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"content": "\u003cp>\u003cem>\u003cstrong>Warning\u003c/strong>\u003c/em>\u003cem>: This article contains descriptions of alleged sexual assault and misconduct\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Three women have come forward with allegations of sexual misconduct against musician Mark Kozelek, who frequently performs as Sun Kil Moon. The accusations were published \u003ca href=\"https://pitchfork.com/news/mark-kozelek-of-sun-kil-moon-accused-of-sexual-misconduct-by-three-women/\" target=\"_blank\" rel=\"noopener noreferrer\">by Pitchfork on Thursday in a report by Amy Zimmerman\u003c/a>.\u003c/p>\n\u003cp>When reached by NPR, a representative responded that Kozelek was not available to comment on the allegations. In its piece, Pitchfork reported that it reached out to Kozelek and his representatives over a dozen times over a period of months seeking comment, and that none of its messages were returned.[aside postid='arts_13883674']\u003c/p>\n\u003cp>A mental health specialist who lives in Los Angeles named Sarah Catherine Golden told Pitchfork that she met Kozelek in 2017 while traveling. After talking with her at one of Kozelek’s shows, she told Pitchfork, he invited her back to his hotel. Once at the hotel, she recounted to the website, Kozelek got undressed and asked her to get into bed with him. According to Golden, when she declined he began masturbating, groped her and attempted to kiss her. She also accused Kozelek of forcibly putting her hand on his penis.\u003c/p>\n\u003cp>Another woman, who used the pseudonym Andrea in Pitchfork’s reporting, says she met Kozelek in 2014, when she was 19. She described a relationship with Kozelek that lasted several months and began with Kozelek exposing herself and intercourse that, she told a friend in a Facebook message the next day, “wasn’t really consensual.” The woman described some of her later encounters with Kozelek as consensual, but told Pitchfork that there were others where “the lines [were] really blurred.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pitchfork also reported a third allegation, from a woman musician who asked not to be named. She alleges that Kozelek “invited her and another female musician to his hotel room after a festival in 2014 and acted inappropriately with her as well.” No other details were provided.[aside postid='arts_13883723']\u003c/p>\n\u003cp>Kozelek is best known as the singer and guitarist of the pioneering slowcore band Red House Painters, with whom he released six studio albums, and for the music he has released more recently under the moniker Sun Kil Moon. He has also drawn attention for antagonizing other artists (as he did with a largely one-sided feud with The War On Drugs in 2014), mocking his fans (as he did at Hopscotch Festival in 2014, calling the crowd \u003ca href=\"https://pitchfork.com/news/56588-mark-kozelek-tells-fucking-hillbilly-audience-to-shut-the-fuck-up/\" target=\"_blank\" rel=\"noopener noreferrer\">“f****** hillbillies”\u003c/a>) and for harassing female journalists, including Pitchfork’s Allison Hussey and \u003cem>The Guardian\u003c/em> critic Laura Snapes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Three months after Golden’s alleged assault, according to Pitchfork, she emailed Kozelek and said, in part, “Do you know that you were really inappropriate? As in, you broke me…You put my hand on your d***. I froze. I was so stuck there.” He reportedly did not email her back.\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=Mark+Kozelek%2C+Of+Sun+Kil+Moon+And+Red+House+Painters%2C+Accused+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Three associates of fallen R&B star R. Kelly were arrested and charged Tuesday by New York federal authorities. The three are being accused of attempting to harass, threaten, intimidate and bribe several of Kelly’s alleged victims of sexual abuse.\u003c/p>\n\u003cp>The men are 31-year-old Richard Arline, Jr. a self-described friend of the singer; Donnell Russell, 45, a self-described “manager, advisor and friend” of Kelly; and Michael Williams, age 37, whom prosecutors say is a relative of one of Kelly’s former publicists.\u003c/p>\n\u003cp>The charges were filed in the Eastern District of New York [EDNY]. According to prosecutors, Arline tried to bribe one of Kelly’s alleged victims earlier this year with a proposed payment of $500,000, in order to keep her from cooperating with the government and testifying against Kelly at trial. Prosecutors also say that Arline claimed that he has been in touch with Kelly, while he is being held in custody, via a three-way phone call.\u003c/p>\n\u003cp>Russell, prosecutors say, tried to harass and intimidate another alleged Kelly victim and her mother between November 2018 and February of this year, after the woman filed a civil lawsuit against the singer. They accuse Russell of threatening to release sexually explicit photos of the woman, and to reveal elements of her sexual history, if she did not withdraw the suit. [aside postid='pop_104682']\u003c/p>\n\u003cp>The prosecutors say that Russell, using an alias, also sent versions of those photos to producers and executives at Lifetime and A&E television on Dec. 4, 2018—the day that Lifetime was to hold an advance screening of part of its \u003cem>Surviving R. Kelly \u003c/em>docuseries. That screening and a panel discussion was canceled due to a gun threat that was called in shortly before the event was to take place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Williams is charged with setting fire on June 11 to an SUV that was parked outside of a residence where one of Kelly’s alleged victims was staying in Florida; the SUV was leased by the woman’s father. According to prosecutors, investigators also found a fire accelerant around the residence. Additionally, prosecutors say, Williams searched the internet for information about the flammability of fertilizer and diesel fuel; materials about witness intimidation and tampering; and information about countries that do not have extradition treaties with the U.S.\u003c/p>\n\u003cp>Almost immediately after the charges against the men were announced on Wednesday, one of Kelly’s attorneys, Steve Greenberg, posted on \u003ca href=\"https://twitter.com/SGcrimlaw/status/1293582381610340355?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>: “Without question, Robert Kelly had nothing to do with any of these alleged acts by those charged. He hasn’t attempted to intimidate anyone, or encouraged anyone else to do so. No involvement whatsoever.” [aside postid='pop_108417']\u003c/p>\n\u003cp>The New York prosecutors had already alleged that Kelly and his associates—including “managers, bodyguards, drivers, personal assistants and runners for Kelly, as well as members of Kelly’s entourage”—were acting as an \u003ca href=\"https://www.npr.org/2020/03/13/815500741/new-york-federal-prosecutors-file-new-charges-against-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">organized crime ring\u003c/a>.\u003c/p>\n\u003cp>They have also contended that Kelly obstructed justice by destroying evidence and bribing witnesses during his last criminal trial, which ended with a not guilty verdict in Chicago in 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kelly is currently facing two sets of federal criminal charges: one from EDNY and the other in Illinois. In total, these comprise 22 charges for allegedly abusing 11 girls and women over the course of more than two decades, from 1994 to 2018.\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=Three+R.+Kelly+Associates+Arrested+For+Trying+To+Bribe%2C+Intimidate+Alleged+Victims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three associates of fallen R&B star R. Kelly were arrested and charged Tuesday by New York federal authorities. The three are being accused of attempting to harass, threaten, intimidate and bribe several of Kelly’s alleged victims of sexual abuse.\u003c/p>\n\u003cp>The men are 31-year-old Richard Arline, Jr. a self-described friend of the singer; Donnell Russell, 45, a self-described “manager, advisor and friend” of Kelly; and Michael Williams, age 37, whom prosecutors say is a relative of one of Kelly’s former publicists.\u003c/p>\n\u003cp>The charges were filed in the Eastern District of New York [EDNY]. According to prosecutors, Arline tried to bribe one of Kelly’s alleged victims earlier this year with a proposed payment of $500,000, in order to keep her from cooperating with the government and testifying against Kelly at trial. Prosecutors also say that Arline claimed that he has been in touch with Kelly, while he is being held in custody, via a three-way phone call.\u003c/p>\n\u003cp>Russell, prosecutors say, tried to harass and intimidate another alleged Kelly victim and her mother between November 2018 and February of this year, after the woman filed a civil lawsuit against the singer. They accuse Russell of threatening to release sexually explicit photos of the woman, and to reveal elements of her sexual history, if she did not withdraw the suit. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The prosecutors say that Russell, using an alias, also sent versions of those photos to producers and executives at Lifetime and A&E television on Dec. 4, 2018—the day that Lifetime was to hold an advance screening of part of its \u003cem>Surviving R. Kelly \u003c/em>docuseries. That screening and a panel discussion was canceled due to a gun threat that was called in shortly before the event was to take place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Williams is charged with setting fire on June 11 to an SUV that was parked outside of a residence where one of Kelly’s alleged victims was staying in Florida; the SUV was leased by the woman’s father. According to prosecutors, investigators also found a fire accelerant around the residence. Additionally, prosecutors say, Williams searched the internet for information about the flammability of fertilizer and diesel fuel; materials about witness intimidation and tampering; and information about countries that do not have extradition treaties with the U.S.\u003c/p>\n\u003cp>Almost immediately after the charges against the men were announced on Wednesday, one of Kelly’s attorneys, Steve Greenberg, posted on \u003ca href=\"https://twitter.com/SGcrimlaw/status/1293582381610340355?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>: “Without question, Robert Kelly had nothing to do with any of these alleged acts by those charged. He hasn’t attempted to intimidate anyone, or encouraged anyone else to do so. No involvement whatsoever.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The New York prosecutors had already alleged that Kelly and his associates—including “managers, bodyguards, drivers, personal assistants and runners for Kelly, as well as members of Kelly’s entourage”—were acting as an \u003ca href=\"https://www.npr.org/2020/03/13/815500741/new-york-federal-prosecutors-file-new-charges-against-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">organized crime ring\u003c/a>.\u003c/p>\n\u003cp>They have also contended that Kelly obstructed justice by destroying evidence and bribing witnesses during his last criminal trial, which ended with a not guilty verdict in Chicago in 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kelly is currently facing two sets of federal criminal charges: one from EDNY and the other in Illinois. In total, these comprise 22 charges for allegedly abusing 11 girls and women over the course of more than two decades, from 1994 to 2018.\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=Three+R.+Kelly+Associates+Arrested+For+Trying+To+Bribe%2C+Intimidate+Alleged+Victims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Escapist Land of 'Cottagecore,' From Taylor Swift to Marie Antoinette",
