is developing a new project, a motor that uses alternating current—a more efficient system of harnessing electrical power than Edison’s direct-current method. Edison feels threatened and refuses to support Tesla’s work, as the younger man bitterly notes in a letter to a friend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e4U-23TOKms\u003c/p>\n\u003cp>Edison is just one of many powerful older men with whom Tesla will cross paths over the course of his tumultuous career. \u003ca href=\"https://www.npr.org/2015/09/24/443070367/comic-jim-gaffigan-on-stand-up-faith-and-opening-for-the-pope\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Gaffigan\u003c/a> gives an enjoyably big-hearted performance as the engineer and entrepreneur George Westinghouse, who funds the Tesla motor and makes it a force to be reckoned with.\u003c/p>\n\u003cp>Later, Tesla finds a chillier patron in the banker J.P. Morgan, who gives him the modern-day equivalent of $4 million to build a wireless communications system, only to balk when the project leads Tesla into ever more bizarre realms of study. At one point, Tesla comes to believe he might be receiving secret transmissions from Mars.\u003c/p>\n\u003cp>Hawke, who starred in Almereyda’s offbeat Shakespeare adaptations \u003cem>Hamlet \u003c/em>and \u003cem>Cymbeline\u003c/em>, gives a beautifully internalized performance as Tesla. He nails the essence of a deep thinker who likes his solitude and who’s more comfortable at home with his notebooks than he is out and about in society.\u003c/p>\n\u003cp>The movie does hand a prominent role to Anne Morgan, J.P. Morgan’s daughter, memorably played by Eve Hewson. She becomes a close friend of Tesla’s as well as a kind of stand-in for the audience. Through her tender yet sharply perceptive gaze, we come to appreciate this man’s genius, but we also register the pride and short-sightedness that will again and again prove to be his undoing.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>has been a long time in the making. Almereyda wrote the script decades earlier, but it languished for years until the financing at last came together. Watching the finished movie, I couldn’t help but feel that Almereyda empathizes instinctively with Tesla. Not because the director sees himself as some sort of fellow visionary, but because he knows that in science as well as in filmmaking, bold thinkers often run afoul of naysaying benefactors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>is a deeply unconventional movie, but never in a self-congratulatory way. The gifted cinematographer Sean Price Williams gives the interiors a rich amber glow, cast initially by candles and later by electric bulbs: A world that might have seemed stiff and static is instead wildly in flux. The movie is a hypnotic experience. You might be thrown by some of the weirder touches, like the wildly anachronistic scene in which Tesla stands in front of a microphone and sings a 1985 British pop hit, but I loved its crazy daring. It reminds us what a modern creature Tesla was, a figure from the past who never stopped pointing the way to the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wild+And+Daring%2C+%27Tesla%27+Captures+The+Spirit+Of+An+Unorthodox+Inventor+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The writer and director Michael Almereyda is making some of the most thoughtful and inventive biographical dramas of any filmmaker working today.\u003c/p>\n\u003cp>He’s fascinated by the lives of scientists and intellectuals, but rather than merely rattling off their accomplishments, he uses the medium of cinema itself to explore how their minds actually worked. A few years ago he directed \u003ca href=\"https://www.npr.org/2015/10/23/451111456/experimenter-revisits-a-decades-old-trial-of-free-will-and-compassion\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Experimenter\u003c/em>\u003c/a>, a portrait of the controversial researcher \u003ca href=\"https://www.npr.org/2013/08/28/209559002/taking-a-closer-look-at-milgrams-shocking-obedience-study\" target=\"_blank\" rel=\"noopener noreferrer\">Stanley Milgram\u003c/a> that played its own sly psychological games with the audience.\u003c/p>\n\u003cp>Almereyda’s new film, \u003cem>Tesla\u003c/em>, is a quieter, moodier affair than \u003cem>Experimenter\u003c/em>, but it has the same invigorating playfulness. It unfolds as a series of funny-sad vignettes from the life of Nikola Tesla, the Serbian-American inventor who has often been relegated to a historical footnote—as the younger, hipper rival to Thomas Edison. But Tesla, played here by a superb \u003ca href=\"https://www.npr.org/2018/06/12/619165319/paul-schrader-and-ethan-hawke-test-their-faith-in-first-reformed\" target=\"_blank\" rel=\"noopener noreferrer\">Ethan Hawke\u003c/a>, looms ever larger these days in the public imagination. He’s been a character in novels, video games and quite a few movies, like \u003ca href=\"https://www.npr.org/2019/10/24/771307612/the-current-war-director-s-cut-shines-at-low-but-steady-wattage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Current War\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6359512\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>The Prestige\u003c/em>\u003c/a>\u003cem>,\u003c/em> in which he was played by none other than David Bowie.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>doesn’t follow the usual cradle-to-the-grave biopic trajectory. There are oddball comic asides, like the scene where Tesla and Edison attack each other with ice-cream cones; needless-to-say, the movie tells us, that didn’t really happen. Sometimes a narrator interrupts the action to run Google searches on the characters, a nifty little fact-checking device that also underscores the story’s relevance. It connects Tesla, a pioneer in the field of wireless communications, directly to the internet technology we use today.\u003c/p>\n\u003cp>Aside from the occasional leaps forward and backward, the movie is told in mostly chronological order. It begins in the 1880s, not long after Tesla, who was born in what is now Croatia, has emigrated to New York City. There, he gets a job working for Edison, played with snappish wit and a rich vein of melancholy by Kyle MacLachlan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tesla is developing a new project, a motor that uses alternating current—a more efficient system of harnessing electrical power than Edison’s direct-current method. Edison feels threatened and refuses to support Tesla’s work, as the younger man bitterly notes in a letter to a friend.\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/e4U-23TOKms'\n title='//www.youtube.com/embed/e4U-23TOKms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Edison is just one of many powerful older men with whom Tesla will cross paths over the course of his tumultuous career. \u003ca href=\"https://www.npr.org/2015/09/24/443070367/comic-jim-gaffigan-on-stand-up-faith-and-opening-for-the-pope\" target=\"_blank\" rel=\"noopener noreferrer\">Jim Gaffigan\u003c/a> gives an enjoyably big-hearted performance as the engineer and entrepreneur George Westinghouse, who funds the Tesla motor and makes it a force to be reckoned with.\u003c/p>\n\u003cp>Later, Tesla finds a chillier patron in the banker J.P. Morgan, who gives him the modern-day equivalent of $4 million to build a wireless communications system, only to balk when the project leads Tesla into ever more bizarre realms of study. At one point, Tesla comes to believe he might be receiving secret transmissions from Mars.\u003c/p>\n\u003cp>Hawke, who starred in Almereyda’s offbeat Shakespeare adaptations \u003cem>Hamlet \u003c/em>and \u003cem>Cymbeline\u003c/em>, gives a beautifully internalized performance as Tesla. He nails the essence of a deep thinker who likes his solitude and who’s more comfortable at home with his notebooks than he is out and about in society.\u003c/p>\n\u003cp>The movie does hand a prominent role to Anne Morgan, J.P. Morgan’s daughter, memorably played by Eve Hewson. She becomes a close friend of Tesla’s as well as a kind of stand-in for the audience. Through her tender yet sharply perceptive gaze, we come to appreciate this man’s genius, but we also register the pride and short-sightedness that will again and again prove to be his undoing.\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>has been a long time in the making. Almereyda wrote the script decades earlier, but it languished for years until the financing at last came together. Watching the finished movie, I couldn’t help but feel that Almereyda empathizes instinctively with Tesla. Not because the director sees himself as some sort of fellow visionary, but because he knows that in science as well as in filmmaking, bold thinkers often run afoul of naysaying benefactors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tesla \u003c/em>is a deeply unconventional movie, but never in a self-congratulatory way. The gifted cinematographer Sean Price Williams gives the interiors a rich amber glow, cast initially by candles and later by electric bulbs: A world that might have seemed stiff and static is instead wildly in flux. The movie is a hypnotic experience. You might be thrown by some of the weirder touches, like the wildly anachronistic scene in which Tesla stands in front of a microphone and sings a 1985 British pop hit, but I loved its crazy daring. It reminds us what a modern creature Tesla was, a figure from the past who never stopped pointing the way to the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wild+And+Daring%2C+%27Tesla%27+Captures+The+Spirit+Of+An+Unorthodox+Inventor+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Fallout' Tells the Story of the Journalist Who Exposed the 'Hiroshima Cover-Up'",
"headTitle": "‘Fallout’ Tells the Story of the Journalist Who Exposed the ‘Hiroshima Cover-Up’ | KQED",
"content": "\u003cp>When the U.S military dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki in August 1945, the American government portrayed the weapons as equivalent to large conventional bombs—and dismissed Japanese reports of radiation sickness as propaganda.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885057 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png\" alt=\"\" width=\"216\" height=\"326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png 216w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM-160x241.png 160w\" sizes=\"(max-width: 216px) 100vw, 216px\">Military censors restricted access to Hiroshima, but a young journalist named John Hersey managed to get there and write a devastating account of the death, destruction and radiation poisoning he encountered. Author Lesley M.M. Blume tells Hersey’s story in her book, \u003cem>Fallout: The Hiroshima Cover-up and the Reporter Who Revealed it to the World. \u003c/em>\u003c/p>\n\u003cp>She writes that when Hersey, who had covered the war in Europe, arrived in Hiroshima to report on the aftereffects of the bomb a year later, the city was “still just a sort of smoldering wreck.”\u003c/p>\n\u003cp>“Hersey had seen everything from that point, from combat to concentration camps,” Blume says. “But he later said that nothing prepared him for what he saw in Hiroshima.”\u003c/p>\n\u003cp>Hersey wrote a \u003ca href=\"https://www.newyorker.com/magazine/1946/08/31/hiroshima\" target=\"_blank\" rel=\"noopener noreferrer\">30,000-word essay\u003c/a>, telling the story of the bombing and its aftermath from the perspective of six survivors. The article, which was published in its entirety by \u003cem>The New Yorker\u003c/em>, was fundamental in challenging the government’s narrative of nuclear bombs as conventional weapons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It helped create what many experts in the nuclear fields called the ‘nuclear taboo,’ ” Blume says of Hersey’s essay. “The world did not know the truth about what nuclear warfare really looks like on the receiving end, or did not really understand the full nature of these then experimental weapons, until John Hersey got into Hiroshima and reported it to the world.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what Americans knew about the nature of nuclear weapons in 1945\u003c/strong>\u003c/p>\n\u003cp>Americans didn’t know about the bomb—period—until it was detonated over Hiroshima. The Manhattan Project was cloaked in enormous secrecy, even though tens of thousands of people were working on it. … When President Harry Truman announced that America had detonated the world’s first atomic bomb over the Japanese city of Hiroshima, he was announcing not only a new weapon, but the fact that we had entered into the Atomic Age, and Americans had no idea about the nature of these then-experimental weapons—namely, that these are weapons that continue to kill long after detonation. It would take quite a bit of time and reporting to bring that out.\u003c/p>\n\u003cp>Everybody who heard the announcement [from Truman] knew that they were dealing with something totally unprecedented, not just in the war, but in the history of human warfare. What was not stated was the fact that this bomb had radiological qualities, [that] blast survivors on the ground would die in an agonizing way for the days and the weeks and months and years that followed.\u003c/p>\n\u003cp>\u003cstrong>On how military generals focused on physical devastation when they testified before Congress about the effects of the atomic bomb \u003c/strong>\u003c/p>\n\u003cp>In the immediate weeks, very little [was said.] A lot of it was really painted in landscape devastation. Landscape photographs were released to newspapers showing the decimation of Hiroshima and Nagasaki. There were rubble pictures, and also obviously people are seeing the mushroom cloud photos taken from the bombers themselves or from recon missions. But in terms of the radiation—even in Truman’s announcement of the bomb—he’s painting the bombs in conventional terms. He says these bombs are the equivalent to 20,000 tons of TNT. And so Americans, they know that it’s a mega-weapon, but they don’t understand the full nature of the weapons, the radiological effects are not in any way highlighted to the American public, and in the meantime, the U.S. military is scrambling to find out how the radiation of the bombs is affecting the physical landscape, how it’s affecting human beings, because they’re about to send tens of thousands of occupation troops into Japan.\u003c/p>\n\u003cp>\u003cstrong>On America’s PR campaign and cover-up of the radiation aftermath \u003c/strong>\u003c/p>\n\u003cp>[The U.S. military] created a PR campaign to really combat the notion that the U.S. had decimated these populations with a really destructive radiological weapon. Leslie Groves [who directed the Manhattan Project] and Robert Oppenheimer [who directed the Manhattan Project’s laboratory at Los Alamos, N.M.] themselves went to the Trinity site of testing [in New Mexico] and brought a junket of reporters so they could show off the area. And they said that there was no residual radiation whatsoever, and that therefore, any news that was filtering over from Japan were “Tokyo tales.” So right away they went into overdrive to contain that narrative. …\u003c/p>\n\u003cp>The American officials were saying, for the most part, these are the defeated Japanese trying to create international sympathy, to create better terms for themselves and the occupation—ignore them.\u003c/p>\n\u003cp>\u003cstrong>On how reporters had limited access to Hiroshima and Nagasaki, and their reports were often censored \u003c/strong>\u003c/p>\n\u003cp>In the early days of the occupation, there obviously would have been enormous interest in trying to get to Hiroshima and Nagasaki … but as the occupation really took hold and became increasingly organized, the reports were intercepted. The last one that came out of Nagasaki was intercepted and lost. There was almost no point in trying to get down there because the obstacles that were put up for reporters were so tremendous by the military censors. … I can’t overstate how restricted your movements were as a reporter, as part of the occupation press corps. … You could not get around, you could not eat. You couldn’t do anything without the permission of the Army. … The control was near total.\u003c/p>\n\u003cp>\u003cstrong>On concerning Japanese reports about “Disease X” affecting blast survivors \u003c/strong>\u003c/p>\n\u003cp>As news started to filter over from Japanese reports about what it was like on Hiroshima and Nagasaki in the aftermath, wire reports started picking up really disturbing information about the totality of the decimation and this sinister … “Disease X” that was ravaging blast survivors. So this news was starting to trickle over early in August of 1945 to Americans.