"headTitle": "The Escapist Land of ‘Cottagecore,’ From Taylor Swift to Marie Antoinette | KQED",
"content": "\u003cp>The promotional black and white photos from Taylor Swift’s new album \u003cem>Folklore\u003c/em> show the pop star shedding her lipsticked glamour for an ethereal frock to frolic in the meadow.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K-a8s8OLBSE\u003c/p>\n\u003cp>For those who’ve watched these signifiers bubble up on corners of the internet for the past few years, Swift had just introduced a \u003ca href=\"https://www.theringer.com/music/2020/7/28/21344659/taylor-swift-bon-iver-exile-folklore-isolation-album\" target=\"_blank\" rel=\"noopener noreferrer\">new aesthetic to the mainstream\u003c/a>. The packaging of the pared-down record, produced during lockdown in her Los Angeles home, epitomizes a romanticization of the rural lifestyle known as “cottagecore,” and it’s seeing a marked boom during the coronavirus pandemic.\u003c/p>\n\u003cp>Visually, cottagecore looks like this: sourdough bread starters, foraged mushrooms, open meadows, freshly picked flowers, homegrown produce, knitting, baking pies, and, yes, rustic cottages. The pastoral interpretations live on TikTok, Pinterest, and prominently on Tumblr.\u003c/p>\n\u003cp>At a time when many feel trapped and overwhelmed, cottagecore offers a wholesome, back-to-basics escape. In that way, it might be seen as the antidote of \u003ca href=\"https://www.npr.org/2020/07/19/892728595/your-doomscrolling-breeds-anxiety-here-s-how-to-stop-the-cycle\" target=\"_blank\" rel=\"noopener noreferrer\">“doomscrolling,”\u003c/a> a habit that’s intensified during today’s crises in which one scrolls through the endless feed of bad news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CDucMupByQK/\u003c/p>\n\u003cp>“It was comfortable and soothing and kind of helped people process things,” said Amanda Brennan, the content and community associate with Tumblr who’s better known as the \u003ca href=\"https://www.washingtonpost.com/news/the-intersect/wp/2015/12/21/tumblrs-meme-librarian-has-the-best-job-on-the-internet/\" target=\"_blank\" rel=\"noopener noreferrer\">company’s “meme librarian.”\u003c/a>\u003c/p>\n\u003cp>The blogging platform saw its first use of the cottagecore hashtag in March 2014. Six years later, Tumblr has seen an increase in fascination with bucolic imagery. Between March and April of this year, the engagements with #cottagecore jumped 153%, according to Tumblr. The number of “likes” went up more than 500% in that time.\u003c/p>\n\u003cp>“It coincided with how we saw COVID-19 proliferate and more and more cases pop up in the U.S.” Brennan said. “It basically trends with when the CDC releases more data on COVID cases.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884677 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png\" alt=\"\" width=\"594\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM-160x204.png 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/p>\n\u003cp>There are subcultures within the aesthetic: \u003ca href=\"https://i-d.vice.com/en_uk/article/g5xjgj/cottagecore-aesthetic-lgbt-teens-tumblr-tik-tok\" target=\"_blank\" rel=\"noopener noreferrer\">“#cottagecorelesbians” is popular\u003c/a> among lesbians; “\u003ca href=\"https://www.pinterest.ca/ashnadhillon1998/cottagegore/\" target=\"_blank\" rel=\"noopener noreferrer\">cottagegore\u003c/a>” and “goth cottagecore” are darker versions of the same aesthetic. There are adjacent styles, too: “\u003ca href=\"https://www.instagram.com/explore/tags/grandmacore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">grandmacore\u003c/a>,” “\u003ca href=\"https://www.instagram.com/explore/tags/goblincore/\" target=\"_blank\" rel=\"noopener noreferrer\">goblincore\u003c/a>,” “\u003ca href=\"https://www.tiktok.com/tag/frogcore?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">frogcore\u003c/a>.” References to Black Lives Matter and other social justice causes are \u003ca href=\"https://cia-sunflower.tumblr.com/post/625455675678556160/source-x#notes?ref_url=https://www.npr.org/templates/story/story.php?storyId=900498227&live=1#_=_\" target=\"_blank\" rel=\"noopener noreferrer\">found in many posts\u003c/a>.\u003c/p>\n\u003cp>Evienne Yanney, a 16-year-old in California, \u003ca href=\"https://www.vox.com/the-goods/2020/8/3/21349640/cottagecore-taylor-swift-folklore-lesbian-clothes-animal-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">told Vox\u003c/a> that, as a lesbian, she found solace in Instagram’s cottagecore feeds, because “many of us aren’t really accepted in the modern world, so the thought of running away to a cottage is really, I guess, kind of soothing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884678 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png\" alt=\"\" width=\"548\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM-160x152.png 160w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003c/p>\n\u003cp>The cottagecore aesthetic has caught the attention of a small museum in Berkshire, England, because it conjures up the hands-in-the-dirt imagery of European peasants.\u003c/p>\n\u003cp>“When these aesthetics rise up you think, ‘Oh, this is all a bit new,’ ” said Joe Vaughan, digital editor of the Museum of English Rural Life. “But there is actually a longer legacy of people putting on the clothes of the poor and kind of frolicking around in it.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/TheMERL/status/1290590669157867520\" target=\"_blank\" rel=\"noopener noreferrer\">viral tweet\u003c/a> from the museum, Vaughan facetiously pinned French queen Marie Antoinette as an “icon” in the formation of cottagecore.\u003c/p>\n\u003cp>In the late 18th century, Antoinette, inspired by the naturalistic paintings of the time—something of a Tumblr board of her own—commissioned the construction of a rustic retreat in the greenery outside the Palace of Versailles, known as the Hamlet. The string of cottages gave her the feeling of escapism not far from palace grounds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884675 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-954607730_custom-e5297dc9fe7a970b09a9aa5eab1dc8b5e3d3f84d-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003c/p>\n\u003cp>The queen would play the part of a shepherdess, alongside real servants, farm workers and milkmaids, \u003ca href=\"https://twitter.com/TheMERL/status/1290590699507929088?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">according to Vaughan\u003c/a>—a “pastoral nostalgia for a simple life [that] is simply not reflective of lived experience.”\u003c/p>\n\u003cp>“When farming has been so difficult, there has been some sort of pain point in that people are going rural when the actual reality of rural existence has been a nightmare of COVID-19, like everything else,” he said.\u003c/p>\n\u003cp>His intention, he said, is not to castigate those indulging in these ideals, but rather to point out that their indulgence has precedence in history.\u003c/p>\n\u003cp>Today, Tumblr’s Brennan says cottagecore is no longer just on-screen daydreaming, but is manifested in real lifestyle changes.\u003c/p>\n\u003cp>For Dia Mowery, a 20-year-old who lives in Florida, that means sharing homemade bread with the people around her, thrifting clothes, buying local or growing her own food.\u003c/p>\n\u003cp>“Cottagecore is about embracing sustainability, community and kindness,” she said.\u003c/p>\n\u003cp>Right now Mowery, who chose to postpone college this year due to the pandemic, said, “I’m finding that a lot of mental fatigue and anxieties have left me unable to do a lot of the things I’d like to do.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But on social media, her homebound isolation is customized to evoke a sense of escape, where you’ll find old annotated books, freshly cut strawberries and vintage dresses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Escapist+Land+Of+%27Cottagecore%2C%27+From+Marie+Antoinette+To+Taylor+Swift&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The promotional black and white photos from Taylor Swift’s new album \u003cem>Folklore\u003c/em> show the pop star shedding her lipsticked glamour for an ethereal frock to frolic in the meadow.\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/K-a8s8OLBSE'\n title='//www.youtube.com/embed/K-a8s8OLBSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who’ve watched these signifiers bubble up on corners of the internet for the past few years, Swift had just introduced a \u003ca href=\"https://www.theringer.com/music/2020/7/28/21344659/taylor-swift-bon-iver-exile-folklore-isolation-album\" target=\"_blank\" rel=\"noopener noreferrer\">new aesthetic to the mainstream\u003c/a>. The packaging of the pared-down record, produced during lockdown in her Los Angeles home, epitomizes a romanticization of the rural lifestyle known as “cottagecore,” and it’s seeing a marked boom during the coronavirus pandemic.\u003c/p>\n\u003cp>Visually, cottagecore looks like this: sourdough bread starters, foraged mushrooms, open meadows, freshly picked flowers, homegrown produce, knitting, baking pies, and, yes, rustic cottages. The pastoral interpretations live on TikTok, Pinterest, and prominently on Tumblr.