\u003c/p>\n\u003cp>And so the U.S. realized that not only were they going to have to really try to study very quickly how radioactive the atomic cities might have been, as they were bringing in their own occupation troops. But they [also] realized that they had a potential PR disaster on their hands, because the U.S. had just won this horribly hard-earned military victory, and were on the moral high ground, they felt, in defeating the Axis powers. And they had avenged Pearl Harbor. They had avenged Japanese atrocities throughout the Pacific theater in Asia. But then reports that they had decimated a largely civilian population in this excruciating way with an experimental weapon—it was concerning because it might have deprived the U.S. government of [its] moral high ground.\u003c/p>\n\u003cp>\u003cstrong>On how Hiroshima and Nagasaki were seen as souvenir sites for American military \u003c/strong>\u003c/p>\n\u003cp>Hiroshima was seen as a site of just enormous victory for these guys. And a lot of them would go even to ground zero of the bombings in Hiroshima. … They saw it as a souvenir site. It’s essentially a graveyard. There are still remains that are being dug up in Hiroshima and Nagasaki today. But many of them kind of pillaged the ruins to grab a souvenir to bring home. It was the ultimate victory souvenir. So whether it’s a broken teacup to use as an ashtray or what have you, they went and they took their equivalent of selfies at ground zero. At one point in Nagasaki, Marines cleared a football field-sized amount of space in the ruins and they had what they called the “Atomic Bowl,” which was a New Year’s Day football game where they had conscripted Japanese women as cheerleaders. It was an astonishing scene in both cities. They were seen as sites of a victory. And most of the “occupationaires” were totally unrepentant about what had gone down there.\u003c/p>\n\u003cp>\u003cstrong>On Hersey getting a firsthand account from the Rev. Kiyoshi Tanimoto of what the moment of the bombing was like \u003c/strong>\u003c/p>\n\u003cp>Rev. Tanimoto, at the moment of the bombing, was slightly outside of the city. He had been transporting some goods to the outskirts of the city, and he was up on a hill. And so therefore, he had a bird’s-eye view of what happened. He fell to the ground when the actual bomb went off. But then when he got up, he saw that the city had been enveloped in flames and black clouds. And … he saw a procession of survivors starting to straggle out of the city. He was just absolutely horrified by what he had seen and baffled, too, because usually an attack on this level would have been perpetrated by a fleet of bombers. But this was just a single flash.\u003c/p>\n\u003cp>And the survivors who were making their way out of the city and who would not survive for long, I mean, most of them were naked. Some of them had flesh hanging from their bodies. He saw just unspeakable sights as he ran into the city because he had a wife and an infant daughter. He wanted to find his parishioners. The closer he got towards the detonation, the worse the scene was. The ground was just littered with scalded bodies and people who were trying to drag themselves out of the ruins and wouldn’t make it. There were walls of fire that were consuming the areas. The enormous firestorm was starting to consume the city. He, at one point, was picked up by a whirlwind, because winds had been unleashed throughout the city, and … he was lifted up in a red-hot whirlwind. … It was just unbelievable that he survived not only the initial blast, but then [headed] into [the] city center and the extreme trauma of having witnessed what he witnessed. It’s remarkable that he came out of it alive.\u003c/p>\n\u003cp>\u003cstrong>On how Hersey’s reporting changed the world’s perception of nuclear weapons\u003c/strong> [aside postid='arts_13884520']\u003c/p>\n\u003cp>The Japanese could not, for years, tell the world what it had been like to be on the receiving end of nuclear warfare, because they were under such dire press restrictions by the occupation forces. And so it took John Hersey’s reporting to show the world what the true aftermath and the true experience of nuclear warfare looks like. … It changed overnight for many people, what was described by one of Hersey’s contemporaries as the “Fourth of July feeling” about Hiroshima. There was a lot of dark humor about the bombings in Hiroshima. [The essay] just really imbued the event with a sobriety that really hadn’t been there before. And also it just completely deprived the U.S. government of the ability to be able to paint nuclear bombs as conventional weapons. … [Hersey] himself later said the thing that has kept the world safe from another nuclear attack since 1945 has been the memory of what happened in Hiroshima. And he certainly created a cornerstone of that memory.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fallout%27+Tells+The+Story+Of+The+Journalist+Who+Exposed+The+%27Hiroshima+Cover-Up%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the U.S military dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki in August 1945, the American government portrayed the weapons as equivalent to large conventional bombs—and dismissed Japanese reports of radiation sickness as propaganda.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885057 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png\" alt=\"\" width=\"216\" height=\"326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM.png 216w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-19-at-2.00.18-PM-160x241.png 160w\" sizes=\"(max-width: 216px) 100vw, 216px\">Military censors restricted access to Hiroshima, but a young journalist named John Hersey managed to get there and write a devastating account of the death, destruction and radiation poisoning he encountered. Author Lesley M.M. Blume tells Hersey’s story in her book, \u003cem>Fallout: The Hiroshima Cover-up and the Reporter Who Revealed it to the World. \u003c/em>\u003c/p>\n\u003cp>She writes that when Hersey, who had covered the war in Europe, arrived in Hiroshima to report on the aftereffects of the bomb a year later, the city was “still just a sort of smoldering wreck.”\u003c/p>\n\u003cp>“Hersey had seen everything from that point, from combat to concentration camps,” Blume says. “But he later said that nothing prepared him for what he saw in Hiroshima.”\u003c/p>\n\u003cp>Hersey wrote a \u003ca href=\"https://www.newyorker.com/magazine/1946/08/31/hiroshima\" target=\"_blank\" rel=\"noopener noreferrer\">30,000-word essay\u003c/a>, telling the story of the bombing and its aftermath from the perspective of six survivors. The article, which was published in its entirety by \u003cem>The New Yorker\u003c/em>, was fundamental in challenging the government’s narrative of nuclear bombs as conventional weapons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It helped create what many experts in the nuclear fields called the ‘nuclear taboo,’ ” Blume says of Hersey’s essay. “The world did not know the truth about what nuclear warfare really looks like on the receiving end, or did not really understand the full nature of these then experimental weapons, until John Hersey got into Hiroshima and reported it to the world.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what Americans knew about the nature of nuclear weapons in 1945\u003c/strong>\u003c/p>\n\u003cp>Americans didn’t know about the bomb—period—until it was detonated over Hiroshima. The Manhattan Project was cloaked in enormous secrecy, even though tens of thousands of people were working on it. … When President Harry Truman announced that America had detonated the world’s first atomic bomb over the Japanese city of Hiroshima, he was announcing not only a new weapon, but the fact that we had entered into the Atomic Age, and Americans had no idea about the nature of these then-experimental weapons—namely, that these are weapons that continue to kill long after detonation. It would take quite a bit of time and reporting to bring that out.\u003c/p>\n\u003cp>Everybody who heard the announcement [from Truman] knew that they were dealing with something totally unprecedented, not just in the war, but in the history of human warfare. What was not stated was the fact that this bomb had radiological qualities, [that] blast survivors on the ground would die in an agonizing way for the days and the weeks and months and years that followed.\u003c/p>\n\u003cp>\u003cstrong>On how military generals focused on physical devastation when they testified before Congress about the effects of the atomic bomb \u003c/strong>\u003c/p>\n\u003cp>In the immediate weeks, very little [was said.] A lot of it was really painted in landscape devastation. Landscape photographs were released to newspapers showing the decimation of Hiroshima and Nagasaki. There were rubble pictures, and also obviously people are seeing the mushroom cloud photos taken from the bombers themselves or from recon missions. But in terms of the radiation—even in Truman’s announcement of the bomb—he’s painting the bombs in conventional terms. He says these bombs are the equivalent to 20,000 tons of TNT. And so Americans, they know that it’s a mega-weapon, but they don’t understand the full nature of the weapons, the radiological effects are not in any way highlighted to the American public, and in the meantime, the U.S. military is scrambling to find out how the radiation of the bombs is affecting the physical landscape, how it’s affecting human beings, because they’re about to send tens of thousands of occupation troops into Japan.\u003c/p>\n\u003cp>\u003cstrong>On America’s PR campaign and cover-up of the radiation aftermath \u003c/strong>\u003c/p>\n\u003cp>[The U.S. military] created a PR campaign to really combat the notion that the U.S. had decimated these populations with a really destructive radiological weapon. Leslie Groves [who directed the Manhattan Project] and Robert Oppenheimer [who directed the Manhattan Project’s laboratory at Los Alamos, N.M.] themselves went to the Trinity site of testing [in New Mexico] and brought a junket of reporters so they could show off the area. And they said that there was no residual radiation whatsoever, and that therefore, any news that was filtering over from Japan were “Tokyo tales.” So right away they went into overdrive to contain that narrative. …\u003c/p>\n\u003cp>The American officials were saying, for the most part, these are the defeated Japanese trying to create international sympathy, to create better terms for themselves and the occupation—ignore them.\u003c/p>\n\u003cp>\u003cstrong>On how reporters had limited access to Hiroshima and Nagasaki, and their reports were often censored \u003c/strong>\u003c/p>\n\u003cp>In the early days of the occupation, there obviously would have been enormous interest in trying to get to Hiroshima and Nagasaki … but as the occupation really took hold and became increasingly organized, the reports were intercepted. The last one that came out of Nagasaki was intercepted and lost. There was almost no point in trying to get down there because the obstacles that were put up for reporters were so tremendous by the military censors. … I can’t overstate how restricted your movements were as a reporter, as part of the occupation press corps. … You could not get around, you could not eat. You couldn’t do anything without the permission of the Army. … The control was near total.\u003c/p>\n\u003cp>\u003cstrong>On concerning Japanese reports about “Disease X” affecting blast survivors \u003c/strong>\u003c/p>\n\u003cp>As news started to filter over from Japanese reports about what it was like on Hiroshima and Nagasaki in the aftermath, wire reports started picking up really disturbing information about the totality of the decimation and this sinister … “Disease X” that was ravaging blast survivors. So this news was starting to trickle over early in August of 1945 to Americans.\u003c/p>\n\u003cp>And so the U.S. realized that not only were they going to have to really try to study very quickly how radioactive the atomic cities might have been, as they were bringing in their own occupation troops. But they [also] realized that they had a potential PR disaster on their hands, because the U.S. had just won this horribly hard-earned military victory, and were on the moral high ground, they felt, in defeating the Axis powers. And they had avenged Pearl Harbor. They had avenged Japanese atrocities throughout the Pacific theater in Asia. But then reports that they had decimated a largely civilian population in this excruciating way with an experimental weapon—it was concerning because it might have deprived the U.S. government of [its] moral high ground.\u003c/p>\n\u003cp>\u003cstrong>On how Hiroshima and Nagasaki were seen as souvenir sites for American military \u003c/strong>\u003c/p>\n\u003cp>Hiroshima was seen as a site of just enormous victory for these guys. And a lot of them would go even to ground zero of the bombings in Hiroshima. … They saw it as a souvenir site. It’s essentially a graveyard. There are still remains that are being dug up in Hiroshima and Nagasaki today. But many of them kind of pillaged the ruins to grab a souvenir to bring home. It was the ultimate victory souvenir. So whether it’s a broken teacup to use as an ashtray or what have you, they went and they took their equivalent of selfies at ground zero. At one point in Nagasaki, Marines cleared a football field-sized amount of space in the ruins and they had what they called the “Atomic Bowl,” which was a New Year’s Day football game where they had conscripted Japanese women as cheerleaders. It was an astonishing scene in both cities. They were seen as sites of a victory. And most of the “occupationaires” were totally unrepentant about what had gone down there.\u003c/p>\n\u003cp>\u003cstrong>On Hersey getting a firsthand account from the Rev. Kiyoshi Tanimoto of what the moment of the bombing was like \u003c/strong>\u003c/p>\n\u003cp>Rev. Tanimoto, at the moment of the bombing, was slightly outside of the city. He had been transporting some goods to the outskirts of the city, and he was up on a hill. And so therefore, he had a bird’s-eye view of what happened. He fell to the ground when the actual bomb went off. But then when he got up, he saw that the city had been enveloped in flames and black clouds. And … he saw a procession of survivors starting to straggle out of the city. He was just absolutely horrified by what he had seen and baffled, too, because usually an attack on this level would have been perpetrated by a fleet of bombers. But this was just a single flash.\u003c/p>\n\u003cp>And the survivors who were making their way out of the city and who would not survive for long, I mean, most of them were naked. Some of them had flesh hanging from their bodies. He saw just unspeakable sights as he ran into the city because he had a wife and an infant daughter. He wanted to find his parishioners. The closer he got towards the detonation, the worse the scene was. The ground was just littered with scalded bodies and people who were trying to drag themselves out of the ruins and wouldn’t make it. There were walls of fire that were consuming the areas. The enormous firestorm was starting to consume the city. He, at one point, was picked up by a whirlwind, because winds had been unleashed throughout the city, and … he was lifted up in a red-hot whirlwind. … It was just unbelievable that he survived not only the initial blast, but then [headed] into [the] city center and the extreme trauma of having witnessed what he witnessed. It’s remarkable that he came out of it alive.\u003c/p>\n\u003cp>\u003cstrong>On how Hersey’s reporting changed the world’s perception of nuclear weapons\u003c/strong> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Japanese could not, for years, tell the world what it had been like to be on the receiving end of nuclear warfare, because they were under such dire press restrictions by the occupation forces. And so it took John Hersey’s reporting to show the world what the true aftermath and the true experience of nuclear warfare looks like. … It changed overnight for many people, what was described by one of Hersey’s contemporaries as the “Fourth of July feeling” about Hiroshima. There was a lot of dark humor about the bombings in Hiroshima. [The essay] just really imbued the event with a sobriety that really hadn’t been there before. And also it just completely deprived the U.S. government of the ability to be able to paint nuclear bombs as conventional weapons. … [Hersey] himself later said the thing that has kept the world safe from another nuclear attack since 1945 has been the memory of what happened in Hiroshima. And he certainly created a cornerstone of that memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fallout%27+Tells+The+Story+Of+The+Journalist+Who+Exposed+The+%27Hiroshima+Cover-Up%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "There's a Better Way to 'Dub' Movie Audio For Visually Impaired Fans",
"headTitle": "There’s a Better Way to ‘Dub’ Movie Audio For Visually Impaired Fans | KQED",