\u003c/p>\n\u003cp>At a time when many feel trapped and overwhelmed, cottagecore offers a wholesome, back-to-basics escape. In that way, it might be seen as the antidote of \u003ca href=\"https://www.npr.org/2020/07/19/892728595/your-doomscrolling-breeds-anxiety-here-s-how-to-stop-the-cycle\" target=\"_blank\" rel=\"noopener noreferrer\">“doomscrolling,”\u003c/a> a habit that’s intensified during today’s crises in which one scrolls through the endless feed of bad news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It was comfortable and soothing and kind of helped people process things,” said Amanda Brennan, the content and community associate with Tumblr who’s better known as the \u003ca href=\"https://www.washingtonpost.com/news/the-intersect/wp/2015/12/21/tumblrs-meme-librarian-has-the-best-job-on-the-internet/\" target=\"_blank\" rel=\"noopener noreferrer\">company’s “meme librarian.”\u003c/a>\u003c/p>\n\u003cp>The blogging platform saw its first use of the cottagecore hashtag in March 2014. Six years later, Tumblr has seen an increase in fascination with bucolic imagery. Between March and April of this year, the engagements with #cottagecore jumped 153%, according to Tumblr. The number of “likes” went up more than 500% in that time.\u003c/p>\n\u003cp>“It coincided with how we saw COVID-19 proliferate and more and more cases pop up in the U.S.” Brennan said. “It basically trends with when the CDC releases more data on COVID cases.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884677 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png\" alt=\"\" width=\"594\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM-160x204.png 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/p>\n\u003cp>There are subcultures within the aesthetic: \u003ca href=\"https://i-d.vice.com/en_uk/article/g5xjgj/cottagecore-aesthetic-lgbt-teens-tumblr-tik-tok\" target=\"_blank\" rel=\"noopener noreferrer\">“#cottagecorelesbians” is popular\u003c/a> among lesbians; “\u003ca href=\"https://www.pinterest.ca/ashnadhillon1998/cottagegore/\" target=\"_blank\" rel=\"noopener noreferrer\">cottagegore\u003c/a>” and “goth cottagecore” are darker versions of the same aesthetic. There are adjacent styles, too: “\u003ca href=\"https://www.instagram.com/explore/tags/grandmacore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">grandmacore\u003c/a>,” “\u003ca href=\"https://www.instagram.com/explore/tags/goblincore/\" target=\"_blank\" rel=\"noopener noreferrer\">goblincore\u003c/a>,” “\u003ca href=\"https://www.tiktok.com/tag/frogcore?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">frogcore\u003c/a>.” References to Black Lives Matter and other social justice causes are \u003ca href=\"https://cia-sunflower.tumblr.com/post/625455675678556160/source-x#notes?ref_url=https://www.npr.org/templates/story/story.php?storyId=900498227&live=1#_=_\" target=\"_blank\" rel=\"noopener noreferrer\">found in many posts\u003c/a>.\u003c/p>\n\u003cp>Evienne Yanney, a 16-year-old in California, \u003ca href=\"https://www.vox.com/the-goods/2020/8/3/21349640/cottagecore-taylor-swift-folklore-lesbian-clothes-animal-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">told Vox\u003c/a> that, as a lesbian, she found solace in Instagram’s cottagecore feeds, because “many of us aren’t really accepted in the modern world, so the thought of running away to a cottage is really, I guess, kind of soothing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884678 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png\" alt=\"\" width=\"548\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM-160x152.png 160w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003c/p>\n\u003cp>The cottagecore aesthetic has caught the attention of a small museum in Berkshire, England, because it conjures up the hands-in-the-dirt imagery of European peasants.\u003c/p>\n\u003cp>“When these aesthetics rise up you think, ‘Oh, this is all a bit new,’ ” said Joe Vaughan, digital editor of the Museum of English Rural Life. “But there is actually a longer legacy of people putting on the clothes of the poor and kind of frolicking around in it.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/TheMERL/status/1290590669157867520\" target=\"_blank\" rel=\"noopener noreferrer\">viral tweet\u003c/a> from the museum, Vaughan facetiously pinned French queen Marie Antoinette as an “icon” in the formation of cottagecore.\u003c/p>\n\u003cp>In the late 18th century, Antoinette, inspired by the naturalistic paintings of the time—something of a Tumblr board of her own—commissioned the construction of a rustic retreat in the greenery outside the Palace of Versailles, known as the Hamlet. The string of cottages gave her the feeling of escapism not far from palace grounds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884675 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-954607730_custom-e5297dc9fe7a970b09a9aa5eab1dc8b5e3d3f84d-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003c/p>\n\u003cp>The queen would play the part of a shepherdess, alongside real servants, farm workers and milkmaids, \u003ca href=\"https://twitter.com/TheMERL/status/1290590699507929088?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">according to Vaughan\u003c/a>—a “pastoral nostalgia for a simple life [that] is simply not reflective of lived experience.”\u003c/p>\n\u003cp>“When farming has been so difficult, there has been some sort of pain point in that people are going rural when the actual reality of rural existence has been a nightmare of COVID-19, like everything else,” he said.\u003c/p>\n\u003cp>His intention, he said, is not to castigate those indulging in these ideals, but rather to point out that their indulgence has precedence in history.\u003c/p>\n\u003cp>Today, Tumblr’s Brennan says cottagecore is no longer just on-screen daydreaming, but is manifested in real lifestyle changes.\u003c/p>\n\u003cp>For Dia Mowery, a 20-year-old who lives in Florida, that means sharing homemade bread with the people around her, thrifting clothes, buying local or growing her own food.\u003c/p>\n\u003cp>“Cottagecore is about embracing sustainability, community and kindness,” she said.\u003c/p>\n\u003cp>Right now Mowery, who chose to postpone college this year due to the pandemic, said, “I’m finding that a lot of mental fatigue and anxieties have left me unable to do a lot of the things I’d like to do.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But on social media, her homebound isolation is customized to evoke a sense of escape, where you’ll find old annotated books, freshly cut strawberries and vintage dresses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Escapist+Land+Of+%27Cottagecore%2C%27+From+Marie+Antoinette+To+Taylor+Swift&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Global Guide to Binge-worthy TV For the Pandemic",
"headTitle": "A Global Guide to Binge-worthy TV For the Pandemic | KQED",
"content": "\u003cp>What TV are you bingeing these days?\u003c/p>\n\u003cp>It’s a question you’ve probably been asked a lot—and asked others—five months into the pandemic. Movies are shut. Theater is on hold. So there’s not much else to do. I myself can’t stop watching Korean dramas (just finished \u003cem>Crash Landing On You\u003c/em>) and reruns of \u003cem>Gossip Girl\u003c/em> on Netflix.\u003c/p>\n\u003cp>Our blog covers the globe, so we were curious—what shows are people in other countries obsessed about in this pandemic? We asked reporters in nine countries to find out. — \u003cem>Malaka Gharib\u003c/em>\u003c/p>\n\u003ch3>Argentina: Time travel and missing kids in a German drama\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=cq2iTHoLrt0&feature=emb_logo\u003c/p>\n\u003cp>In Argentina, people are pondering existential questions. What is the meaning of life? What is time? And it’s not just because of the pandemic. Can it be because nearly everyone is watching the Netflix series \u003cem>Dark\u003c/em>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The suspenseful show from Germany, set in the town of Winden in the present day, explores time travel and the philosophical issues related to it. Members of four families try to discover the reason why children have mysteriously disappeared by heading to the past and future.\u003c/p>\n\u003cp>“I could have a lot of debates [around these existential topics] thanks to this show,” says Maria Pirsch, a 30-year-old \u003cem>Dark\u003c/em> fan and producer and photographer. She studied physics for a time and is interested in the idea of time travel.\u003c/p>\n\u003cp>Launched in 2017, \u003cem>Dark\u003c/em> is now in its third season. The latest installment was released on June 27 in Argentina—and some fans were so excited they watched it at 4 a.m. when it premiered. “I do not need sleep, I need answers,” wrote \u003ca href=\"https://twitter.com/gjoeldiaz/status/1276586300443897861\" target=\"_blank\" rel=\"noopener noreferrer\">someone\u003c/a> on Twitter.\u003c/p>\n\u003cp>Julia Pujol, a technician in a pathology laboratory, confesses that when Season 3 came out she watched two episodes and, after sleeping a little, watched the remaining six in a row. And like many fans stuck home in the pandemic, she found the quarantine to be a good excuse to watch the first two seasons over again.\u003c/p>\n\u003cp>\u003cem>Dark\u003c/em> is available in the U.S. \u003ca href=\"https://www.netflix.com/title/80100172\" target=\"_blank\" rel=\"noopener noreferrer\">on Netflix\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Anita Pouchard Serra is a photojournalist based in Argentina. \u003c/em>\u003c/p>\n\u003ch3>India: An iconic ’80s show with a demon king and a kidnapped wife\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=1vgGkWGcnQk\u003c/p>\n\u003cp>\u003cem>Ramayan\u003c/em>, a series based on Hindu mythology, tells the story of Lord Ram as he goes into exile, fights the demon king Ravan who kidnapped his wife—then finally returns to his hometown Ayodhya to be crowned king.\u003c/p>\n\u003cp>That’s the plot of an iconic show that first aired in 1987—when TV sets weren’t common in India and neighbors would make a pilgrimage to the nearest home with TV to watch.\u003c/p>\n\u003cp>During the pandemic, fans \u003ca href=\"https://theprint.in/india/prasar-bharti-likely-to-telecast-ramayan-and-mahabharat-after-public-demand/388118/\" target=\"_blank\" rel=\"noopener noreferrer\">demanded its return\u003c/a> and state-run TV channel Doordarshan National (DD National) obliged.\u003c/p>\n\u003cp>DD National began re-telecasting Ramayan on March 28. That week, the channel’s viewership jumped to \u003ca href=\"https://urldefense.com/v3/__https://images.assettype.com/afaqs/2020-04/ab06bf4a-974a-4eb7-a05a-11e813eda4e2/COVID_19__TV_Smartphone_Consumption_During_Crisis__Edition_3__Final.pdf__;!!Iwwt!CEfgPG8uPPJXImZJEbEysEmSvkM5u9YrMFfrd8Vr4vC-LLPr5aUepN6RJBBs%24\" target=\"_blank\" rel=\"noopener noreferrer\">545 million\u003c/a> from about 9 million in January.