"content": "\u003cp>Most people never have to explain why they enjoy going to the movies. But, Denise Decker sometimes needs to do that.\u003c/p>\n\u003cp>The retired federal worker, who lives in Washington, D.C., says some sighted people don’t understand how someone who is blind can appreciate watching film.\u003c/p>\n\u003cp>“Those of us who are vision impaired enjoy going to the movies probably as much as anyone else does and we probably go as much as some sighted people do,” she says.\u003c/p>\n\u003cp>Decker says she enjoys all types of movies, as long as it’s a “good story.” But, foreign language films that are only subtitled are not an option.\u003c/p>\n\u003cp>And dubbing wouldn’t solve the problem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Dubbing just tells us the dialogue,” she explains. “It doesn’t tell us the surrounding actions and the other things that are taking place, maybe what the individuals are wearing, the expressions on their face, are they moving, what else is happening.”\u003c/p>\n\u003cp>The solution, Decker says, is \u003ca href=\"https://www.youtube.com/watch?v=rgRv4bSdLdU&feature=emb_rel_end\" target=\"_blank\" rel=\"noopener noreferrer\">audio description\u003c/a>: an embedded voice that translates visual imagery and action on the screen into spoken word.\u003c/p>\n\u003cp>These bits of narration play during pauses in a movie’s dialogue. Typically, one voice actor performs the description.\u003c/p>\n\u003cp>But, while almost all Hollywood films provide this inclusive feature, most non-English language movies produced overseas and distributed in the United States do not. And that prevents millions of blind and visually impaired Americans from fully appreciating many foreign pictures.\u003c/p>\n\u003cp>Around 3.4-million Americans over the age of 40 are blind or have low vision, according to the Centers for Disease Control and Prevention. The American Foundation for the Blind says 26.9-million people have experience difficulty seeing even with correction or are blind and legally blind.\u003c/p>\n\u003cp>Joel Snyder, who directs the American Council of the Blind’s audio description project suspects that this accessibility service is not included in many American releases because local distributors don’t think subtitled films are big draws at the box office.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7-XOHN2BWG4\u003c/p>\n\u003cp>He says adding audio description to a film that is not originally in English is “somewhat more complicated, but not prohibitive” to produce. It would require at least two narrators; one providing the visual explanation and another that speaks the subtitles, he explains.\u003c/p>\n\u003cp>Snyder says compared to closed-captioning, audio description is still not as well known by the general public, even though its been available in live theater and on some American movies’ VHS or DVD releases for decades.\u003c/p>\n\u003cp>And since 2017, the Americans With Disabilities Act has required movie theaters to provide audio description services when available. So, now in many cinemas, a visually impaired customer can request a headset and transmitter box that plays the descriptive track in sync with the film.\u003c/p>\n\u003cp>Streaming services also provide audio description for many of the titles on their platforms.\u003c/p>\n\u003cp>But, \u003ca href=\"https://dralegal.org/staff-members/rebecca-williford/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Williford\u003c/a>, managing attorney at Disability Rights Advocates in Berkeley, Calif., says it took lawsuits to make these companies offer this feature.\u003c/p>\n\u003cp>“One with Netflix and one with Hulu, where we were able to get increased audio description content on those streaming services,” Williford says. “And we were able to work out a settlement with AMC to make sure they would do things like do more frequent checks of their equipment so things like that wouldn’t ruin people’s evening at the movies.”\u003c/p>\n\u003cp>Williford did not want to weigh in on whether the ADA, which was signed into law 30-years ago, requires the American distributors of foreign films to include audio description for their US releases.\u003c/p>\n\u003cp>The unavailability of this feature for non-English language films gained some attention during this year’s Oscars, when the South Korean dark comedy \u003cem>Parasite\u003c/em> became the first subtitled movie to win Best Picture. It was this category’s only nominee that didn’t include audio description.\u003c/p>\n\u003cp>Bong Joon-ho, \u003cem>Parasite\u003c/em>‘s director, has remarked that Americans must “overcome the 1-inch-tall barrier of subtitles” so they can “be introduced to so many more amazing films.” He was perhaps unaware that his U.S. distributor, Neon, did not include audio description for the movie’s theatrical or home release.\u003c/p>\n\u003cp>Tom Quinn, Neon’s co-founder, declined NPR’s request for comment.\u003c/p>\n\u003cp>For now, the only way for America’s blind and visually impaired to overcome this film’s accessibility barrier, is to get hold of \u003cem>Parasite\u003c/em>‘s U.K. DVD release.\u003c/p>\n\u003cp>The world’s only English language descriptive track for \u003cem>Parasite\u003c/em> was written and performed by Matthew Jarman of Bad Princess Productions.\u003c/p>\n\u003cp>“English language is no indication of quality in film and if it’s about accessibility, why should you be only able to access films from one culture,” says Jarman who, with a colleague, recorded the audio description at his home studio in London.\u003c/p>\n\u003cp>“America do make a lot of films, the U.K, as well, but everybody is making films so we should be able to enjoy them all,” he adds.\u003c/p>\n\u003cp>Denise Decker hopes that \u003cem>Parasite\u003c/em>‘s success and popularity will raise awareness about the inaccessibility of foreign language films in the US.\u003c/p>\n\u003cp>And she says she does what she can to inform sighted people about the importance of audio description.\u003c/p>\n\u003cp>“Sometimes when I’m at a movie with a friend who are sighted, I’ve just taken one side of the headset and let them listen to a little of the audio description so they understand what I’m hearing while they’re watching the movie. Immediately, people say, ‘Oh yeah, I get it. I understand why it’s important to you.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jason Strother is a freelance multimedia journalist based in Seoul.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=There%27s+A+Better+Way+To+%27Dub%27+Movie+Audio+For+Visually+Impaired+Fans&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most people never have to explain why they enjoy going to the movies. But, Denise Decker sometimes needs to do that.\u003c/p>\n\u003cp>The retired federal worker, who lives in Washington, D.C., says some sighted people don’t understand how someone who is blind can appreciate watching film.\u003c/p>\n\u003cp>“Those of us who are vision impaired enjoy going to the movies probably as much as anyone else does and we probably go as much as some sighted people do,” she says.\u003c/p>\n\u003cp>Decker says she enjoys all types of movies, as long as it’s a “good story.” But, foreign language films that are only subtitled are not an option.\u003c/p>\n\u003cp>And dubbing wouldn’t solve the problem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Dubbing just tells us the dialogue,” she explains. “It doesn’t tell us the surrounding actions and the other things that are taking place, maybe what the individuals are wearing, the expressions on their face, are they moving, what else is happening.”\u003c/p>\n\u003cp>The solution, Decker says, is \u003ca href=\"https://www.youtube.com/watch?v=rgRv4bSdLdU&feature=emb_rel_end\" target=\"_blank\" rel=\"noopener noreferrer\">audio description\u003c/a>: an embedded voice that translates visual imagery and action on the screen into spoken word.\u003c/p>\n\u003cp>These bits of narration play during pauses in a movie’s dialogue. Typically, one voice actor performs the description.\u003c/p>\n\u003cp>But, while almost all Hollywood films provide this inclusive feature, most non-English language movies produced overseas and distributed in the United States do not. And that prevents millions of blind and visually impaired Americans from fully appreciating many foreign pictures.\u003c/p>\n\u003cp>Around 3.4-million Americans over the age of 40 are blind or have low vision, according to the Centers for Disease Control and Prevention. The American Foundation for the Blind says 26.9-million people have experience difficulty seeing even with correction or are blind and legally blind.\u003c/p>\n\u003cp>Joel Snyder, who directs the American Council of the Blind’s audio description project suspects that this accessibility service is not included in many American releases because local distributors don’t think subtitled films are big draws at the box office.\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/7-XOHN2BWG4'\n title='//www.youtube.com/embed/7-XOHN2BWG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He says adding audio description to a film that is not originally in English is “somewhat more complicated, but not prohibitive” to produce. It would require at least two narrators; one providing the visual explanation and another that speaks the subtitles, he explains.\u003c/p>\n\u003cp>Snyder says compared to closed-captioning, audio description is still not as well known by the general public, even though its been available in live theater and on some American movies’ VHS or DVD releases for decades.\u003c/p>\n\u003cp>And since 2017, the Americans With Disabilities Act has required movie theaters to provide audio description services when available. So, now in many cinemas, a visually impaired customer can request a headset and transmitter box that plays the descriptive track in sync with the film.\u003c/p>\n\u003cp>Streaming services also provide audio description for many of the titles on their platforms.\u003c/p>\n\u003cp>But, \u003ca href=\"https://dralegal.org/staff-members/rebecca-williford/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Williford\u003c/a>, managing attorney at Disability Rights Advocates in Berkeley, Calif., says it took lawsuits to make these companies offer this feature.\u003c/p>\n\u003cp>“One with Netflix and one with Hulu, where we were able to get increased audio description content on those streaming services,” Williford says. “And we were able to work out a settlement with AMC to make sure they would do things like do more frequent checks of their equipment so things like that wouldn’t ruin people’s evening at the movies.”\u003c/p>\n\u003cp>Williford did not want to weigh in on whether the ADA, which was signed into law 30-years ago, requires the American distributors of foreign films to include audio description for their US releases.\u003c/p>\n\u003cp>The unavailability of this feature for non-English language films gained some attention during this year’s Oscars, when the South Korean dark comedy \u003cem>Parasite\u003c/em> became the first subtitled movie to win Best Picture. It was this category’s only nominee that didn’t include audio description.\u003c/p>\n\u003cp>Bong Joon-ho, \u003cem>Parasite\u003c/em>‘s director, has remarked that Americans must “overcome the 1-inch-tall barrier of subtitles” so they can “be introduced to so many more amazing films.” He was perhaps unaware that his U.S. distributor, Neon, did not include audio description for the movie’s theatrical or home release.\u003c/p>\n\u003cp>Tom Quinn, Neon’s co-founder, declined NPR’s request for comment.\u003c/p>\n\u003cp>For now, the only way for America’s blind and visually impaired to overcome this film’s accessibility barrier, is to get hold of \u003cem>Parasite\u003c/em>‘s U.K. DVD release.\u003c/p>\n\u003cp>The world’s only English language descriptive track for \u003cem>Parasite\u003c/em> was written and performed by Matthew Jarman of Bad Princess Productions.\u003c/p>\n\u003cp>“English language is no indication of quality in film and if it’s about accessibility, why should you be only able to access films from one culture,” says Jarman who, with a colleague, recorded the audio description at his home studio in London.\u003c/p>\n\u003cp>“America do make a lot of films, the U.K, as well, but everybody is making films so we should be able to enjoy them all,” he adds.\u003c/p>\n\u003cp>Denise Decker hopes that \u003cem>Parasite\u003c/em>‘s success and popularity will raise awareness about the inaccessibility of foreign language films in the US.\u003c/p>\n\u003cp>And she says she does what she can to inform sighted people about the importance of audio description.\u003c/p>\n\u003cp>“Sometimes when I’m at a movie with a friend who are sighted, I’ve just taken one side of the headset and let them listen to a little of the audio description so they understand what I’m hearing while they’re watching the movie. Immediately, people say, ‘Oh yeah, I get it. I understand why it’s important to you.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jason Strother is a freelance multimedia journalist based in Seoul.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=There%27s+A+Better+Way+To+%27Dub%27+Movie+Audio+For+Visually+Impaired+Fans&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What I refer to as “message books” don’t normally make a big splash in my house. You know the ones you REALLY want your kids to take to heart but end up being cast aside for \u003cem>The Babysitters Club\u003c/em> or \u003cem>Judy Moody\u003c/em> or \u003cem>Wings of Fire?\u003c/em> The ones you start reading aloud, hoping your kids will learn to be nice, or be themselves, or control their temper, but instead of listening, your kid starts acting EXACTLY the opposite of the book’s message? The ones you keep on the shelf in the vain hope that your kids will one day say, “Aha! Of course, THAT’S how it’s supposed to be!” Yes, I thought you might. Do you still buy them? Of course you do.\u003c/p>\n\u003cp>I do too. [aside postid='arts_13877896']\u003c/p>\n\u003cp>Even being fairly sure how my kids normally react to message books, once in a while, a very rare once in a while, one hits with them. There is no rhyme or reason to it, no formula I can follow that will keep me from spending money and time on yet another message book that will end up being donated. But once in a blue moon there’s a message book that just clicks (sort of like brussels sprouts with bacon—who knew my kids would go crazy over that?).\u003c/p>\n\u003cp>LeBron James has written such a book. Yes, that LeBron James.\u003c/p>\n\u003cp>I’m going to be straight-up honest: When it comes to basketball, I only watch college ball. Okay, I will be more honest: I only watch University of Virginia basketball. (Okay, I also watch Longwood University basketball, but they play in my hometown, and the wife of the men’s coach is my best friend, and the coach of the women’s team is a very good friend, so I have no choice.) I never played basketball, and I have won one game of HORSE in my entire life, but I am a huge fan of the pivot foot, won an NCAA bracket pool in 2012, and have seen \u003cem>Hoosiers \u003c/em>at least five times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But LeBron James is a man on a mission, and you don’t have to be an expert on basketball to get it. (Thank you, Mr. James.) In 2018, James opened the I Promise school in his hometown of Akron, Ohio for at-risk kids and kids who were deemed “\u003ca href=\"https://www.nytimes.com/2019/04/12/education/lebron-james-school-ohio.html\" target=\"_blank\" rel=\"noopener noreferrer\">the worst performers in the Akron public\u003c/a> schools.” What began as a community service program continues to grow, and James’ new children’s book, \u003cem>I Promise\u003c/em>, is his latest attempt to reach out to kids. The result is a message book on par with brussels sprouts and bacon, as far as my kids are concerned.[aside postid='arts_13874840']\u003c/p>\n\u003cp>\u003cem>I Promise\u003c/em> is a beautiful book. Illustrator Nina Mata’s colors are bright and her children diverse, which James has said was his definite vision, but what really drew my kids in were the little moments she created, the little things that end up being big things: slamming down on your hand when you trip over a jump rope, or being the only one who is scared to get on the school bus.\u003c/p>\n\u003cp>While there isn’t a main character in \u003cem>I Promise\u003c/em>, there is one little girl who appears several times. The image of her sitting on a bench, so small that her feet don’t even touch the ground, leaning her head on her brother’s shoulder after she fails to sink a basketball, brought me and my kids very near tears (my kids started hugging all over each other; it was nice while it lasted), and they immediately started talking about the challenges in their own lives, hard moments may seem small to grown-ups but are huge for kids.\u003c/p>\n\u003cp>And LeBron James’ promises are huge too. “I promise to use kindness when I speak” is no small thing to kids who sass with almost every breath, and “I promise to remain strong and humble with every win and defeat” seems almost insurmountable to a six-year-old who cries when she loses at \u003cem>Sleeping Queens\u003c/em> (not to mention a ten-year-old who rubs it in when he wins at \u003cem>Sleeping Queens\u003c/em>)\u003cem>.\u003c/em>\u003c/p>\n\u003cp>But the promises are supposed to be huge. LeBron James will be the first to tell you that he didn’t know if the dreams he had as a kid would ever be a reality. He will be the first to tell you that it was the promises he made to himself that helped him forge a path out of his difficult childhood, but he will also be the first to tell you that promises are not enough.\u003c/p>\n\u003cp>“When I was growing up in Akron, I always had big dreams,” he writes. “Because of the situation we were in, I didn’t always know if those dreams would be possible. The purpose of these promises we make to ourselves and to each other, and that we’re sharing with kids across the world in this book, is to tell them they can do anything they put their minds to if they commit to doing the hard work.”[aside postid='arts_13877883']\u003c/p>\n\u003cp>And it is hard work. It is hard work to speak with kindness and to pick yourself up after you fall, no matter how many times you promise yourself you will do it. It can be hard work to do the right thing, and hard work to admit that you’re wrong. And it can also be hard work to give a message book its due.\u003c/p>\n\u003cp>Yes, it’s easier to set a message book aside in favor of re-reading \u003cem>Are You My Mother? \u003c/em>It can be difficult to take the time to stop and talk through the lessons when there is no story, and it doesn’t always work. But LeBron James and Nina Mata have made it work, for both my kids and for me. And I didn’t even have to know anything about basketball.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I+Promise%27+This+Is+A+Message+Book+Your+Kids+Will+Love&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What I refer to as “message books” don’t normally make a big splash in my house. You know the ones you REALLY want your kids to take to heart but end up being cast aside for \u003cem>The Babysitters Club\u003c/em> or \u003cem>Judy Moody\u003c/em> or \u003cem>Wings of Fire?\u003c/em> The ones you start reading aloud, hoping your kids will learn to be nice, or be themselves, or control their temper, but instead of listening, your kid starts acting EXACTLY the opposite of the book’s message? The ones you keep on the shelf in the vain hope that your kids will one day say, “Aha! Of course, THAT’S how it’s supposed to be!” Yes, I thought you might. Do you still buy them? Of course you do.\u003c/p>\n\u003cp>I do too. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even being fairly sure how my kids normally react to message books, once in a while, a very rare once in a while, one hits with them. There is no rhyme or reason to it, no formula I can follow that will keep me from spending money and time on yet another message book that will end up being donated. But once in a blue moon there’s a message book that just clicks (sort of like brussels sprouts with bacon—who knew my kids would go crazy over that?).\u003c/p>\n\u003cp>LeBron James has written such a book. Yes, that LeBron James.\u003c/p>\n\u003cp>I’m going to be straight-up honest: When it comes to basketball, I only watch college ball. Okay, I will be more honest: I only watch University of Virginia basketball. (Okay, I also watch Longwood University basketball, but they play in my hometown, and the wife of the men’s coach is my best friend, and the coach of the women’s team is a very good friend, so I have no choice.) I never played basketball, and I have won one game of HORSE in my entire life, but I am a huge fan of the pivot foot, won an NCAA bracket pool in 2012, and have seen \u003cem>Hoosiers \u003c/em>at least five times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But LeBron James is a man on a mission, and you don’t have to be an expert on basketball to get it. (Thank you, Mr. James.) In 2018, James opened the I Promise school in his hometown of Akron, Ohio for at-risk kids and kids who were deemed “\u003ca href=\"https://www.nytimes.com/2019/04/12/education/lebron-james-school-ohio.html\" target=\"_blank\" rel=\"noopener noreferrer\">the worst performers in the Akron public\u003c/a> schools.” What began as a community service program continues to grow, and James’ new children’s book, \u003cem>I Promise\u003c/em>, is his latest attempt to reach out to kids. The result is a message book on par with brussels sprouts and bacon, as far as my kids are concerned.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>I Promise\u003c/em> is a beautiful book. Illustrator Nina Mata’s colors are bright and her children diverse, which James has said was his definite vision, but what really drew my kids in were the little moments she created, the little things that end up being big things: slamming down on your hand when you trip over a jump rope, or being the only one who is scared to get on the school bus.\u003c/p>\n\u003cp>While there isn’t a main character in \u003cem>I Promise\u003c/em>, there is one little girl who appears several times. The image of her sitting on a bench, so small that her feet don’t even touch the ground, leaning her head on her brother’s shoulder after she fails to sink a basketball, brought me and my kids very near tears (my kids started hugging all over each other; it was nice while it lasted), and they immediately started talking about the challenges in their own lives, hard moments may seem small to grown-ups but are huge for kids.\u003c/p>\n\u003cp>And LeBron James’ promises are huge too. “I promise to use kindness when I speak” is no small thing to kids who sass with almost every breath, and “I promise to remain strong and humble with every win and defeat” seems almost insurmountable to a six-year-old who cries when she loses at \u003cem>Sleeping Queens\u003c/em> (not to mention a ten-year-old who rubs it in when he wins at \u003cem>Sleeping Queens\u003c/em>)\u003cem>.\u003c/em>\u003c/p>\n\u003cp>But the promises are supposed to be huge. LeBron James will be the first to tell you that he didn’t know if the dreams he had as a kid would ever be a reality. He will be the first to tell you that it was the promises he made to himself that helped him forge a path out of his difficult childhood, but he will also be the first to tell you that promises are not enough.\u003c/p>\n\u003cp>“When I was growing up in Akron, I always had big dreams,” he writes. “Because of the situation we were in, I didn’t always know if those dreams would be possible. The purpose of these promises we make to ourselves and to each other, and that we’re sharing with kids across the world in this book, is to tell them they can do anything they put their minds to if they commit to doing the hard work.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it is hard work. It is hard work to speak with kindness and to pick yourself up after you fall, no matter how many times you promise yourself you will do it. It can be hard work to do the right thing, and hard work to admit that you’re wrong. And it can also be hard work to give a message book its due.\u003c/p>\n\u003cp>Yes, it’s easier to set a message book aside in favor of re-reading \u003cem>Are You My Mother? \u003c/em>It can be difficult to take the time to stop and talk through the lessons when there is no story, and it doesn’t always work. But LeBron James and Nina Mata have made it work, for both my kids and for me. And I didn’t even have to know anything about basketball.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27I+Promise%27+This+Is+A+Message+Book+Your+Kids+Will+Love&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Don't Sweat(pants) it. The House Dress is Here to Rescue 2020",
"headTitle": "Don’t Sweat(pants) it. The House Dress is Here to Rescue 2020 | KQED",
"content": "\u003cp>For Lynette Gabriel, it started with a dressed-up Zoom brunch with girlfriends. She called in from her home in Oakland, in a leopard-print long-sleeve gown from the back of her closet. Snacking on smoked-salmon potato hash and sipping on a glass of rosé, Gabriel found her new house fashion.\u003c/p>\n\u003cp>“We actually now call ourselves ‘The Real Housewives of Quarantine’ in our house dresses,” Gabriel says and chuckles.\u003c/p>\n\u003cfigure id=\"attachment_13884976\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg\" alt=\"Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram.\" width=\"200\" height=\"305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef-160x244.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram. \u003ccite>(Lynette Gabriel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billowing linen. Cozy cotton. Floating silk. The house dress is having a 2020 renaissance. Flowy tunics, chic kimonos and muumuus, and ankle-length T-shirts are floating into more and more shopping carts—a sartorial coping mechanism for the modern pandemic age.\u003c/p>\n\u003cp>Clothes and mood are intertwined, argues fashion psychologist Dawnn Karen, author of \u003cem>Dress Your Best Life\u003c/em>. And so, the house dress is a perfect fit for this moment: a small expression of control during the uncontrollable, a taste of free-flowing freedom in a time rife with restrictions, a sense of structure and style on the days that feel hazy and dull.\u003c/p>\n\u003cp>“I’ve actually gotten rid of some fancier dresses to make room for more house dresses because … I would say I’m wearing a house dress at least three times a week,” says Preeti Chaulk, a data manager from Cincinnati. House dresses followed her around Instagram—worn by influencers, advertised by brands—soon leaving a trail of striking floral designs \u003ca href=\"https://www.instagram.com/preetichaulk/\" target=\"_blank\" rel=\"noopener noreferrer\">on her own feed\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For decades, the house dress got a bad rep—a throwback to the times when women’s sway was confined to housework. Its origin is said to trace to a Victorian gown that freed women of corsets but clad them instead in a baggy matronly smock named after “Mother Hubbard” from old nursery rhymes.\u003c/p>\n\u003cp>Even as the house dress got more shapely and stylish, its focus was chicness during chores—some in the 1940s and ’50s even came with matching oven mitts. Then, the house dress loosened up, made most famous by the \u003ca href=\"https://www.pinterest.com/pin/113715959318469855/\" target=\"_blank\" rel=\"noopener noreferrer\">flamboyant caftans of Helen Roper\u003c/a> on the ’70s sitcom \u003cem>Three’s Company.\u003c/em> Still, a stigma trailed the garment: an artifact that’s dowdy, dated and perhaps involves “laying on your couch eating bonbons,” Chaulk jokes.\u003c/p>\n\u003cp>“We’re all busy women, we’re doing things [in house dresses],” she exclaims. And OK, that might still involve some errands or a nap on the couch. Is it so wrong to crave an occasional bonbon? The 2020 house dress is not here to judge or cast expectations.\u003c/p>\n\u003cfigure id=\"attachment_13884975\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg\" alt=\"Preeti Chaulk has worked from home for many years but says she's never owned more house dresses than now. "I kind of always wanted to have that approach of like, I'm not wearing pajamas, but I'm still very comfortable—enter the house dress," she says.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Preeti Chaulk has worked from home for many years but says she’s never owned more house dresses than now. “I kind of always wanted to have that approach of like, I’m not wearing pajamas, but I’m still very comfortable—enter the house dress,” she says. \u003ccite>(Preeti Chaulk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have to say—linen, comfortable clothes—it’s actually very contagious. … It’s addictive,” says Malgosia Archer, a Polish and British designer who sells lounge dresses through her \u003ca href=\"https://www.etsy.com/shop/GoshYaga\">Etsy shop, GoshYaga\u003c/a>.\u003c/p>\n\u003cp>“Ghost” is how her teenage daughters have dubbed her most popular item: a billowing cloud of white linen, with pockets. Back before the pandemic, Archer had worried her airy fabrics wouldn’t be in demand until the summer. Now, even her daughters are lounging in versions of the “ghost” dress.\u003c/p>\n\u003cp>Across the world in Arizona, Jade Banner can relate. Her online store \u003ca href=\"https://dwellandslumber.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dwell & Slumber\u003c/a>—known especially for its caftans—is having difficulty keeping up with demand. Most notably, Banner’s designs have finally won over her most elusive customer: her mother.\u003c/p>\n\u003cp>“She would not wear my dresses,” Banner says. “She likes clothes to be more fitted, more tailored. She just didn’t get it.”\u003c/p>\n\u003cp>But on Banner’s recent visits to her parents, there was her mother, lounging in a spacious Dwell & Slumber special—converted into a house-dress believer during the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13884977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg\" alt='\"I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,\" says Lauren Niimi from Chicago.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,” says Lauren Niimi from Chicago. \u003ccite>(Lauren Niimi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My dad says, ‘She won’t wear anything else—what have you done?’ ” Banner says with a laugh. “I do finally feel victorious.”\u003c/p>\n\u003cp>Fashion psychologist Karen says an outfit can serve a higher purpose if it helps you express your mood, lift your spirits or save you the need for extra decisions. In the hamster wheel of housebound life—with all the mask-wearing and hand sanitizing and social distancing—maybe the house dress is a triple promise:\u003c/p>\n\u003cp>It might comfort you if you’re down, hold you up if you’re content and ease choice with a single look that can take you from a nap to a business call, to the backyard, to a nice dinner.\u003c/p>\n\u003cp>“I put it on and … had some work to do, and I sat outside on a screened-in porch and just felt like finally some peace had rolled over me after many months of not being at peace,” says \u003ca href=\"https://www.instagram.com/lmkdelights/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lauren Niimi\u003c/a>, a school administrator, baker, artist and mom to three boys from Chicago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She’d bought her embroidered house dress on a whim, pining for a missed summer trip to wine country, looking at outfits she might have worn there: easy, effortless, relaxed. Thirty dollars, she says, was a small price to pay for a little bit of happiness.\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=Don%27t+Sweat%28pants%29+It.+The+House+Dress+Is+Here+To+Rescue+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Lynette Gabriel, it started with a dressed-up Zoom brunch with girlfriends. She called in from her home in Oakland, in a leopard-print long-sleeve gown from the back of her closet. Snacking on smoked-salmon potato hash and sipping on a glass of rosé, Gabriel found her new house fashion.\u003c/p>\n\u003cp>“We actually now call ourselves ‘The Real Housewives of Quarantine’ in our house dresses,” Gabriel says and chuckles.\u003c/p>\n\u003cfigure id=\"attachment_13884976\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg\" alt=\"Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram.\" width=\"200\" height=\"305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef-160x244.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram. \u003ccite>(Lynette Gabriel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billowing linen. Cozy cotton. Floating silk. The house dress is having a 2020 renaissance. Flowy tunics, chic kimonos and muumuus, and ankle-length T-shirts are floating into more and more shopping carts—a sartorial coping mechanism for the modern pandemic age.\u003c/p>\n\u003cp>Clothes and mood are intertwined, argues fashion psychologist Dawnn Karen, author of \u003cem>Dress Your Best Life\u003c/em>. And so, the house dress is a perfect fit for this moment: a small expression of control during the uncontrollable, a taste of free-flowing freedom in a time rife with restrictions, a sense of structure and style on the days that feel hazy and dull.