\u003c/p>\n\u003cp>Social media is now full of nostalgic posts from people reliving their childhood memories—many with their own kids this time. \u003cem>Ramayan\u003c/em> is now streaming on Disney-owned \u003ca href=\"https://urldefense.com/v3/__https:/www.hotstar.com/in/tv/ramayan/s-2695/seasons/season-1/ss-7674__;!!Iwwt!DvrJMIkvoeUsaEJlms3PWL9c2G_xODYnsdbQhqgQ015gqQJy7ZN_-K6ynXW4%24\" target=\"_blank\" rel=\"noopener noreferrer\">Hotstar\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/shweta_shalini/status/1243753829042024448\u003c/p>\n\u003cp>\u003cem>Sushmita Pathak is a producer for NPR in Mumbai. \u003c/em>\u003c/p>\n\u003ch3>Colombia: A telenovela about 3 brothers out for revenge\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=j8k5PqoXJ9A\u003c/p>\n\u003cp>In Colombia, telenovela addicts are binge-watching an old favorite, \u003cem>Pasión de Gavilanes\u003c/em>, which has made a comeback 17 years after it originally aired.\u003c/p>\n\u003cp>The TV network Caracol says it is re-running the Colombian telenovela—the \u003ca href=\"https://urldefense.com/v3/__https:/www.ratingcolombia.com/2010/12/cifras-de-audiencia-en-colombia.html__;!!Iwwt!E6DRtHfrt_nkVrRLVaqcnztpDRaEi4GjJq_F1PLZqtP5ahC7w37Tb2uWzip6%24\" target=\"_blank\" rel=\"noopener noreferrer\">second-most watched\u003c/a> show in its history — during lockdown at its audience’s request, given that recordings of current shows are on pause due to the pandemic.\u003c/p>\n\u003cp>Over 188 episodes, \u003cem>Pasión de Gavilanes\u003c/em> tells the story of three brothers looking to avenge the suicide of their sister, Libia Reyes. She was in a relationship with a wealthy married man named Bernardo Elizondo and got pregnant. Then he died. She went to his family to tell them that she was having his baby. And after Elizondo’s wife humiliated her, she threw herself off a bridge.\u003c/p>\n\u003cp>The Reyes brothers descend upon the Elizondo household posing as bricklayers. Their plan is to seduce Elizondo’s three daughters as payback for their sister’s death.\u003c/p>\n\u003cp>María Fernanda Martínez, 24, says she is re-watching the novela with her mother during lockdown out of “pure and simple nostalgia.”\u003c/p>\n\u003cp>Hilda Cárdenas Vergara, 57, who watched the novela in its heyday, enjoys reliving the experience with her family during lockdown. “There’s not one boring episode,” she told NPR.\u003c/p>\n\u003cp>But not everyone feels the same. Some Twitter users \u003ca href=\"https://twitter.com/virustropical7/status/1288651760182140933\" target=\"_blank\" rel=\"noopener noreferrer\">say\u003c/a> the storyline is classist, as Gabriela, the wife of late Elizondo, punishes her wealthy daughters for falling in love with working class men. Others \u003ca href=\"https://twitter.com/Maria_RuizG1/status/1280313198323929088\" target=\"_blank\" rel=\"noopener noreferrer\">say\u003c/a> it \u003ca href=\"https://twitter.com/Ivanyou23/status/1280183522406383618\" target=\"_blank\" rel=\"noopener noreferrer\">glorifies\u003c/a> physical and verbal violence against women.\u003c/p>\n\u003cp>Pasión de Gavilanes is currently \u003ca href=\"https://twitter.com/RatingColombia/status/1290632728883462146\" target=\"_blank\" rel=\"noopener noreferrer\">leading\u003c/a> national TV ratings and is the most-watched show on Colombian Netflix. It’s also available for streaming in Spanish on U.S. Netflix.\u003c/p>\n\u003cp>\u003cem>Sophie Foggin is a journalist based in Medellin, Colombia, covering politics, human rights, history and justice in Latin America.\u003c/em>\u003c/p>\n\u003ch3>Kenya: Rich man falls for poor woman—but he has another lover\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=rk3j_UvI7bo\u003c/p>\n\u003cp>One of the most-watched TV shows in Kenya during the pandemic is \u003cem>Maria\u003c/em>, a 30-minute Kenyan drama that revolves around the life of Luwi, the youngest son of a wealthy family. Luwi falls in love with gorgeous—and poor—Maria. Only he has another lover, and when she finds out, things get complicated.\u003c/p>\n\u003cp>Even before COVID-19 came along, the Swahili-language drama was one of the most popular TV shows in the country, according to the GeoPoll Audience Measurement Report, which measures viewership. In fact, when the actor Brian Ogana, who plays Luwi, visited a primary school in Kibera in March, hooting and hollering \u003ca href=\"https://www.youtube.com/watch?v=u7PHyaSQlgE\" target=\"_blank\" rel=\"noopener noreferrer\">young fans\u003c/a> could barely contain their excitement.\u003c/p>\n\u003cp>And people love Yasmin Said, the actress who plays Maria. “You have bewitched my family! As from 6 p.m., people in this family run up and down to prepare so as not to miss you in action. Congratulations,” \u003ca href=\"https://youtu.be/u7PHyaSQlgE?t=2150\" target=\"_blank\" rel=\"noopener noreferrer\">wrote one person on Twitter\u003c/a>.\u003c/p>\n\u003cp>New episodes continue to air throughout the pandemic. The half-hour show is broadcast from Monday to Friday at 7:30 p.m., with reruns on Saturday from 4-6 p.m. There are about 150 episodes to date.\u003c/p>\n\u003cp>The show has been one of Julia Anyango’s favorite ways to pass time since the pandemic began. A teacher by profession, living in the Korogocho slums in Nairobi, she’s had to stop work due to school closures.\u003c/p>\n\u003cp>Her favorite character is Maria: “She gives the rich family problems because she is coming from a ghetto life,” Anyango says.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.youtube.com/watch?v=JuEmiZShnp8\" target=\"_blank\" rel=\"noopener noreferrer\">episodes\u003c/a> can be found on YouTube.\u003c/p>\n\u003cp>\u003cem>Thomas Bwire is a co-founder and editor at \u003c/em>\u003ca href=\"https://www.pri.org/tags/habari-kibra\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Habari Kibra\u003c/em>\u003c/a>\u003cem>, a news hub that focuses on reporting stories from the Kibera community. \u003c/em>\u003c/p>\n\u003ch3>Israel: Spies, lovers and Iran’s nuclear reactor are part of the plot\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=eLkwk5r5034\u003c/p>\n\u003cp>The hot new binge-watch in Israel is \u003cem>Tehran\u003c/em>, an Israeli spy thriller about Israel’s covert war with its archenemy Iran. A young Mossad agent goes on her first mission to her home city of Tehran to help Israel take out an Iranian nuclear reactor, but the mission goes awry and she ends up falling in love with an Iranian activist who opposes the regime.\u003c/p>\n\u003cp>The show is based on real-life tensions between the Jewish state and the Islamic republic’s rulers. It appears to be the first popular Israeli TV series to focus on contemporary Iran. Israel and Iran have hostile relations and Iran bans Israelis from visiting. So there’s a lot of curiosity.\u003c/p>\n\u003cp>The main Iranian character is portrayed by Iranian-born actor Shervin Alenabi. Based in London, he says his participation in the show is controversial in Iran—and it means he may not be able to travel back to the country and see his family because Iran strictly forbids interaction with Israel.\u003c/p>\n\u003cp>The 8-episode show, with each episode about 45 minutes long, premiered on June 22 on Israel’s public TV broadcaster \u003ca href=\"https://www.kan.org.il/page.aspx?landingPageId=1211\" target=\"_blank\" rel=\"noopener noreferrer\">Kan\u003c/a>. The show is in Hebrew, Farsi and English with Hebrew subtitles.\u003c/p>\n\u003cp>\u003cem>Daniel Estrin is NPR’s international correspondent in Jerusalem. \u003c/em>\u003c/p>\n\u003ch3>China: Kids solve a double homicide\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=4X0zYbf1pYQ\u003c/p>\n\u003cp>China is enthralled by \u003cem>The Bad Kids\u003c/em>, a Chinese thriller TV drama that tells the tale of three young children who decide to take justice into their own hands after they accidentally capture on camera a cliffside double homicide. In their pursuit of the truth, the kids are caught up in revenge and blackmail.\u003c/p>\n\u003cp>It’s filled with thrilling twists and turns: it obfuscates ethical boundaries for its characters and tests its viewers’ moral compass.\u003c/p>\n\u003cp>The 12-episode series premiered on the Chinese streaming platform iQIYI on June 16. And it’s won over China’s demanding viewers—it received a 8.9/10 rating on the notoriously hard-to-please review site Douban. Even \u003cem>The People’s Daily\u003c/em>, the official Communist Party paper, published an \u003ca href=\"https://www.thepaper.cn/newsDetail_forward_8053235\" target=\"_blank\" rel=\"noopener noreferrer\">article\u003c/a> praising the show for being “an exemplar of high-quality short series.”\u003c/p>\n\u003cp>Chinese drama shows tend to favor interminable plot lines (\u003cem>The Story of Yanxi Palace\u003c/em>, another wildly popular TV series from two summers ago, required serious commitment to finish all 75 episodes.) But most important, the show is seen as the herald of a new age in Chinese television, \u003ca href=\"https://www.theguardian.com/world/2020/jul/10/cute-but-cruel-the-drama-hailed-a-chinese-tv-milestone-hidden-corner\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> that expands beyond traditional genres like period pieces, family drama and the Sino-Japanese War.\u003c/p>\n\u003cp>\u003cem>Amy Cheng is a producer for NPR in Beijing. \u003c/em>\u003c/p>\n\u003ch3>Senegal: Love affairs—and lots of controversy\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=b_OBIP_PXFQ\u003c/p>\n\u003cp>Senegal’s TV series \u003cem>Infidéles—\u003c/em>or “unfaithful” in French—is dripping with drama. Within the first few minutes of the first episode, audiences were introduced to half a dozen characters and a few different entanglements. A wife and husband dispute over social media posts, but quickly make up; one woman confides to her male friend that her boyfriend—their mutual friend—is physically abusing her; and two friends pressure a third friend who prefers to wear the hijab to dress more provocatively and study less.\u003c/p>\n\u003cp>The series, which premiered on July 18 on YouTube and Senegalese TV channel SenTV, airs every Wednesday and Friday. And it has both fans and detractors.\u003c/p>\n\u003cp>In the country of 16 million, the YouTube videos get well over 1.5 million views, but most people prefer to watch it on TV as it airs, says Senegalese cultural critic Aboubacar Demba Cissokho. “People are watching it on TV so that afterward on Facebook or WhatsApp they can engage in the reactions that are happening,” he says.\u003c/p>\n\u003cp>The show has also created controversy. After a character with the same name as the mother of a historic Muslim leader in the country—Mame Diarra—was portrayed in a scene that discussed same-sex relations (which are outlawed in Senegal), a leader of a local conservative nonprofit organization, Jaamra, publicly denounced the name choice.