\u003c/p>\n\u003cp>“I’ve actually gotten rid of some fancier dresses to make room for more house dresses because … I would say I’m wearing a house dress at least three times a week,” says Preeti Chaulk, a data manager from Cincinnati. House dresses followed her around Instagram—worn by influencers, advertised by brands—soon leaving a trail of striking floral designs \u003ca href=\"https://www.instagram.com/preetichaulk/\" target=\"_blank\" rel=\"noopener noreferrer\">on her own feed\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For decades, the house dress got a bad rep—a throwback to the times when women’s sway was confined to housework. Its origin is said to trace to a Victorian gown that freed women of corsets but clad them instead in a baggy matronly smock named after “Mother Hubbard” from old nursery rhymes.\u003c/p>\n\u003cp>Even as the house dress got more shapely and stylish, its focus was chicness during chores—some in the 1940s and ’50s even came with matching oven mitts. Then, the house dress loosened up, made most famous by the \u003ca href=\"https://www.pinterest.com/pin/113715959318469855/\" target=\"_blank\" rel=\"noopener noreferrer\">flamboyant caftans of Helen Roper\u003c/a> on the ’70s sitcom \u003cem>Three’s Company.\u003c/em> Still, a stigma trailed the garment: an artifact that’s dowdy, dated and perhaps involves “laying on your couch eating bonbons,” Chaulk jokes.\u003c/p>\n\u003cp>“We’re all busy women, we’re doing things [in house dresses],” she exclaims. And OK, that might still involve some errands or a nap on the couch. Is it so wrong to crave an occasional bonbon? The 2020 house dress is not here to judge or cast expectations.\u003c/p>\n\u003cfigure id=\"attachment_13884975\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg\" alt=\"Preeti Chaulk has worked from home for many years but says she's never owned more house dresses than now. "I kind of always wanted to have that approach of like, I'm not wearing pajamas, but I'm still very comfortable—enter the house dress," she says.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Preeti Chaulk has worked from home for many years but says she’s never owned more house dresses than now. “I kind of always wanted to have that approach of like, I’m not wearing pajamas, but I’m still very comfortable—enter the house dress,” she says. \u003ccite>(Preeti Chaulk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have to say—linen, comfortable clothes—it’s actually very contagious. … It’s addictive,” says Malgosia Archer, a Polish and British designer who sells lounge dresses through her \u003ca href=\"https://www.etsy.com/shop/GoshYaga\">Etsy shop, GoshYaga\u003c/a>.\u003c/p>\n\u003cp>“Ghost” is how her teenage daughters have dubbed her most popular item: a billowing cloud of white linen, with pockets. Back before the pandemic, Archer had worried her airy fabrics wouldn’t be in demand until the summer. Now, even her daughters are lounging in versions of the “ghost” dress.\u003c/p>\n\u003cp>Across the world in Arizona, Jade Banner can relate. Her online store \u003ca href=\"https://dwellandslumber.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dwell & Slumber\u003c/a>—known especially for its caftans—is having difficulty keeping up with demand. Most notably, Banner’s designs have finally won over her most elusive customer: her mother.\u003c/p>\n\u003cp>“She would not wear my dresses,” Banner says. “She likes clothes to be more fitted, more tailored. She just didn’t get it.”\u003c/p>\n\u003cp>But on Banner’s recent visits to her parents, there was her mother, lounging in a spacious Dwell & Slumber special—converted into a house-dress believer during the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13884977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg\" alt='\"I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,\" says Lauren Niimi from Chicago.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,” says Lauren Niimi from Chicago. \u003ccite>(Lauren Niimi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My dad says, ‘She won’t wear anything else—what have you done?’ ” Banner says with a laugh. “I do finally feel victorious.”\u003c/p>\n\u003cp>Fashion psychologist Karen says an outfit can serve a higher purpose if it helps you express your mood, lift your spirits or save you the need for extra decisions. In the hamster wheel of housebound life—with all the mask-wearing and hand sanitizing and social distancing—maybe the house dress is a triple promise:\u003c/p>\n\u003cp>It might comfort you if you’re down, hold you up if you’re content and ease choice with a single look that can take you from a nap to a business call, to the backyard, to a nice dinner.\u003c/p>\n\u003cp>“I put it on and … had some work to do, and I sat outside on a screened-in porch and just felt like finally some peace had rolled over me after many months of not being at peace,” says \u003ca href=\"https://www.instagram.com/lmkdelights/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lauren Niimi\u003c/a>, a school administrator, baker, artist and mom to three boys from Chicago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She’d bought her embroidered house dress on a whim, pining for a missed summer trip to wine country, looking at outfits she might have worn there: easy, effortless, relaxed. Thirty dollars, she says, was a small price to pay for a little bit of happiness.\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=Don%27t+Sweat%28pants%29+It.+The+House+Dress+Is+Here+To+Rescue+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Two Men Charged in Cold Case Murder of Jam Master Jay",
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"content": "\u003cp>Federal prosecutors Monday announced charges against two men alleged with killing Jason Mizell, better known as Jam Master Jay—the DJ for the seminal rap group Run-DMC. Mizell was shot inside a recording studio in 2002.\u003c/p>\n\u003cp>At a press conference, Seth DuCharme, the acting U.S. Attorney for the Eastern District of New York, named Karl Jordan Jr. and Ronald Washington as the alleged murderers. DuCharme didn’t go into detail about what led to the charges, but said, “Today we begin to answer that question, who killed Jason Mizell and why.”\u003c/p>\n\u003cp>According to newly filed court documents, the alleged murder was over a drug deal. Prosecutors say that Mizell was involved in trafficking cocaine across state lines, and that he had 10 kilograms of cocaine that Washington was supposed to sell in Maryland. Mizell then told Washington that he was being cut from the deal, which led to Washington and Jordan conspiring to kill him as retaliation. The two then allegedly entered the studio the night of the murder and “ultimately executed Mizell.”\u003c/p>\n\u003cp>As Jam Master Jay, Mizell was known as the backbone of Run-DMC, a group that was instrumental in bringing rap and hip hop into mainstream culture. Their third album, \u003cem>Raising Hell\u003c/em> (which featured hits like “It’s Tricky,” “My Adidas,” and “Walk This Way”), was the first rap album to go platinum, eventually reaching triple platinum status. Mizell also founded his own record label—JMJ Records—known for discovering such artists as Onyx and 50 Cent.\u003c/p>\n\u003cp>Mizell’s murder received on-and-off attention from authorities as well as \u003ca href=\"http://www.mtv.com/news/1576088/jam-master-jays-murder-a-timeline-and-the-key-players/\" target=\"_blank\" rel=\"noopener noreferrer\">the media\u003c/a>. The case was the center of a 2018 episode of the \u003ca href=\"https://www.youtube.com/watch?v=718bAMt_Qrk\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix documentary series \u003cem>ReMastered\u003c/em>,\u003c/a> that looked at not just the loose threads in the murder case but the lack of urgency from law enforcement in solving the killing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If charged, both Jordan and Washington face at least a 20 year prison sentence. Washington is currently serving time for robbery.\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=Two+Men+Charged+in+Cold+Case+Murder+of+Jam+Master+Jay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Federal prosecutors Monday announced charges against two men alleged with killing Jason Mizell, better known as Jam Master Jay—the DJ for the seminal rap group Run-DMC. Mizell was shot inside a recording studio in 2002.\u003c/p>\n\u003cp>At a press conference, Seth DuCharme, the acting U.S. Attorney for the Eastern District of New York, named Karl Jordan Jr. and Ronald Washington as the alleged murderers. DuCharme didn’t go into detail about what led to the charges, but said, “Today we begin to answer that question, who killed Jason Mizell and why.”\u003c/p>\n\u003cp>According to newly filed court documents, the alleged murder was over a drug deal. Prosecutors say that Mizell was involved in trafficking cocaine across state lines, and that he had 10 kilograms of cocaine that Washington was supposed to sell in Maryland. Mizell then told Washington that he was being cut from the deal, which led to Washington and Jordan conspiring to kill him as retaliation. The two then allegedly entered the studio the night of the murder and “ultimately executed Mizell.”\u003c/p>\n\u003cp>As Jam Master Jay, Mizell was known as the backbone of Run-DMC, a group that was instrumental in bringing rap and hip hop into mainstream culture. Their third album, \u003cem>Raising Hell\u003c/em> (which featured hits like “It’s Tricky,” “My Adidas,” and “Walk This Way”), was the first rap album to go platinum, eventually reaching triple platinum status. Mizell also founded his own record label—JMJ Records—known for discovering such artists as Onyx and 50 Cent.\u003c/p>\n\u003cp>Mizell’s murder received on-and-off attention from authorities as well as \u003ca href=\"http://www.mtv.com/news/1576088/jam-master-jays-murder-a-timeline-and-the-key-players/\" target=\"_blank\" rel=\"noopener noreferrer\">the media\u003c/a>. The case was the center of a 2018 episode of the \u003ca href=\"https://www.youtube.com/watch?v=718bAMt_Qrk\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix documentary series \u003cem>ReMastered\u003c/em>,\u003c/a> that looked at not just the loose threads in the murder case but the lack of urgency from law enforcement in solving the killing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If charged, both Jordan and Washington face at least a 20 year prison sentence. Washington is currently serving time for robbery.\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=Two+Men+Charged+in+Cold+Case+Murder+of+Jam+Master+Jay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "I Thought a Zoo: Simulated Games For Isolated Times",
"headTitle": "I Thought a Zoo: Simulated Games For Isolated Times | KQED",
"content": "\u003cp>I’m overwhelmed by so many things right now, not the least of which is that I keep having to build wind turbines.\u003c/p>\n\u003cp>Not in my yard, you understand: in my imaginary city. The city I created playing the game \u003cem>Cities: Skylines\u003c/em>. I play it on my Nintendo Switch, but you can play it on your Xbox, or your PlayStation, or your computer. It’s very much like the game \u003cem>Sim City \u003c/em>that I played years ago, and it proceeds in much the same way: You have some land. You build some roads, you create zoning (and really, who \u003cem>doesn’t \u003c/em>get into gaming in order to explore land-use planning?), you supply these areas with water and power, and then people begin to move in.\u003c/p>\n\u003cp>Maybe it’s not a surprise that I, as someone who lives alone and finds myself with time to kill in these Pandemic Days, have made a lot more use of my Switch in the last few months than in the last couple of years. Yes, I played \u003cem>Animal Crossing: New Horizons\u003c/em> when it first came out—in fact, I bought a copy for a stranger on Twitter, because she was in a pinch and it had been such a balm to me.\u003c/p>\n\u003cp>But I also play \u003cem>RBI Baseball 20 \u003c/em>(the official MLB-sanctioned baseball game) and \u003cem>Super Mega Baseball 3 \u003c/em>(the funnier, more whimsical baseball game), and I play \u003cem>Paper Mario: The Origami King \u003c/em>(the fact that you throw confetti like Rip Taylor in that game is just the best). I loved \u003cem>Kentucky Route Zero\u003c/em>, which is a moody, melancholy point-and-click storytelling game with musical interludes and all kinds of cool stuff. I’m okay at \u003cem>Breakfast Bar Tycoon\u003c/em>, which requires you to learn how to assemble breakfast sandwiches and serve grumpy customers (though anything where you’re eventually rushing stresses me out), and I’m not even going to list the games I’ve tried at which I’m completely hopeless. (One of my dear friends is a devotee of NBA2K, a game I find as stressful as an ancient version of myself might have found a tiger attack.)\u003c/p>\n\u003cp>But more than anything, I have been playing simulation games. Almost anything can be defined as a simulation of sorts, in that there’s always a reality that you’re living in, even if you’re jumping from platform to platform or shooting at bad guys. But here, I’m referring to the more methodical, world-creating, no-obvious-ending simulations like \u003ca href=\"https://www.npr.org/2018/07/18/629760717/put-your-face-in-it-how-gaming-helped-me-understand-my-dog\" target=\"_blank\" rel=\"noopener noreferrer\">the farming game \u003cem>Stardew Valley\u003c/em>\u003c/a>, where you set up your farm and then grow things and sell them and try to make friends. \u003cem>Animal Crossing \u003c/em>is a simulation, too. But it’s unlike most simulations, in that it’s not particularly stressful. Not a lot of really terrible things can happen very easily; it’s more that if you don’t play, you’re not out there earning goodies and catching new bugs. I recently picked it up again after a couple of months off, and my biggest problem was that my animal friends had really missed me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not the case in some of the other games I’ve been playing. Let me take you on a tour of a few of these imaginary worlds I’ve been building and, in some cases, messing up completely, while I hope that my actual world will steady.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cities: Skylines\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-800x450.jpe\" alt=\"This is a shot of only one of many very very bad traffic configurations I created in Cities: Skylines. Yes, two houses are on fire.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01.jpe 1278w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is a shot of only one of many very very bad traffic configurations I created in Cities: Skylines. Yes, two houses are on fire. \u003ccite>(Screenshot via Switch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First: back to those wind turbines.\u003c/p>\n\u003cp>When you set up your \u003cem>Cities: Skylines \u003c/em>city, it needs power. Back when I used to play \u003cem>Sim City\u003c/em>, you were boxed into starting with a coal-fired power plant, which you plunked down in some unfortunate part of your city. Coal plants are dirty, but they’ll juice up your town, and they’re what you can afford. In \u003cem>Cities: Skylines\u003c/em>, you can start with coal—or you can put up wind turbines. You have to look at your maps and find a place to put them that’s windy enough, but they come in smaller units, so the initial cost for the power you need to get started is lower.\u003c/p>\n\u003cp>Plus, you’ll start seeing your citizens tweeting—sorry, I meant “chirping,” which is the game’s version of something that looks rather like tweeting—about how much they appreciate your commitment to green energy. (Of course, they also tweet complaints. Every time I see the chirp that gripes that it’s not that hard to create a working power grid, I say out loud something like “It’s harder than you think, jerk, so \u003cem>give \u003c/em>me a \u003cem>minute\u003c/em> if you \u003cem>don’t mind \u003c/em>and I will \u003cem>fix it\u003c/em>.” Then I go build some more power lines.)\u003c/p>\n\u003cp>But then you’ll add clean water, and your city will grow. Little bars at the bottom of the screen tell you how much demand there is for different kinds of zoning, and when you see that orange bar grow, that means your people want some Industrial Zone space. So you lay it out, and businesses move in. And then, before you know it, little lightning bolts start flashing over some of your residential housing. You’re short of power. If you still have money, you maybe build another wind turbine. Or two. Then the industrial buildings start flashing a little symbol that says they don’t have enough workers. So you build more residential areas. The population keeps growing. They begin to want things. They need the garbage collected. They need a medical clinic and a school, they tell you. They need fire trucks, they tell you.\u003c/p>\n\u003cp>They need police.\u003c/p>\n\u003cp>What is true in \u003cem>Cities: Skylines \u003c/em>is, of course, only what the people who developed it decided would be true. (Although on some platforms, you can download mods created by users that tinker with the programming.) And what’s true here is that you add police stations and you add budgets for them, and that prevents crime. Because, as the in-game explanation says, the more stations and money, the more patrol cars. And patrol cars cut crime in the buildings they drive by. (You can eventually watch your police cars drive around.)\u003c/p>\n\u003cp>Police cars aren’t the only thing that reduces crime: education does too. And police cars don’t do any good if they can’t get around because of traffic or other road issues. But in this game, police presence affects the happiness of your citizens in only one way, which is that they feel safer when there are more patrol cars driving around. If you don’t have enough police—what the game defines as “enough police”—your crime rate goes up. What that looks like is that instead of the lightning bolts that flash on a building without power or the hardhat person who flashes on a building without enough workers, a face in a ski mask flashes on a building where the crime rate is too high. “Save us all from guys in ski masks,” your imaginary citizens are allegedly thinking.\u003c/p>\n\u003cp>There is a small-“c” conservative bent to such a game, of course, because how things have worked is how they must always work. In a year in which even more attention than before has gone to calls to reform police, change how they operate, and potentially give them \u003cem>less \u003c/em>money, a strictly linear relationship between the number of police cars and the amount of happiness seems fanciful, like setting up the game so that adding roads increases a city’s population of red pandas.\u003c/p>\n\u003cp>Even these simulated worlds I am trying to build keep bumping into the real one.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Two Point Hospital\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-800x450.jpe\" alt=\"In this shot of my hospital, you can see the clown treatment room, a couple of training rooms, a psychiatrist's office, and some vending machines, among other things.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea.jpe 1278w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this shot of my hospital, you can see the clown treatment room, a couple of training rooms, a psychiatrist’s office, and some vending machines, among other things. \u003ccite>(Screenshot via Switch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also on the list of uncomfortable collisions with reality is \u003cem>Two Point Hospital\u003c/em>, one of my favorites. I realize that just as there were people who wanted to watch \u003cem>Contagion \u003c/em>early in the pandemic but I couldn’t imagine it, there are people who would never currently want to play a wacky hospital simulation, even if the people mostly have pretend diseases like “Animal Magnetism” and “Hurty Leg.” One of my favorites, though, is “Night Fever,” and if you zoom in on any of the patients who are afflicted with it, you’ll see every one of them is wearing a white suit and doing John Travolta moves.\u003c/p>\n\u003cp>In this game, you build your GP’s offices and your treatment rooms, you hire doctors and nurses and assistants and janitors, and you install drink machines to try to keep the patients from getting angry. It’s all deeply goofy. You can build a whole treatment room that’s just for sick clowns. It looks like a circus tent. The clown goes into it, whirls around for a while, and is hopefully cured.\u003c/p>\n\u003cp>The game’s sense of time is either intentionally or unintentionally hilarious: Patients will sometimes storm out of the hospital angry about the time it’s taken for a doctor to see them, and you’ll see in their information that they waited in your hospital for like a year and a half, drinking from your drink machines, eating from your snack machines, and playing your arcade games. That’s just too long for a sick clown to chill.\u003c/p>\n\u003cp>People die in this game. (Side note: They die in \u003cem>Cities: Skylines\u003c/em> too, at which point a skull and crossbones flashes on the house until the body is retrieved by a hearse and taken to a cemetery that—yes, of course—you must build. You do not want to know what happens if you refuse to build a cemetery.) They die of their jokey, made-up ailments, and then they become ghosts, and they float around the hospital scaring the other patients until a janitor, one that carries the special ghost cleanup qualification, sucks them up with a vacuum. It’s so weird that I kind of can’t resist it.\u003c/p>\n\u003cp>The other thing \u003cem>TPH\u003c/em> has going for it is that it doesn’t require you to build too much infrastructure. I become impatient during the phase of games like \u003cem>Cities: Skylines\u003c/em> where you’re mostly connecting pipes in rectangles. In real life, I pride myself on not taking infrastructure for granted, but sitting in front of my TV with a controller, I want to be figuring out where my university will be and how many adorable parks I can have. I don’t especially want to be relocating pipes with pinpoint accuracy or managing traffic patterns by installing roundabouts. (Honestly, what good is building my own city if I can’t ban roundabouts?) \u003cem>Two Point Hospital \u003c/em>does make you place radiators to keep people from freezing, but it does not make you put in the hospital laundry or the transformers or anything else boring. More clowns! Fewer water pumps!\u003c/p>\n\u003cp>Take note: This game was developed by a British studio, so there is no billing of patients and there are no insurance companies. So that’s a couple of doses of reality you do not have to worry about.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Planet Zoo\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-800x450.jpg\" alt=\"'Planet Zoo'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Planet Zoo’ \u003ccite>(Frontier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This one isn’t on Switch (right now), so to play it, I have to sneak up to my office and sequester myself up there to play on my PC. Believe it or not, I’ve spent a number of hours in the tutorial sections and I have yet to start anything from scratch, which might mean that I’m not really cut out for the zoo management business. But I persevere! For the animals, you see.\u003c/p>\n\u003cp>Your task in this game is to build (or improve) a zoo. You “adopt” animals from various sources, you build habitats, you outfit them with the plants and the terrain that the particular animal needs, and you try to keep them happy. You also, ideally, rehabilitate and release some into the wild and get conservation points. \u003cem>Planet Zoo\u003c/em> has rapidly become the game I use to escape my considerable real-world anxieties. When you get a notice that a couple of your hippos are fighting (in retrospect, I think I mismanaged the population of adult males and they started going after each other [imagine a big eyes emoji here]), it will really get your attention.\u003c/p>\n\u003cp>On the other hand, this is also a game where mistakes are viscerally upsetting. I have not had to mourn a zoo animal yet, but I had a very depressed pair of frogs the other day (I hadn’t adjusted the humidity correctly), and despite the fact that these frogs do not exist, I felt terrible. Sad frogs! My fault! This is also where I admit that I tend to talk to my animals a lot, out loud. “Oh no! Let’s fix your plants,” I will say to some imaginary lizards. It’s possible that isolation is taking a toll on me.\u003c/p>\n\u003cp>At the same time, if you learn that your tapirs are bored and you give them some toys, you can watch the bar that represents their well-being slide up through the yellow zone and into the green zone. At least \u003cem>somebody \u003c/em>is having a good time, even if they’re \u003ca href=\"https://www.nationalgeographic.com/animals/mammals/group/tapirs/\" target=\"_blank\" rel=\"noopener noreferrer\">kinda funny-looking pig-elephants\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Roller Coaster Tycoon Adventures\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884904\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-800x450.jpg\" alt=\"'Roller Coaster Tycoon Adventures.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Roller Coaster Tycoon Adventures.’ \u003ccite>(Nintendo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Can I be straight with you? I didn’t know you could even play \u003cem>Roller Coaster Tycoon \u003c/em>anymore. This is another one that dates back to my CD-ROM game days, when mostly what I remember is trying to stop people from eating near the thrill rides, because it would mean I had to clean up after them when they got sick. I spent a lot of time on barf reduction strategies.\u003c/p>\n\u003cp>When I play it on the Switch, it’s richer than it used to be, but it’s still fundamentally the same game. You can still set up your merry-go-round first. Build a little path. Work your way up to arcade games, get some families hanging around, put in a lemonade stand. (I feel like it’s less about the upset tummies than earlier versions, too.) Eventually, you can set up your thrill rides and your big wooden coasters, and you can place a lot of wild topiary stuff for people to look at. This is one of the ones I play that’s the most straightforward. Unlike \u003cem>Cities: Skylines\u003c/em>, where problems can rapidly cascade until everyone in town hates you and you’re broke and everyone is sick and the dead bodies are piling up and no one has electricity (hypothetically this could happen you know maybe), as long as you keep a general eye on the goings-on, it seems like your amusement park does not become some kind of haunted monstrosity.\u003c/p>\n\u003cp>And unlike reality, this world seems to feature fewer unsettled stomachs than I remember.\u003c/p>\n\u003cp>\u003cstrong>No, Thank You: The Ones I Won’t Play\u003c/strong>\u003c/p>\n\u003cp>A final note: Not every imaginary world should be entered.\u003c/p>\n\u003cp>I wasn’t too far into poking around for interesting simulation games when I saw that one exists that’s called \u003cem>Prison Architect\u003c/em>. The reasons I was instinctively grossed out are probably obvious: I don’t find prisons whimsical, even more than I don’t find hospitals whimsical. I was intrigued, however, by a description that suggested that the point of it was that you could play around with rehabilitation options or “punitive” ones, and some part of me thought it might be interesting to explore how they impose consequences of your decisions. So I got it, and I fired it up, and I found that … the tutorial requires you to build an execution chamber with an electric chair. It shows you a graphic animation of your prisoner killing two people. You have to connect the electric chair directly to power, because it needs so much.\u003c/p>\n\u003cp>I quit that one.\u003c/p>\n\u003cp>A lot of time has been spent on the ethics of certain kinds of games. First-person shooters, for instance—what does it do to a person to practice shooting people? Or \u003cem>Grand Theft Auto\u003c/em>, which I once dabbled in years ago, only to quit because, of all things, I was a terrible driver. I never even \u003cem>got \u003c/em>to explore the causes of the moral panic; I just kept crashing the car.\u003c/p>\n\u003cp>But as much as escape appeals at this point, I don’t need to build an electric chair. I have enough qualms about zoning my citizens to improve their land values, demolishing their homes to build police stations, building glass walls in my zoo so people can look at my fighting hippos, and letting clowns die.\u003c/p>\n\u003cp>At some point, I realized that the key to why these simulations will always be fantasies even when they’re dark fantasies is that you can leave. I managed a city so badly once that practically every house was flashing with some dystopian symbol of failure, so … I made a new one. Moreover, one of the reasons you have to keep your citizens happy is that \u003cem>they \u003c/em>can leave. They can leave your city, they can stop going to your amusement park, they can storm out of the hospital. There’s always an exit to elsewhere. There’s always the X in the upper right-hand corner.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Get me out of here. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=I+Thought+A+Zoo%3A+Simulated+Games+For+Isolated+Times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m overwhelmed by so many things right now, not the least of which is that I keep having to build wind turbines.\u003c/p>\n\u003cp>Not in my yard, you understand: in my imaginary city. The city I created playing the game \u003cem>Cities: Skylines\u003c/em>. I play it on my Nintendo Switch, but you can play it on your Xbox, or your PlayStation, or your computer. It’s very much like the game \u003cem>Sim City \u003c/em>that I played years ago, and it proceeds in much the same way: You have some land. You build some roads, you create zoning (and really, who \u003cem>doesn’t \u003c/em>get into gaming in order to explore land-use planning?), you supply these areas with water and power, and then people begin to move in.\u003c/p>\n\u003cp>Maybe it’s not a surprise that I, as someone who lives alone and finds myself with time to kill in these Pandemic Days, have made a lot more use of my Switch in the last few months than in the last couple of years. Yes, I played \u003cem>Animal Crossing: New Horizons\u003c/em> when it first came out—in fact, I bought a copy for a stranger on Twitter, because she was in a pinch and it had been such a balm to me.\u003c/p>\n\u003cp>But I also play \u003cem>RBI Baseball 20 \u003c/em>(the official MLB-sanctioned baseball game) and \u003cem>Super Mega Baseball 3 \u003c/em>(the funnier, more whimsical baseball game), and I play \u003cem>Paper Mario: The Origami King \u003c/em>(the fact that you throw confetti like Rip Taylor in that game is just the best). I loved \u003cem>Kentucky Route Zero\u003c/em>, which is a moody, melancholy point-and-click storytelling game with musical interludes and all kinds of cool stuff. I’m okay at \u003cem>Breakfast Bar Tycoon\u003c/em>, which requires you to learn how to assemble breakfast sandwiches and serve grumpy customers (though anything where you’re eventually rushing stresses me out), and I’m not even going to list the games I’ve tried at which I’m completely hopeless. (One of my dear friends is a devotee of NBA2K, a game I find as stressful as an ancient version of myself might have found a tiger attack.)\u003c/p>\n\u003cp>But more than anything, I have been playing simulation games. Almost anything can be defined as a simulation of sorts, in that there’s always a reality that you’re living in, even if you’re jumping from platform to platform or shooting at bad guys. But here, I’m referring to the more methodical, world-creating, no-obvious-ending simulations like \u003ca href=\"https://www.npr.org/2018/07/18/629760717/put-your-face-in-it-how-gaming-helped-me-understand-my-dog\" target=\"_blank\" rel=\"noopener noreferrer\">the farming game \u003cem>Stardew Valley\u003c/em>\u003c/a>, where you set up your farm and then grow things and sell them and try to make friends. \u003cem>Animal Crossing \u003c/em>is a simulation, too. But it’s unlike most simulations, in that it’s not particularly stressful. Not a lot of really terrible things can happen very easily; it’s more that if you don’t play, you’re not out there earning goodies and catching new bugs. I recently picked it up again after a couple of months off, and my biggest problem was that my animal friends had really missed me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not the case in some of the other games I’ve been playing. Let me take you on a tour of a few of these imaginary worlds I’ve been building and, in some cases, messing up completely, while I hope that my actual world will steady.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cities: Skylines\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-800x450.jpe\" alt=\"This is a shot of only one of many very very bad traffic configurations I created in Cities: Skylines. Yes, two houses are on fire.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/citiesskylines_wide-55e580e36d840d545a63f7c83ae1bf61cd4e8d01.jpe 1278w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is a shot of only one of many very very bad traffic configurations I created in Cities: Skylines. Yes, two houses are on fire. \u003ccite>(Screenshot via Switch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First: back to those wind turbines.