\u003c/p>\n\u003cp>On the other hand, says Cissokho, the episode’s controversy highlights the contentious LGBT issues in the country. “People are already talking about these issues, but the debate becomes a public debate, and it takes on another dimension when it’s portrayed on television.”\u003c/p>\n\u003cp>\u003cem>Ricci Shryock is a freelance photographer and journalist based in Dakar, Senegal. Follow her on Instagram at \u003c/em>\u003ca href=\"https://www.instagram.com/ricci_s/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@ricci_s\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003ch3>Pakistan: They call it ‘The Muslim Game of Thrones’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=FfdXu9jZFKs\u003c/p>\n\u003cp>In Pakistan, the must-watch show is a wildly popular Turkish drama that local media call “The Muslim Game of Thrones.”\u003c/p>\n\u003cp>\u003cem>Resurrection: Ertugrul \u003c/em>dramatizes the story of the man it’s named for—the father of the founder of the Ottoman Empire. It was the last sweeping Muslim empire, ruling swathes of Europe, the Middle East and North Africa for more than 600 years, falling apart in the aftermath of World War I.\u003c/p>\n\u003cp>The 5-season series, which first premiered on the Turkish channel TRT 1 in 2014, has drama, heroes and heroines and chaste romance with Muslim characters at its center. That’s key to its popularity in Pakistan, a Muslim-majority country of more than 200 million people, where it’s seen as gripping, wholesome family fare. And it lets Pakistanis indulge in nostalgia for the glories of the Muslim past.\u003c/p>\n\u003cp>“What has affected me most about [Etrugrul is] the way he united the entire tribe and formed the Ottoman Empire,” \u003ca href=\"https://images.dawn.com/news/1185375\" target=\"_blank\" rel=\"noopener noreferrer\">says Muhammad Shahzad Cheema to local newspaper \u003cem>Dawn\u003c/em>\u003c/a>. He is such a fan that he arranged for a statue of the character of Ertugrul from the show to be erected in his Lahore housing community in June.\u003c/p>\n\u003cp>\u003ca href=\"https://images.dawn.com/news/1185319\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Minister Imran Khan\u003c/a>, a playboy-turned-conservative, is also a fan. He recommended Pakistanis watch the show to connect to their Muslim roots.\u003c/p>\n\u003cp>The show isn’t without its critics. In an op-ed for \u003cem>Dawn\u003c/em>, liberal writer \u003ca href=\"https://www.dawn.com/news/1561638\" target=\"_blank\" rel=\"noopener noreferrer\">Pervez Hoodbhoy\u003c/a>, described it as “frankly propagandistic” and said the violence inflicted by the Muslim heroes “suggests the way forward is through the sword.”\u003c/p>\n\u003cp>\u003cem>Diaa Hadid is NPR’s international correspondent in Islamabad. \u003c/em>\u003c/p>\n\u003ch3>South Africa: Kidnapped at Birth, Found 17 Years Later\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=2m0Cm2kMOBU\u003c/p>\n\u003cp>When a newborn named Zephany Nurse was kidnapped from beside her mother’s bed in a Cape Town hospital in 1997, the case gripped South Africa. And then the trail went cold. That is, until 17 years later, when the Nurses’ younger daughter spotted a girl who bore an uncanny resemblance to her at her new high school, and a DNA test proved they were sisters.\u003c/p>\n\u003cp>Zephany Nurse’s stranger-than-fiction story is now the basis of a popular South African Netflix series, \u003cem>Blood & Water\u003c/em>. The series turns up the glamor on the Nurses’ story by giving it the Gossip Girl treatment, with the fictional retelling set against the backdrop of an ivy-covered Cape Town prep school whose students come home to waterfront mansions and spend their weekends drinking cocktails at beachside hotels.\u003c/p>\n\u003cp>For South Africans, the show is an escapist fantasy, but for a country used to wincing through Western retellings of their stories (think Morgan Freeman’s strangely American-accented Nelson Mandela in \u003cem>Invictus)\u003c/em> it’s also a reversal of roles. “I’ve seen a lot of excitement… in the States, to see young Black kids be represented,” \u003ca href=\"https://www.elle.com/culture/movies-tv/a32647424/ama-qamata-blood-and-water-netflix/\" target=\"_blank\" rel=\"noopener noreferrer\">Ama Qamata, the show’s lead, told \u003cem>Elle\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>\u003cem>Blood & Water\u003c/em>, only the second \u003ca href=\"https://www.netflix.com/title/81044547\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix original series from Africa\u003c/a>, has been streaming globally on the platform since May and was renewed for a second season.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ryan Lenora Brown is a reporter based in Johannesburg, South Africa. She writes frequently about women, migration and pop culture. \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=A+Global+Guide+To+Binge-worthy+TV+For+The+Pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What TV are you bingeing these days?\u003c/p>\n\u003cp>It’s a question you’ve probably been asked a lot—and asked others—five months into the pandemic. Movies are shut. Theater is on hold. So there’s not much else to do. I myself can’t stop watching Korean dramas (just finished \u003cem>Crash Landing On You\u003c/em>) and reruns of \u003cem>Gossip Girl\u003c/em> on Netflix.\u003c/p>\n\u003cp>Our blog covers the globe, so we were curious—what shows are people in other countries obsessed about in this pandemic? We asked reporters in nine countries to find out. — \u003cem>Malaka Gharib\u003c/em>\u003c/p>\n\u003ch3>Argentina: Time travel and missing kids in a German drama\u003c/h3>\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/cq2iTHoLrt0'\n title='//www.youtube.com/embed/cq2iTHoLrt0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Argentina, people are pondering existential questions. What is the meaning of life? What is time? And it’s not just because of the pandemic. Can it be because nearly everyone is watching the Netflix series \u003cem>Dark\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The suspenseful show from Germany, set in the town of Winden in the present day, explores time travel and the philosophical issues related to it. Members of four families try to discover the reason why children have mysteriously disappeared by heading to the past and future.\u003c/p>\n\u003cp>“I could have a lot of debates [around these existential topics] thanks to this show,” says Maria Pirsch, a 30-year-old \u003cem>Dark\u003c/em> fan and producer and photographer. She studied physics for a time and is interested in the idea of time travel.\u003c/p>\n\u003cp>Launched in 2017, \u003cem>Dark\u003c/em> is now in its third season. The latest installment was released on June 27 in Argentina—and some fans were so excited they watched it at 4 a.m. when it premiered. “I do not need sleep, I need answers,” wrote \u003ca href=\"https://twitter.com/gjoeldiaz/status/1276586300443897861\" target=\"_blank\" rel=\"noopener noreferrer\">someone\u003c/a> on Twitter.\u003c/p>\n\u003cp>Julia Pujol, a technician in a pathology laboratory, confesses that when Season 3 came out she watched two episodes and, after sleeping a little, watched the remaining six in a row. And like many fans stuck home in the pandemic, she found the quarantine to be a good excuse to watch the first two seasons over again.\u003c/p>\n\u003cp>\u003cem>Dark\u003c/em> is available in the U.S. \u003ca href=\"https://www.netflix.com/title/80100172\" target=\"_blank\" rel=\"noopener noreferrer\">on Netflix\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Anita Pouchard Serra is a photojournalist based in Argentina. \u003c/em>\u003c/p>\n\u003ch3>India: An iconic ’80s show with a demon king and a kidnapped wife\u003c/h3>\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/1vgGkWGcnQk'\n title='//www.youtube.com/embed/1vgGkWGcnQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Ramayan\u003c/em>, a series based on Hindu mythology, tells the story of Lord Ram as he goes into exile, fights the demon king Ravan who kidnapped his wife—then finally returns to his hometown Ayodhya to be crowned king.\u003c/p>\n\u003cp>That’s the plot of an iconic show that first aired in 1987—when TV sets weren’t common in India and neighbors would make a pilgrimage to the nearest home with TV to watch.\u003c/p>\n\u003cp>During the pandemic, fans \u003ca href=\"https://theprint.in/india/prasar-bharti-likely-to-telecast-ramayan-and-mahabharat-after-public-demand/388118/\" target=\"_blank\" rel=\"noopener noreferrer\">demanded its return\u003c/a> and state-run TV channel Doordarshan National (DD National) obliged.\u003c/p>\n\u003cp>DD National began re-telecasting Ramayan on March 28. That week, the channel’s viewership jumped to \u003ca href=\"https://urldefense.com/v3/__https://images.assettype.com/afaqs/2020-04/ab06bf4a-974a-4eb7-a05a-11e813eda4e2/COVID_19__TV_Smartphone_Consumption_During_Crisis__Edition_3__Final.pdf__;!!Iwwt!CEfgPG8uPPJXImZJEbEysEmSvkM5u9YrMFfrd8Vr4vC-LLPr5aUepN6RJBBs%24\" target=\"_blank\" rel=\"noopener noreferrer\">545 million\u003c/a> from about 9 million in January.\u003c/p>\n\u003cp>Social media is now full of nostalgic posts from people reliving their childhood memories—many with their own kids this time. \u003cem>Ramayan\u003c/em> is now streaming on Disney-owned \u003ca href=\"https://urldefense.com/v3/__https:/www.hotstar.com/in/tv/ramayan/s-2695/seasons/season-1/ss-7674__;!!Iwwt!DvrJMIkvoeUsaEJlms3PWL9c2G_xODYnsdbQhqgQ015gqQJy7ZN_-K6ynXW4%24\" target=\"_blank\" rel=\"noopener noreferrer\">Hotstar\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Sushmita Pathak is a producer for NPR in Mumbai. \u003c/em>\u003c/p>\n\u003ch3>Colombia: A telenovela about 3 brothers out for revenge\u003c/h3>\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/j8k5PqoXJ9A'\n title='//www.youtube.com/embed/j8k5PqoXJ9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Colombia, telenovela addicts are binge-watching an old favorite, \u003cem>Pasión de Gavilanes\u003c/em>, which has made a comeback 17 years after it originally aired.\u003c/p>\n\u003cp>The TV network Caracol says it is re-running the Colombian telenovela—the \u003ca href=\"https://urldefense.com/v3/__https:/www.ratingcolombia.com/2010/12/cifras-de-audiencia-en-colombia.html__;!!Iwwt!E6DRtHfrt_nkVrRLVaqcnztpDRaEi4GjJq_F1PLZqtP5ahC7w37Tb2uWzip6%24\" target=\"_blank\" rel=\"noopener noreferrer\">second-most watched\u003c/a> show in its history — during lockdown at its audience’s request, given that recordings of current shows are on pause due to the pandemic.