\u003c/p>\n\u003cp>When you set up your \u003cem>Cities: Skylines \u003c/em>city, it needs power. Back when I used to play \u003cem>Sim City\u003c/em>, you were boxed into starting with a coal-fired power plant, which you plunked down in some unfortunate part of your city. Coal plants are dirty, but they’ll juice up your town, and they’re what you can afford. In \u003cem>Cities: Skylines\u003c/em>, you can start with coal—or you can put up wind turbines. You have to look at your maps and find a place to put them that’s windy enough, but they come in smaller units, so the initial cost for the power you need to get started is lower.\u003c/p>\n\u003cp>Plus, you’ll start seeing your citizens tweeting—sorry, I meant “chirping,” which is the game’s version of something that looks rather like tweeting—about how much they appreciate your commitment to green energy. (Of course, they also tweet complaints. Every time I see the chirp that gripes that it’s not that hard to create a working power grid, I say out loud something like “It’s harder than you think, jerk, so \u003cem>give \u003c/em>me a \u003cem>minute\u003c/em> if you \u003cem>don’t mind \u003c/em>and I will \u003cem>fix it\u003c/em>.” Then I go build some more power lines.)\u003c/p>\n\u003cp>But then you’ll add clean water, and your city will grow. Little bars at the bottom of the screen tell you how much demand there is for different kinds of zoning, and when you see that orange bar grow, that means your people want some Industrial Zone space. So you lay it out, and businesses move in. And then, before you know it, little lightning bolts start flashing over some of your residential housing. You’re short of power. If you still have money, you maybe build another wind turbine. Or two. Then the industrial buildings start flashing a little symbol that says they don’t have enough workers. So you build more residential areas. The population keeps growing. They begin to want things. They need the garbage collected. They need a medical clinic and a school, they tell you. They need fire trucks, they tell you.\u003c/p>\n\u003cp>They need police.\u003c/p>\n\u003cp>What is true in \u003cem>Cities: Skylines \u003c/em>is, of course, only what the people who developed it decided would be true. (Although on some platforms, you can download mods created by users that tinker with the programming.) And what’s true here is that you add police stations and you add budgets for them, and that prevents crime. Because, as the in-game explanation says, the more stations and money, the more patrol cars. And patrol cars cut crime in the buildings they drive by. (You can eventually watch your police cars drive around.)\u003c/p>\n\u003cp>Police cars aren’t the only thing that reduces crime: education does too. And police cars don’t do any good if they can’t get around because of traffic or other road issues. But in this game, police presence affects the happiness of your citizens in only one way, which is that they feel safer when there are more patrol cars driving around. If you don’t have enough police—what the game defines as “enough police”—your crime rate goes up. What that looks like is that instead of the lightning bolts that flash on a building without power or the hardhat person who flashes on a building without enough workers, a face in a ski mask flashes on a building where the crime rate is too high. “Save us all from guys in ski masks,” your imaginary citizens are allegedly thinking.\u003c/p>\n\u003cp>There is a small-“c” conservative bent to such a game, of course, because how things have worked is how they must always work. In a year in which even more attention than before has gone to calls to reform police, change how they operate, and potentially give them \u003cem>less \u003c/em>money, a strictly linear relationship between the number of police cars and the amount of happiness seems fanciful, like setting up the game so that adding roads increases a city’s population of red pandas.\u003c/p>\n\u003cp>Even these simulated worlds I am trying to build keep bumping into the real one.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Two Point Hospital\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-800x450.jpe\" alt=\"In this shot of my hospital, you can see the clown treatment room, a couple of training rooms, a psychiatrist's office, and some vending machines, among other things.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/twopointhospital_wide-7f480849e6907b16c3c7f6fd7c98e44637ba50ea.jpe 1278w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this shot of my hospital, you can see the clown treatment room, a couple of training rooms, a psychiatrist’s office, and some vending machines, among other things. \u003ccite>(Screenshot via Switch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also on the list of uncomfortable collisions with reality is \u003cem>Two Point Hospital\u003c/em>, one of my favorites. I realize that just as there were people who wanted to watch \u003cem>Contagion \u003c/em>early in the pandemic but I couldn’t imagine it, there are people who would never currently want to play a wacky hospital simulation, even if the people mostly have pretend diseases like “Animal Magnetism” and “Hurty Leg.” One of my favorites, though, is “Night Fever,” and if you zoom in on any of the patients who are afflicted with it, you’ll see every one of them is wearing a white suit and doing John Travolta moves.\u003c/p>\n\u003cp>In this game, you build your GP’s offices and your treatment rooms, you hire doctors and nurses and assistants and janitors, and you install drink machines to try to keep the patients from getting angry. It’s all deeply goofy. You can build a whole treatment room that’s just for sick clowns. It looks like a circus tent. The clown goes into it, whirls around for a while, and is hopefully cured.\u003c/p>\n\u003cp>The game’s sense of time is either intentionally or unintentionally hilarious: Patients will sometimes storm out of the hospital angry about the time it’s taken for a doctor to see them, and you’ll see in their information that they waited in your hospital for like a year and a half, drinking from your drink machines, eating from your snack machines, and playing your arcade games. That’s just too long for a sick clown to chill.\u003c/p>\n\u003cp>People die in this game. (Side note: They die in \u003cem>Cities: Skylines\u003c/em> too, at which point a skull and crossbones flashes on the house until the body is retrieved by a hearse and taken to a cemetery that—yes, of course—you must build. You do not want to know what happens if you refuse to build a cemetery.) They die of their jokey, made-up ailments, and then they become ghosts, and they float around the hospital scaring the other patients until a janitor, one that carries the special ghost cleanup qualification, sucks them up with a vacuum. It’s so weird that I kind of can’t resist it.\u003c/p>\n\u003cp>The other thing \u003cem>TPH\u003c/em> has going for it is that it doesn’t require you to build too much infrastructure. I become impatient during the phase of games like \u003cem>Cities: Skylines\u003c/em> where you’re mostly connecting pipes in rectangles. In real life, I pride myself on not taking infrastructure for granted, but sitting in front of my TV with a controller, I want to be figuring out where my university will be and how many adorable parks I can have. I don’t especially want to be relocating pipes with pinpoint accuracy or managing traffic patterns by installing roundabouts. (Honestly, what good is building my own city if I can’t ban roundabouts?) \u003cem>Two Point Hospital \u003c/em>does make you place radiators to keep people from freezing, but it does not make you put in the hospital laundry or the transformers or anything else boring. More clowns! Fewer water pumps!\u003c/p>\n\u003cp>Take note: This game was developed by a British studio, so there is no billing of patients and there are no insurance companies. So that’s a couple of doses of reality you do not have to worry about.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Planet Zoo\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-800x450.jpg\" alt=\"'Planet Zoo'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/planet-zoo-is-a-sim-from-the-creators-of-planet-coaster-in-the-style-of-zoo-tycoon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Planet Zoo’ \u003ccite>(Frontier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This one isn’t on Switch (right now), so to play it, I have to sneak up to my office and sequester myself up there to play on my PC. Believe it or not, I’ve spent a number of hours in the tutorial sections and I have yet to start anything from scratch, which might mean that I’m not really cut out for the zoo management business. But I persevere! For the animals, you see.\u003c/p>\n\u003cp>Your task in this game is to build (or improve) a zoo. You “adopt” animals from various sources, you build habitats, you outfit them with the plants and the terrain that the particular animal needs, and you try to keep them happy. You also, ideally, rehabilitate and release some into the wild and get conservation points. \u003cem>Planet Zoo\u003c/em> has rapidly become the game I use to escape my considerable real-world anxieties. When you get a notice that a couple of your hippos are fighting (in retrospect, I think I mismanaged the population of adult males and they started going after each other [imagine a big eyes emoji here]), it will really get your attention.\u003c/p>\n\u003cp>On the other hand, this is also a game where mistakes are viscerally upsetting. I have not had to mourn a zoo animal yet, but I had a very depressed pair of frogs the other day (I hadn’t adjusted the humidity correctly), and despite the fact that these frogs do not exist, I felt terrible. Sad frogs! My fault! This is also where I admit that I tend to talk to my animals a lot, out loud. “Oh no! Let’s fix your plants,” I will say to some imaginary lizards. It’s possible that isolation is taking a toll on me.\u003c/p>\n\u003cp>At the same time, if you learn that your tapirs are bored and you give them some toys, you can watch the bar that represents their well-being slide up through the yellow zone and into the green zone. At least \u003cem>somebody \u003c/em>is having a good time, even if they’re \u003ca href=\"https://www.nationalgeographic.com/animals/mammals/group/tapirs/\" target=\"_blank\" rel=\"noopener noreferrer\">kinda funny-looking pig-elephants\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Roller Coaster Tycoon Adventures\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13884904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884904\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-800x450.jpg\" alt=\"'Roller Coaster Tycoon Adventures.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/rollercoaster-tycoon-adventures-switch-screenshot05.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Roller Coaster Tycoon Adventures.’ \u003ccite>(Nintendo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Can I be straight with you? I didn’t know you could even play \u003cem>Roller Coaster Tycoon \u003c/em>anymore. This is another one that dates back to my CD-ROM game days, when mostly what I remember is trying to stop people from eating near the thrill rides, because it would mean I had to clean up after them when they got sick. I spent a lot of time on barf reduction strategies.\u003c/p>\n\u003cp>When I play it on the Switch, it’s richer than it used to be, but it’s still fundamentally the same game. You can still set up your merry-go-round first. Build a little path. Work your way up to arcade games, get some families hanging around, put in a lemonade stand. (I feel like it’s less about the upset tummies than earlier versions, too.) Eventually, you can set up your thrill rides and your big wooden coasters, and you can place a lot of wild topiary stuff for people to look at. This is one of the ones I play that’s the most straightforward. Unlike \u003cem>Cities: Skylines\u003c/em>, where problems can rapidly cascade until everyone in town hates you and you’re broke and everyone is sick and the dead bodies are piling up and no one has electricity (hypothetically this could happen you know maybe), as long as you keep a general eye on the goings-on, it seems like your amusement park does not become some kind of haunted monstrosity.\u003c/p>\n\u003cp>And unlike reality, this world seems to feature fewer unsettled stomachs than I remember.\u003c/p>\n\u003cp>\u003cstrong>No, Thank You: The Ones I Won’t Play\u003c/strong>\u003c/p>\n\u003cp>A final note: Not every imaginary world should be entered.\u003c/p>\n\u003cp>I wasn’t too far into poking around for interesting simulation games when I saw that one exists that’s called \u003cem>Prison Architect\u003c/em>. The reasons I was instinctively grossed out are probably obvious: I don’t find prisons whimsical, even more than I don’t find hospitals whimsical. I was intrigued, however, by a description that suggested that the point of it was that you could play around with rehabilitation options or “punitive” ones, and some part of me thought it might be interesting to explore how they impose consequences of your decisions. So I got it, and I fired it up, and I found that … the tutorial requires you to build an execution chamber with an electric chair. It shows you a graphic animation of your prisoner killing two people. You have to connect the electric chair directly to power, because it needs so much.\u003c/p>\n\u003cp>I quit that one.\u003c/p>\n\u003cp>A lot of time has been spent on the ethics of certain kinds of games. First-person shooters, for instance—what does it do to a person to practice shooting people? Or \u003cem>Grand Theft Auto\u003c/em>, which I once dabbled in years ago, only to quit because, of all things, I was a terrible driver. I never even \u003cem>got \u003c/em>to explore the causes of the moral panic; I just kept crashing the car.\u003c/p>\n\u003cp>But as much as escape appeals at this point, I don’t need to build an electric chair. I have enough qualms about zoning my citizens to improve their land values, demolishing their homes to build police stations, building glass walls in my zoo so people can look at my fighting hippos, and letting clowns die.\u003c/p>\n\u003cp>At some point, I realized that the key to why these simulations will always be fantasies even when they’re dark fantasies is that you can leave. I managed a city so badly once that practically every house was flashing with some dystopian symbol of failure, so … I made a new one. Moreover, one of the reasons you have to keep your citizens happy is that \u003cem>they \u003c/em>can leave. They can leave your city, they can stop going to your amusement park, they can storm out of the hospital. There’s always an exit to elsewhere. There’s always the X in the upper right-hand corner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Get me out of here. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=I+Thought+A+Zoo%3A+Simulated+Games+For+Isolated+Times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Lovecraft Country': Facing Monsters—And a Monstrous History",
"headTitle": "‘Lovecraft Country’: Facing Monsters—And a Monstrous History | KQED",