\u003c/p>\n\u003cp>Over 188 episodes, \u003cem>Pasión de Gavilanes\u003c/em> tells the story of three brothers looking to avenge the suicide of their sister, Libia Reyes. She was in a relationship with a wealthy married man named Bernardo Elizondo and got pregnant. Then he died. She went to his family to tell them that she was having his baby. And after Elizondo’s wife humiliated her, she threw herself off a bridge.\u003c/p>\n\u003cp>The Reyes brothers descend upon the Elizondo household posing as bricklayers. Their plan is to seduce Elizondo’s three daughters as payback for their sister’s death.\u003c/p>\n\u003cp>María Fernanda Martínez, 24, says she is re-watching the novela with her mother during lockdown out of “pure and simple nostalgia.”\u003c/p>\n\u003cp>Hilda Cárdenas Vergara, 57, who watched the novela in its heyday, enjoys reliving the experience with her family during lockdown. “There’s not one boring episode,” she told NPR.\u003c/p>\n\u003cp>But not everyone feels the same. Some Twitter users \u003ca href=\"https://twitter.com/virustropical7/status/1288651760182140933\" target=\"_blank\" rel=\"noopener noreferrer\">say\u003c/a> the storyline is classist, as Gabriela, the wife of late Elizondo, punishes her wealthy daughters for falling in love with working class men. Others \u003ca href=\"https://twitter.com/Maria_RuizG1/status/1280313198323929088\" target=\"_blank\" rel=\"noopener noreferrer\">say\u003c/a> it \u003ca href=\"https://twitter.com/Ivanyou23/status/1280183522406383618\" target=\"_blank\" rel=\"noopener noreferrer\">glorifies\u003c/a> physical and verbal violence against women.\u003c/p>\n\u003cp>Pasión de Gavilanes is currently \u003ca href=\"https://twitter.com/RatingColombia/status/1290632728883462146\" target=\"_blank\" rel=\"noopener noreferrer\">leading\u003c/a> national TV ratings and is the most-watched show on Colombian Netflix. It’s also available for streaming in Spanish on U.S. Netflix.\u003c/p>\n\u003cp>\u003cem>Sophie Foggin is a journalist based in Medellin, Colombia, covering politics, human rights, history and justice in Latin America.\u003c/em>\u003c/p>\n\u003ch3>Kenya: Rich man falls for poor woman—but he has another lover\u003c/h3>\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/rk3j_UvI7bo'\n title='//www.youtube.com/embed/rk3j_UvI7bo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the most-watched TV shows in Kenya during the pandemic is \u003cem>Maria\u003c/em>, a 30-minute Kenyan drama that revolves around the life of Luwi, the youngest son of a wealthy family. Luwi falls in love with gorgeous—and poor—Maria. Only he has another lover, and when she finds out, things get complicated.\u003c/p>\n\u003cp>Even before COVID-19 came along, the Swahili-language drama was one of the most popular TV shows in the country, according to the GeoPoll Audience Measurement Report, which measures viewership. In fact, when the actor Brian Ogana, who plays Luwi, visited a primary school in Kibera in March, hooting and hollering \u003ca href=\"https://www.youtube.com/watch?v=u7PHyaSQlgE\" target=\"_blank\" rel=\"noopener noreferrer\">young fans\u003c/a> could barely contain their excitement.\u003c/p>\n\u003cp>And people love Yasmin Said, the actress who plays Maria. “You have bewitched my family! As from 6 p.m., people in this family run up and down to prepare so as not to miss you in action. Congratulations,” \u003ca href=\"https://youtu.be/u7PHyaSQlgE?t=2150\" target=\"_blank\" rel=\"noopener noreferrer\">wrote one person on Twitter\u003c/a>.\u003c/p>\n\u003cp>New episodes continue to air throughout the pandemic. The half-hour show is broadcast from Monday to Friday at 7:30 p.m., with reruns on Saturday from 4-6 p.m. There are about 150 episodes to date.\u003c/p>\n\u003cp>The show has been one of Julia Anyango’s favorite ways to pass time since the pandemic began. A teacher by profession, living in the Korogocho slums in Nairobi, she’s had to stop work due to school closures.\u003c/p>\n\u003cp>Her favorite character is Maria: “She gives the rich family problems because she is coming from a ghetto life,” Anyango says.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.youtube.com/watch?v=JuEmiZShnp8\" target=\"_blank\" rel=\"noopener noreferrer\">episodes\u003c/a> can be found on YouTube.\u003c/p>\n\u003cp>\u003cem>Thomas Bwire is a co-founder and editor at \u003c/em>\u003ca href=\"https://www.pri.org/tags/habari-kibra\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Habari Kibra\u003c/em>\u003c/a>\u003cem>, a news hub that focuses on reporting stories from the Kibera community. \u003c/em>\u003c/p>\n\u003ch3>Israel: Spies, lovers and Iran’s nuclear reactor are part of the plot\u003c/h3>\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/eLkwk5r5034'\n title='//www.youtube.com/embed/eLkwk5r5034'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The hot new binge-watch in Israel is \u003cem>Tehran\u003c/em>, an Israeli spy thriller about Israel’s covert war with its archenemy Iran. A young Mossad agent goes on her first mission to her home city of Tehran to help Israel take out an Iranian nuclear reactor, but the mission goes awry and she ends up falling in love with an Iranian activist who opposes the regime.\u003c/p>\n\u003cp>The show is based on real-life tensions between the Jewish state and the Islamic republic’s rulers. It appears to be the first popular Israeli TV series to focus on contemporary Iran. Israel and Iran have hostile relations and Iran bans Israelis from visiting. So there’s a lot of curiosity.\u003c/p>\n\u003cp>The main Iranian character is portrayed by Iranian-born actor Shervin Alenabi. Based in London, he says his participation in the show is controversial in Iran—and it means he may not be able to travel back to the country and see his family because Iran strictly forbids interaction with Israel.\u003c/p>\n\u003cp>The 8-episode show, with each episode about 45 minutes long, premiered on June 22 on Israel’s public TV broadcaster \u003ca href=\"https://www.kan.org.il/page.aspx?landingPageId=1211\" target=\"_blank\" rel=\"noopener noreferrer\">Kan\u003c/a>. The show is in Hebrew, Farsi and English with Hebrew subtitles.\u003c/p>\n\u003cp>\u003cem>Daniel Estrin is NPR’s international correspondent in Jerusalem. \u003c/em>\u003c/p>\n\u003ch3>China: Kids solve a double homicide\u003c/h3>\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/4X0zYbf1pYQ'\n title='//www.youtube.com/embed/4X0zYbf1pYQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>China is enthralled by \u003cem>The Bad Kids\u003c/em>, a Chinese thriller TV drama that tells the tale of three young children who decide to take justice into their own hands after they accidentally capture on camera a cliffside double homicide. In their pursuit of the truth, the kids are caught up in revenge and blackmail.\u003c/p>\n\u003cp>It’s filled with thrilling twists and turns: it obfuscates ethical boundaries for its characters and tests its viewers’ moral compass.\u003c/p>\n\u003cp>The 12-episode series premiered on the Chinese streaming platform iQIYI on June 16. And it’s won over China’s demanding viewers—it received a 8.9/10 rating on the notoriously hard-to-please review site Douban. Even \u003cem>The People’s Daily\u003c/em>, the official Communist Party paper, published an \u003ca href=\"https://www.thepaper.cn/newsDetail_forward_8053235\" target=\"_blank\" rel=\"noopener noreferrer\">article\u003c/a> praising the show for being “an exemplar of high-quality short series.”\u003c/p>\n\u003cp>Chinese drama shows tend to favor interminable plot lines (\u003cem>The Story of Yanxi Palace\u003c/em>, another wildly popular TV series from two summers ago, required serious commitment to finish all 75 episodes.) But most important, the show is seen as the herald of a new age in Chinese television, \u003ca href=\"https://www.theguardian.com/world/2020/jul/10/cute-but-cruel-the-drama-hailed-a-chinese-tv-milestone-hidden-corner\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> that expands beyond traditional genres like period pieces, family drama and the Sino-Japanese War.\u003c/p>\n\u003cp>\u003cem>Amy Cheng is a producer for NPR in Beijing. \u003c/em>\u003c/p>\n\u003ch3>Senegal: Love affairs—and lots of controversy\u003c/h3>\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/b_OBIP_PXFQ'\n title='//www.youtube.com/embed/b_OBIP_PXFQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Senegal’s TV series \u003cem>Infidéles—\u003c/em>or “unfaithful” in French—is dripping with drama. Within the first few minutes of the first episode, audiences were introduced to half a dozen characters and a few different entanglements. A wife and husband dispute over social media posts, but quickly make up; one woman confides to her male friend that her boyfriend—their mutual friend—is physically abusing her; and two friends pressure a third friend who prefers to wear the hijab to dress more provocatively and study less.\u003c/p>\n\u003cp>The series, which premiered on July 18 on YouTube and Senegalese TV channel SenTV, airs every Wednesday and Friday. And it has both fans and detractors.\u003c/p>\n\u003cp>In the country of 16 million, the YouTube videos get well over 1.5 million views, but most people prefer to watch it on TV as it airs, says Senegalese cultural critic Aboubacar Demba Cissokho. “People are watching it on TV so that afterward on Facebook or WhatsApp they can engage in the reactions that are happening,” he says.\u003c/p>\n\u003cp>The show has also created controversy. After a character with the same name as the mother of a historic Muslim leader in the country—Mame Diarra—was portrayed in a scene that discussed same-sex relations (which are outlawed in Senegal), a leader of a local conservative nonprofit organization, Jaamra, publicly denounced the name choice.\u003c/p>\n\u003cp>On the other hand, says Cissokho, the episode’s controversy highlights the contentious LGBT issues in the country. “People are already talking about these issues, but the debate becomes a public debate, and it takes on another dimension when it’s portrayed on television.”\u003c/p>\n\u003cp>\u003cem>Ricci Shryock is a freelance photographer and journalist based in Dakar, Senegal. Follow her on Instagram at \u003c/em>\u003ca href=\"https://www.instagram.com/ricci_s/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@ricci_s\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003ch3>Pakistan: They call it ‘The Muslim Game of Thrones’\u003c/h3>\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/FfdXu9jZFKs'\n title='//www.youtube.com/embed/FfdXu9jZFKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Pakistan, the must-watch show is a wildly popular Turkish drama that local media call “The Muslim Game of Thrones.”