"content": "\u003cp>Here is a list of things that the HBO series \u003cem>Lovecraft Country\u003c/em>, which premiered Sunday, August 16th, has in common with the 2018 film \u003cem>Green Book\u003c/em>:\u003c/p>\n\u003cp>1. Setting: Jim Crow-era America\u003c/p>\n\u003cp>2. Acting: Subtle, nuanced performances (Viggo Mortenen’s \u003cem>dese\u003c/em>-and-\u003cem>dose Green Book\u003c/em> gangster notwithstanding).\u003c/p>\n\u003cp>3. Subject: Story features a road trip involving a travel guidebook written to inform Black people where they can safely eat and stay. (\u003cem>Green Book\u003c/em>: Entire film; \u003cem>Lovecraft Country\u003c/em>: Opening episodes only.)\u003c/p>\n\u003cp>And here is a brief, incomplete list of the things that \u003cem>Lovecraft Country \u003c/em>prominently features that \u003cem>Green Book\u003c/em> emphatically does not:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>1. A story centered on the lives of Black characters.\u003c/p>\n\u003cp>2. Black characters with agency, absent any White Savior narrative.\u003c/p>\n\u003cp>3. Shoggoths.\u003c/p>\n\u003cp>Shoggoths, of course, are creatures imagined by writer H.P. Lovecraft—blobs covered with eyes that continuously arise and dissolve back into their putrid, pulsating flesh. (The Shoggoths of \u003cem>Lovecraft Country\u003c/em> are shaped more like Pit-bulls than protoplasm, though they’ve got that whole creepy-eyes thing covered.)\u003c/p>\n\u003cp>\u003cem>Lovecraft Country\u003c/em> is only the latest in a series of movies, television series and novels to engage with America’s greatest moral, economic, social and psychological wound—the legacy of slavery—by way of the fantastic. Creators like Jordan Peele, Damon Lindelof, Toni Morrison and Colson Whitehead didn’t avail themselves of, respectively, body-swapping, superheroes, an angry ghost and an entirely literal subterranean mass-transit system as a means to distract from, or to trivialize, racial injustice. No: They knew that when grappling with a foundational truth so huge and ugly and painful, utilizing the metaphorical imagery of science-fiction and horror offered them a fresh way in—an opportunity to get their audiences to re-examine, to re-\u003cem>feel\u003c/em>, the enduring impact of that evil.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dvamPJp17Ds\u003c/p>\n\u003cp>Horrors so great and terrible as to stagger the human mind? That was H.P. Lovecraft’s whole schtick. He stuffed his fiction with various and sundry eldtrich squamous tentacled oozy ancient malevolent beasties, the very sight of which proved so incomprehensible to us poor human schmoes it would instantly reduce us to gibbering wretches.\u003c/p>\n\u003cp>It’s that precise affinity—slavery as abject, ungraspable, soul-devouring horror—that writer Matt Ruff’s 2016 novel, upon which the HBO series is based, cleverly explored. Creator and showrunner Misha Green (alongside executive producers Peele and J.J. Abrams, among others) doubles down, threading the novel’s central plotline through a series of eldritch-monster-of-the-week episodes.\u003c/p>\n\u003cp>Atticus ‘Tic’ Freeman (Jonathan Majors) travels from the Jim Crow South to Chicago in response to a letter from his estranged, missing father (Michael Kenneth Williams). With his Uncle George (Courtney B. Vance) and childhood friend Letitia (Jurnee Smollett), he embarks upon a cross-country trip in search of his father, encountering horrors both all-too-familiar (bigoted cops of various stripes) and otherworldly (Shoggoth-hound-thingies, ghosts, the odd uber-Aryan wizard, etc.).\u003c/p>\n\u003cp>Though it’s sure to be compared to \u003cem>Watchmen\u003c/em>, given both its prominent HBO Sunday night berth and its determination to view race in America through the prism of science fiction, \u003cem>Lovecraft Country\u003c/em> is lighter in tone, and far pulpier in sensibility, than Lindelof’s comparatively grand, sweeping epic. It’s much more apt to go looser and loopier, sprinkling magic spells, sacred codexes, secret passages and the occasional light tomb-raiding into the mix. It’s also far more eager to serve up the satisfyingly grisly thrills of pulp horror—bad guys getting their bloody, cosmic comeuppance, for example.\u003c/p>\n\u003cp>But for every fun, if wildly anachronistic, element—needle-drops like Rihanna’s “Bitch Better Have My Money,” say, or abdominal muscles like Majors’—\u003cem>Lovecraft Country \u003c/em>is always careful to re-center itself on its characters, and their hemmed-in status as Black women and men in 1950s America. Between every narrow escape and exposition dump about “finding the missing pages from the forbidden tome” or whatever, it gives its characters and their relationships breathing room. Case in point: Letitia’s contentious bond with her sardonic, disapproving sister Ruby (the quietly astonishing Wunmi Mosaku, in a warm, deeply compelling performance) gets a chance to grow and complicate. And in a later episodes (only the first five were screened for press), Ruby happily manages to step off the sidelines and mix it up with the series’ deep, abiding weirdness.\u003c/p>\n\u003cp>Majors, compelling in \u003cem>The Last Black Man in San Francisco\u003c/em> and \u003cem>Da 5 Bloods\u003c/em>, seems stern, even stoic at first, but soon lets his character’s nerdiness bubble up. As she was in \u003cem>Birds of Prey\u003c/em>, Smollett is fast and funny when the script demands it, and fiercely physical when it comes time to fight back against whatever nasty piece of business the universe is setting against her, this week.\u003c/p>\n\u003cp>That H.P. Lovecraft—troubled, imaginative, racist—should inspire a book and a series that centers Black characters, and that expressly uses his own creations to flesh out the inner lives he denied them in his own work, was not something he could have imagined. You can’t help but wonder what the guy’d do, were he to somehow find himself confronted with that knowledge, a truth his White-supremacist mind could not begin to comprehend.\u003c/p>\n\u003cp>I mean.\u003c/p>\n\u003cp>There’d … there’d probably be gibbering, right?\u003c/p>\n\u003cp>Gotta figure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stands to reason.\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=%27Lovecraft+Country%27%3A+Facing+Monsters+%E2%80%94And+A+Monstrous+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here is a list of things that the HBO series \u003cem>Lovecraft Country\u003c/em>, which premiered Sunday, August 16th, has in common with the 2018 film \u003cem>Green Book\u003c/em>:\u003c/p>\n\u003cp>1. Setting: Jim Crow-era America\u003c/p>\n\u003cp>2. Acting: Subtle, nuanced performances (Viggo Mortenen’s \u003cem>dese\u003c/em>-and-\u003cem>dose Green Book\u003c/em> gangster notwithstanding).\u003c/p>\n\u003cp>3. Subject: Story features a road trip involving a travel guidebook written to inform Black people where they can safely eat and stay. (\u003cem>Green Book\u003c/em>: Entire film; \u003cem>Lovecraft Country\u003c/em>: Opening episodes only.)\u003c/p>\n\u003cp>And here is a brief, incomplete list of the things that \u003cem>Lovecraft Country \u003c/em>prominently features that \u003cem>Green Book\u003c/em> emphatically does not:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1. A story centered on the lives of Black characters.\u003c/p>\n\u003cp>2. Black characters with agency, absent any White Savior narrative.\u003c/p>\n\u003cp>3. Shoggoths.\u003c/p>\n\u003cp>Shoggoths, of course, are creatures imagined by writer H.P. Lovecraft—blobs covered with eyes that continuously arise and dissolve back into their putrid, pulsating flesh. (The Shoggoths of \u003cem>Lovecraft Country\u003c/em> are shaped more like Pit-bulls than protoplasm, though they’ve got that whole creepy-eyes thing covered.)\u003c/p>\n\u003cp>\u003cem>Lovecraft Country\u003c/em> is only the latest in a series of movies, television series and novels to engage with America’s greatest moral, economic, social and psychological wound—the legacy of slavery—by way of the fantastic. Creators like Jordan Peele, Damon Lindelof, Toni Morrison and Colson Whitehead didn’t avail themselves of, respectively, body-swapping, superheroes, an angry ghost and an entirely literal subterranean mass-transit system as a means to distract from, or to trivialize, racial injustice. No: They knew that when grappling with a foundational truth so huge and ugly and painful, utilizing the metaphorical imagery of science-fiction and horror offered them a fresh way in—an opportunity to get their audiences to re-examine, to re-\u003cem>feel\u003c/em>, the enduring impact of that evil.\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/dvamPJp17Ds'\n title='//www.youtube.com/embed/dvamPJp17Ds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Horrors so great and terrible as to stagger the human mind? That was H.P. Lovecraft’s whole schtick. He stuffed his fiction with various and sundry eldtrich squamous tentacled oozy ancient malevolent beasties, the very sight of which proved so incomprehensible to us poor human schmoes it would instantly reduce us to gibbering wretches.\u003c/p>\n\u003cp>It’s that precise affinity—slavery as abject, ungraspable, soul-devouring horror—that writer Matt Ruff’s 2016 novel, upon which the HBO series is based, cleverly explored. Creator and showrunner Misha Green (alongside executive producers Peele and J.J. Abrams, among others) doubles down, threading the novel’s central plotline through a series of eldritch-monster-of-the-week episodes.\u003c/p>\n\u003cp>Atticus ‘Tic’ Freeman (Jonathan Majors) travels from the Jim Crow South to Chicago in response to a letter from his estranged, missing father (Michael Kenneth Williams). With his Uncle George (Courtney B. Vance) and childhood friend Letitia (Jurnee Smollett), he embarks upon a cross-country trip in search of his father, encountering horrors both all-too-familiar (bigoted cops of various stripes) and otherworldly (Shoggoth-hound-thingies, ghosts, the odd uber-Aryan wizard, etc.).\u003c/p>\n\u003cp>Though it’s sure to be compared to \u003cem>Watchmen\u003c/em>, given both its prominent HBO Sunday night berth and its determination to view race in America through the prism of science fiction, \u003cem>Lovecraft Country\u003c/em> is lighter in tone, and far pulpier in sensibility, than Lindelof’s comparatively grand, sweeping epic. It’s much more apt to go looser and loopier, sprinkling magic spells, sacred codexes, secret passages and the occasional light tomb-raiding into the mix. It’s also far more eager to serve up the satisfyingly grisly thrills of pulp horror—bad guys getting their bloody, cosmic comeuppance, for example.\u003c/p>\n\u003cp>But for every fun, if wildly anachronistic, element—needle-drops like Rihanna’s “Bitch Better Have My Money,” say, or abdominal muscles like Majors’—\u003cem>Lovecraft Country \u003c/em>is always careful to re-center itself on its characters, and their hemmed-in status as Black women and men in 1950s America. Between every narrow escape and exposition dump about “finding the missing pages from the forbidden tome” or whatever, it gives its characters and their relationships breathing room. Case in point: Letitia’s contentious bond with her sardonic, disapproving sister Ruby (the quietly astonishing Wunmi Mosaku, in a warm, deeply compelling performance) gets a chance to grow and complicate. And in a later episodes (only the first five were screened for press), Ruby happily manages to step off the sidelines and mix it up with the series’ deep, abiding weirdness.\u003c/p>\n\u003cp>Majors, compelling in \u003cem>The Last Black Man in San Francisco\u003c/em> and \u003cem>Da 5 Bloods\u003c/em>, seems stern, even stoic at first, but soon lets his character’s nerdiness bubble up. As she was in \u003cem>Birds of Prey\u003c/em>, Smollett is fast and funny when the script demands it, and fiercely physical when it comes time to fight back against whatever nasty piece of business the universe is setting against her, this week.\u003c/p>\n\u003cp>That H.P. Lovecraft—troubled, imaginative, racist—should inspire a book and a series that centers Black characters, and that expressly uses his own creations to flesh out the inner lives he denied them in his own work, was not something he could have imagined. You can’t help but wonder what the guy’d do, were he to somehow find himself confronted with that knowledge, a truth his White-supremacist mind could not begin to comprehend.\u003c/p>\n\u003cp>I mean.\u003c/p>\n\u003cp>There’d … there’d probably be gibbering, right?\u003c/p>\n\u003cp>Gotta figure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stands to reason.\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=%27Lovecraft+Country%27%3A+Facing+Monsters+%E2%80%94And+A+Monstrous+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "R. Kelly's Former Manager Charged With Gun Threat to 'Surviving R. Kelly' Screening",
"headTitle": "R. Kelly’s Former Manager Charged With Gun Threat to ‘Surviving R. Kelly’ Screening | KQED",
"content": "\u003cp>On Friday, federal prosecutors \u003ca href=\"https://www.justice.gov/usao-sdny/pr/r-kelly-s-manager-charged-placing-threatening-call-manhattan-theater\" target=\"_blank\" rel=\"noopener noreferrer\">charged\u003c/a> former R. Kelly manager Donnell Russell with calling in a gun threat to a New York advance screening of the Lifetime television docuseries \u003cem>Surviving R. Kelly \u003c/em>in December 2018.\u003c/p>\n\u003cp>The six-part series explored allegations that the fallen R&B star has sexually abused women and girls going back to the 1990s. The disrupted advance screening at New York’s NeueHouse theater was \u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\" target=\"_blank\" rel=\"noopener noreferrer\">scheduled\u003c/a> to include a panel discussion featuring several of Kelly’s accusers and #MeToo founder Tarana Burke, among others.\u003c/p>\n\u003cp>After the threat was called in, the screening was canceled and the theater was evacuated.\u003c/p>\n\u003cp>Russell, who was Kelly’s manager at the time of the incident, is being charged with two counts of threatening physical harm by interstate communication and conspiracy to do the same. Friday’s charges were filed by prosecutors for the Southern District of New York and the New York office of the FBI.\u003c/p>\n\u003cp>According to the prosecutors, Russell was in Chicago at the time of the screening. They say that on the day of the event, he worked with another individual, called “CC-1” in the court filing, to draft messages to a Lifetime executive that discouraged the network from airing the series. Prosecutors say that Russell also sent Neuehouse a purported “cease and desist” letter to stop the screening; called the New York Police Department and the fire department in an attempt to disrupt the screening; and finally contacted a Neuehouse employee by phone to say that there was a person in the theater with a gun who was prepared to shoot up the room.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These charges are separate from federal charges \u003ca href=\"https://www.npr.org/2020/08/12/901738670/three-r-kelly-associates-arrested-for-trying-to-bribe-intimidate-alleged-victims\" target=\"_blank\" rel=\"noopener noreferrer\">filed Wednesday\u003c/a> by the Eastern District of New York [EDNY] against Russell and two other Kelly associates, in which the men are accused of separate schemes to harass, threaten, intimidate and bribe several of Kelly’s alleged victims.[aside postid='arts_13884721']\u003c/p>\n\u003cp>The gun threat to the ‘Surviving R. Kelly’ series was mentioned in Wednesday’s charges from EDNY, but it was SDNY and the FBI who have levied charges related to that incident in particular.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday afternoon, EDNY magistrate judge Peggy Kuo approved a $75,000 bail package for Russell. He made his first appearance in front of an SDNY judge on Friday.\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=R.+Kelly%27s+Former+Manager+Charged+With+Gun+Threat+To+%27Surviving+R.+Kelly%27+Screening&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, federal prosecutors \u003ca href=\"https://www.justice.gov/usao-sdny/pr/r-kelly-s-manager-charged-placing-threatening-call-manhattan-theater\" target=\"_blank\" rel=\"noopener noreferrer\">charged\u003c/a> former R. Kelly manager Donnell Russell with calling in a gun threat to a New York advance screening of the Lifetime television docuseries \u003cem>Surviving R. Kelly \u003c/em>in December 2018.\u003c/p>\n\u003cp>The six-part series explored allegations that the fallen R&B star has sexually abused women and girls going back to the 1990s. The disrupted advance screening at New York’s NeueHouse theater was \u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\" target=\"_blank\" rel=\"noopener noreferrer\">scheduled\u003c/a> to include a panel discussion featuring several of Kelly’s accusers and #MeToo founder Tarana Burke, among others.\u003c/p>\n\u003cp>After the threat was called in, the screening was canceled and the theater was evacuated.\u003c/p>\n\u003cp>Russell, who was Kelly’s manager at the time of the incident, is being charged with two counts of threatening physical harm by interstate communication and conspiracy to do the same. Friday’s charges were filed by prosecutors for the Southern District of New York and the New York office of the FBI.\u003c/p>\n\u003cp>According to the prosecutors, Russell was in Chicago at the time of the screening. They say that on the day of the event, he worked with another individual, called “CC-1” in the court filing, to draft messages to a Lifetime executive that discouraged the network from airing the series. Prosecutors say that Russell also sent Neuehouse a purported “cease and desist” letter to stop the screening; called the New York Police Department and the fire department in an attempt to disrupt the screening; and finally contacted a Neuehouse employee by phone to say that there was a person in the theater with a gun who was prepared to shoot up the room.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The gun threat to the ‘Surviving R. Kelly’ series was mentioned in Wednesday’s charges from EDNY, but it was SDNY and the FBI who have levied charges related to that incident in particular.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday afternoon, EDNY magistrate judge Peggy Kuo approved a $75,000 bail package for Russell. He made his first appearance in front of an SDNY judge on Friday.\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=R.+Kelly%27s+Former+Manager+Charged+With+Gun+Threat+To+%27Surviving+R.+Kelly%27+Screening&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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