\u003c/p>\n\u003cp>\u003cem>Resurrection: Ertugrul \u003c/em>dramatizes the story of the man it’s named for—the father of the founder of the Ottoman Empire. It was the last sweeping Muslim empire, ruling swathes of Europe, the Middle East and North Africa for more than 600 years, falling apart in the aftermath of World War I.\u003c/p>\n\u003cp>The 5-season series, which first premiered on the Turkish channel TRT 1 in 2014, has drama, heroes and heroines and chaste romance with Muslim characters at its center. That’s key to its popularity in Pakistan, a Muslim-majority country of more than 200 million people, where it’s seen as gripping, wholesome family fare. And it lets Pakistanis indulge in nostalgia for the glories of the Muslim past.\u003c/p>\n\u003cp>“What has affected me most about [Etrugrul is] the way he united the entire tribe and formed the Ottoman Empire,” \u003ca href=\"https://images.dawn.com/news/1185375\" target=\"_blank\" rel=\"noopener noreferrer\">says Muhammad Shahzad Cheema to local newspaper \u003cem>Dawn\u003c/em>\u003c/a>. He is such a fan that he arranged for a statue of the character of Ertugrul from the show to be erected in his Lahore housing community in June.\u003c/p>\n\u003cp>\u003ca href=\"https://images.dawn.com/news/1185319\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Minister Imran Khan\u003c/a>, a playboy-turned-conservative, is also a fan. He recommended Pakistanis watch the show to connect to their Muslim roots.\u003c/p>\n\u003cp>The show isn’t without its critics. In an op-ed for \u003cem>Dawn\u003c/em>, liberal writer \u003ca href=\"https://www.dawn.com/news/1561638\" target=\"_blank\" rel=\"noopener noreferrer\">Pervez Hoodbhoy\u003c/a>, described it as “frankly propagandistic” and said the violence inflicted by the Muslim heroes “suggests the way forward is through the sword.”\u003c/p>\n\u003cp>\u003cem>Diaa Hadid is NPR’s international correspondent in Islamabad. \u003c/em>\u003c/p>\n\u003ch3>South Africa: Kidnapped at Birth, Found 17 Years Later\u003c/h3>\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/2m0Cm2kMOBU'\n title='//www.youtube.com/embed/2m0Cm2kMOBU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When a newborn named Zephany Nurse was kidnapped from beside her mother’s bed in a Cape Town hospital in 1997, the case gripped South Africa. And then the trail went cold. That is, until 17 years later, when the Nurses’ younger daughter spotted a girl who bore an uncanny resemblance to her at her new high school, and a DNA test proved they were sisters.\u003c/p>\n\u003cp>Zephany Nurse’s stranger-than-fiction story is now the basis of a popular South African Netflix series, \u003cem>Blood & Water\u003c/em>. The series turns up the glamor on the Nurses’ story by giving it the Gossip Girl treatment, with the fictional retelling set against the backdrop of an ivy-covered Cape Town prep school whose students come home to waterfront mansions and spend their weekends drinking cocktails at beachside hotels.\u003c/p>\n\u003cp>For South Africans, the show is an escapist fantasy, but for a country used to wincing through Western retellings of their stories (think Morgan Freeman’s strangely American-accented Nelson Mandela in \u003cem>Invictus)\u003c/em> it’s also a reversal of roles. “I’ve seen a lot of excitement… in the States, to see young Black kids be represented,” \u003ca href=\"https://www.elle.com/culture/movies-tv/a32647424/ama-qamata-blood-and-water-netflix/\" target=\"_blank\" rel=\"noopener noreferrer\">Ama Qamata, the show’s lead, told \u003cem>Elle\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>\u003cem>Blood & Water\u003c/em>, only the second \u003ca href=\"https://www.netflix.com/title/81044547\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix original series from Africa\u003c/a>, has been streaming globally on the platform since May and was renewed for a second season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ryan Lenora Brown is a reporter based in Johannesburg, South Africa. She writes frequently about women, migration and pop culture. \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=A+Global+Guide+To+Binge-worthy+TV+For+The+Pandemic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The prospect of spoofing \u003cem>Star Trek\u003c/em> represents nothing new under the (binary) sun(s). The franchise has become an institution, and mocking institutions remains a thriving American cottage industry. \u003cem>Saturday Night Live \u003c/em>started taking whacks at \u003cem>Trek \u003c/em>way back in the ’70s, as did \u003cem>MAD \u003c/em>magazine, and the short-lived sitcom \u003cem>Quark\u003c/em>. As a piece of cultural furniture, \u003cem>Star Trek\u003c/em>‘s ubiquity, driven by multiple television series, movies, books, games, comics and fan-fiction, means its tropes have entered the collective consciousness, and have thus become easy to recognize—and to make fun of.\u003c/p>\n\u003cp>Why, one could even construct an entire, very-good movie just by riffing on \u003cem>Trek \u003c/em>(1999’s \u003cem>Galaxy Quest\u003c/em>), as well as an entire, not-very-good television series (FOX’s mystifying \u003cem>The Orville\u003c/em>).\u003c/p>\n\u003cp>The difference between all these previous efforts and the one represented by \u003cem>Star Trek: Lower Decks\u003c/em>, which premiered Thursday August 6th on CBS All Access, is a simple one:\u003c/p>\n\u003cp>This time, the comm signal is coming from \u003cem>inside \u003c/em>the house.\u003c/p>\n\u003cp>True, the franchise has poked the gentlest of fun at itself, over the years—a throwaway line here, a winking reference to previous \u003cem>Trek \u003c/em>series there. But \u003cem>Star Trek: Lower Decks\u003c/em> is an official \u003cem>Trek \u003c/em>property\u003cem>, \u003c/em>its yuks are both nerdily meta and rigorously in-canon, and they go—more broadly than boldly, it must be said—where no \u003cem>Trek \u003c/em>has gone before.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The premise is such stuff as comedy sketches are made on: Starships are huge, and staffed by hundreds of officers and crew members, so why does every \u003cem>Trek \u003c/em>story need to revolve around the bridge, and the same 7 or so characters? Why not focus instead on the grunts doing the tedious, everyday work?\u003c/p>\n\u003cp>Enter: the \u003cem>U.S.S. Cerritos\u003c/em>, a California-class Federation starship tasked with “Second Contact” missions, which may not be as flashy and high-profile as the “First Contact” missions marking humanity’s initial encounters with alien races. No, the \u003cem>Cerritos\u003c/em>‘ remit is, according to by-the-book striver Ensign Boimler (voiced by Jack Quaid), all about following up, which is “still pretty important—we get the paperwork signed, make sure we’re spelling the name of the planet right, get to know all the good places to eat.”\u003c/p>\n\u003cp>(Normals, you can skip this paragraph. Nerds, keep reading, here’s what you want to know: \u003cem>Lower Decks\u003c/em> takes place in the waning days of the \u003cem>TNG \u003c/em>era—2380, to be specific, just after the events of \u003cem>Star Trek: Nemesis\u003c/em>. And no, you haven’t heard of California-class starships before; they were created for the series. Also, the official shorthand designation for the series we’re encouraged to adopt is \u003cem>ST:LDS, \u003c/em>which makes it sound like a show about Space-Mormons on a five-year mission to seek out planet Kolub, but whatever.)\u003c/p>\n\u003cp>Creator/showrunner Mike McMahan made his bones on the animated series \u003cem>Drawn Together\u003c/em> and \u003cem>Rick and Morty\u003c/em>—shows whose darker, more cutting humorous sensibilities would seem to clash with \u003cem>Trek’s \u003c/em>traditional commitment to ennobling, optimistic uplift. But that disconnect turns out to work for the new series, in most respects. For the nerds, in-jokes and easter eggs abound, testifying to the creators’ fondness for the source material, while viewers who don’t know a nacelle from a Jeffries Tube will likely appreciate the show’s sheer joke-density—and the fact that, as an animated series, it comes outfitted with an unlimited special effects budget.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V3RkBKedKWw\u003c/p>\n\u003cp>That’s important, because despite its bright, broad, cartoony look, the planets of \u003cem>Lower Decks\u003c/em> can appear legitimately otherworldly, instead of all looking like the Vasquez Rocks outside of Santa Clarita, California. Alien races can look alien—obviating previous series’ need to, as one wag (me) once put it, “Grab a dayplayer, slap a hunk of spirit gum between their eyebrows, paint ’em Prussian blue and shove ’em in front of the camera”.\u003c/p>\n\u003cp>The overtly comic nature of the series combines with its animated status to drive its tone—and its plots—to extremes of slapstick violence that previous, staid-by-comparison \u003cem>Trek \u003c/em>series would never condone nor tolerate. As a result, the \u003cem>U.S.S. Cerritos\u003c/em> seems like one of the most hazardous workplaces in the history of Starfleet. (A character gets sliced to the bone by a Klingon bat’leth two minutes into the pilot, just for starters.)\u003c/p>\n\u003cp>McMahan and his fellow writers seem to recognize this tendency for broadness, and have made clear efforts to keep the show’s conflicts grounded in its characters. Tawny Newsome voices Ensign Beckett Mariner, whose reflexively rebellious, obnoxious demeanor belies her considerable competence and diplomatic skills. Quaid’s querulous take on Ensign Boimler presents him as a rank-obsessed rule-follower whose interactions with Mariner allow him to begin to shed his considerable inhibitions. Audience-surrogate Ensign Tendi, voiced by Noel Wells, is an eager, just-arrived science officer who’s perpetually enthralled by even the most boring/disgusting tasks, and Eugene Cordero voices Ensign Rutherford, an engineer recently outfitted with Vulcan-designed cybernetic enhancements that seek to tamp down his emotional response. (A \u003cem>Trek \u003c/em>character who’s struggling with the battle between human emotion and logic: Take a drink!)\u003c/p>\n\u003cp>The show’s at its strongest when it sticks most closely to its premise: background \u003cem>Trek \u003c/em>characters going about their days, intersecting with the glamorous bridge crew only glancingly, if at all. But over the course of the first four episodes made available to press, our four Ensigns keep encountering the ship’s steely captain (voiced by Dawnn Lewis) a ridiculously square-jawed first officer (voiced by Jerry O’Connell) more and more frequently, enmeshing themselves in command decisions.\u003c/p>\n\u003cp>There’s also, at least in the early going, a tendency for the in-jokes to tread ground that many stylish \u003cem>Trek \u003c/em>and \u003cem>Trek\u003c/em>-adjacent black booties have trod repeatedly by now—the holodeck has prurient possibilities! etc. etc.—which is something the show’s going to want to keep an eye on, if the idea is to boldly joke where no one has joked before.\u003c/p>\n\u003cp>If nothing else, though, \u003cem>Star Trek: Lower Decks\u003c/em>, by staking its claim as the officially licensed \u003cem>Star Trek\u003c/em> Comedy Series, will likely throw \u003cem>The Orville,\u003c/em> with its untenable mix of glib goofs and maudlin drama, into a profound existential crisis.\u003c/p>\n\u003cp>In interviews, showrunner McMahan calls \u003cem>ST:LDS\u003c/em> the “first \u003cem>Trek \u003c/em>comedy series,” implying that others may follow. The mind races. Then reels. Then boggles. Wacky sexy hijinks on Risa! A fish-out-of-water story featuring a Xindi-Aquatic on a Class H planet! Captain Janeway’s hyper-evolved space-lizard offspring being forced to move back in with her!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And once we get enough official Trek comedies, surely reality series can’t be far behind? \u003cem>Star Trek: Ro Laren’s Drag Race\u003c/em>. \u003cem>Star Trek: The Real Housewives of Ceti Alpha V.\u003c/em> (aka \u003cem>The Eel World\u003c/em>). And inevitably, as if ordained by the Prophets, \u003cem>Star Trek: Keeping Up With The Cardassians\u003c/em>. Mark my words.\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=With+%27Star+Trek%3A+Lower+Decks%2C%27+A+Venerable+Franchise+Loosens+Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The prospect of spoofing \u003cem>Star Trek\u003c/em> represents nothing new under the (binary) sun(s). The franchise has become an institution, and mocking institutions remains a thriving American cottage industry. \u003cem>Saturday Night Live \u003c/em>started taking whacks at \u003cem>Trek \u003c/em>way back in the ’70s, as did \u003cem>MAD \u003c/em>magazine, and the short-lived sitcom \u003cem>Quark\u003c/em>. As a piece of cultural furniture, \u003cem>Star Trek\u003c/em>‘s ubiquity, driven by multiple television series, movies, books, games, comics and fan-fiction, means its tropes have entered the collective consciousness, and have thus become easy to recognize—and to make fun of.\u003c/p>\n\u003cp>Why, one could even construct an entire, very-good movie just by riffing on \u003cem>Trek \u003c/em>(1999’s \u003cem>Galaxy Quest\u003c/em>), as well as an entire, not-very-good television series (FOX’s mystifying \u003cem>The Orville\u003c/em>).\u003c/p>\n\u003cp>The difference between all these previous efforts and the one represented by \u003cem>Star Trek: Lower Decks\u003c/em>, which premiered Thursday August 6th on CBS All Access, is a simple one:\u003c/p>\n\u003cp>This time, the comm signal is coming from \u003cem>inside \u003c/em>the house.\u003c/p>\n\u003cp>True, the franchise has poked the gentlest of fun at itself, over the years—a throwaway line here, a winking reference to previous \u003cem>Trek \u003c/em>series there. But \u003cem>Star Trek: Lower Decks\u003c/em> is an official \u003cem>Trek \u003c/em>property\u003cem>, \u003c/em>its yuks are both nerdily meta and rigorously in-canon, and they go—more broadly than boldly, it must be said—where no \u003cem>Trek \u003c/em>has gone before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The premise is such stuff as comedy sketches are made on: Starships are huge, and staffed by hundreds of officers and crew members, so why does every \u003cem>Trek \u003c/em>story need to revolve around the bridge, and the same 7 or so characters? Why not focus instead on the grunts doing the tedious, everyday work?\u003c/p>\n\u003cp>Enter: the \u003cem>U.S.S. Cerritos\u003c/em>, a California-class Federation starship tasked with “Second Contact” missions, which may not be as flashy and high-profile as the “First Contact” missions marking humanity’s initial encounters with alien races. No, the \u003cem>Cerritos\u003c/em>‘ remit is, according to by-the-book striver Ensign Boimler (voiced by Jack Quaid), all about following up, which is “still pretty important—we get the paperwork signed, make sure we’re spelling the name of the planet right, get to know all the good places to eat.”\u003c/p>\n\u003cp>(Normals, you can skip this paragraph. Nerds, keep reading, here’s what you want to know: \u003cem>Lower Decks\u003c/em> takes place in the waning days of the \u003cem>TNG \u003c/em>era—2380, to be specific, just after the events of \u003cem>Star Trek: Nemesis\u003c/em>. And no, you haven’t heard of California-class starships before; they were created for the series. Also, the official shorthand designation for the series we’re encouraged to adopt is \u003cem>ST:LDS, \u003c/em>which makes it sound like a show about Space-Mormons on a five-year mission to seek out planet Kolub, but whatever.)\u003c/p>\n\u003cp>Creator/showrunner Mike McMahan made his bones on the animated series \u003cem>Drawn Together\u003c/em> and \u003cem>Rick and Morty\u003c/em>—shows whose darker, more cutting humorous sensibilities would seem to clash with \u003cem>Trek’s \u003c/em>traditional commitment to ennobling, optimistic uplift. But that disconnect turns out to work for the new series, in most respects. For the nerds, in-jokes and easter eggs abound, testifying to the creators’ fondness for the source material, while viewers who don’t know a nacelle from a Jeffries Tube will likely appreciate the show’s sheer joke-density—and the fact that, as an animated series, it comes outfitted with an unlimited special effects budget.\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/V3RkBKedKWw'\n title='//www.youtube.com/embed/V3RkBKedKWw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s important, because despite its bright, broad, cartoony look, the planets of \u003cem>Lower Decks\u003c/em> can appear legitimately otherworldly, instead of all looking like the Vasquez Rocks outside of Santa Clarita, California. Alien races can look alien—obviating previous series’ need to, as one wag (me) once put it, “Grab a dayplayer, slap a hunk of spirit gum between their eyebrows, paint ’em Prussian blue and shove ’em in front of the camera”.\u003c/p>\n\u003cp>The overtly comic nature of the series combines with its animated status to drive its tone—and its plots—to extremes of slapstick violence that previous, staid-by-comparison \u003cem>Trek \u003c/em>series would never condone nor tolerate. As a result, the \u003cem>U.S.S. Cerritos\u003c/em> seems like one of the most hazardous workplaces in the history of Starfleet. (A character gets sliced to the bone by a Klingon bat’leth two minutes into the pilot, just for starters.)\u003c/p>\n\u003cp>McMahan and his fellow writers seem to recognize this tendency for broadness, and have made clear efforts to keep the show’s conflicts grounded in its characters. Tawny Newsome voices Ensign Beckett Mariner, whose reflexively rebellious, obnoxious demeanor belies her considerable competence and diplomatic skills. Quaid’s querulous take on Ensign Boimler presents him as a rank-obsessed rule-follower whose interactions with Mariner allow him to begin to shed his considerable inhibitions. Audience-surrogate Ensign Tendi, voiced by Noel Wells, is an eager, just-arrived science officer who’s perpetually enthralled by even the most boring/disgusting tasks, and Eugene Cordero voices Ensign Rutherford, an engineer recently outfitted with Vulcan-designed cybernetic enhancements that seek to tamp down his emotional response. (A \u003cem>Trek \u003c/em>character who’s struggling with the battle between human emotion and logic: Take a drink!)\u003c/p>\n\u003cp>The show’s at its strongest when it sticks most closely to its premise: background \u003cem>Trek \u003c/em>characters going about their days, intersecting with the glamorous bridge crew only glancingly, if at all. But over the course of the first four episodes made available to press, our four Ensigns keep encountering the ship’s steely captain (voiced by Dawnn Lewis) a ridiculously square-jawed first officer (voiced by Jerry O’Connell) more and more frequently, enmeshing themselves in command decisions.\u003c/p>\n\u003cp>There’s also, at least in the early going, a tendency for the in-jokes to tread ground that many stylish \u003cem>Trek \u003c/em>and \u003cem>Trek\u003c/em>-adjacent black booties have trod repeatedly by now—the holodeck has prurient possibilities! etc. etc.—which is something the show’s going to want to keep an eye on, if the idea is to boldly joke where no one has joked before.\u003c/p>\n\u003cp>If nothing else, though, \u003cem>Star Trek: Lower Decks\u003c/em>, by staking its claim as the officially licensed \u003cem>Star Trek\u003c/em> Comedy Series, will likely throw \u003cem>The Orville,\u003c/em> with its untenable mix of glib goofs and maudlin drama, into a profound existential crisis.\u003c/p>\n\u003cp>In interviews, showrunner McMahan calls \u003cem>ST:LDS\u003c/em> the “first \u003cem>Trek \u003c/em>comedy series,” implying that others may follow. The mind races. Then reels. Then boggles. Wacky sexy hijinks on Risa! A fish-out-of-water story featuring a Xindi-Aquatic on a Class H planet! Captain Janeway’s hyper-evolved space-lizard offspring being forced to move back in with her!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And once we get enough official Trek comedies, surely reality series can’t be far behind? \u003cem>Star Trek: Ro Laren’s Drag Race\u003c/em>. \u003cem>Star Trek: The Real Housewives of Ceti Alpha V.\u003c/em> (aka \u003cem>The Eel World\u003c/em>). And inevitably, as if ordained by the Prophets, \u003cem>Star Trek: Keeping Up With The Cardassians\u003c/em>. Mark my words.\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=With+%27Star+Trek%3A+Lower+Decks%2C%27+A+Venerable+Franchise+Loosens+Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>On the Beach, \u003c/em>the 1959 film version of Nevil Shute’s cataclysmic bestseller, kicks into gear with a newscast designed to transport 1950s movie audiences from the nuclear age into a post-nuclear age:\u003c/p>\n\u003cp>“Scientists disagree as to when radiation will reach Australia,” intones the newscaster. “The atomic war has ended. But the prime minister reports no proof of survival of human life anywhere except here.”\u003c/p>\n\u003cp>The film then tags along as the world’s last submarine crew, captained by Gregory Peck, searches the globe for signs of humanity. The ship’s Geiger counter readings are dire even in mid-Pacific.\u003c/p>\n\u003cp>Then, in a scene met by hushed silence from ’50s audiences, the sub surfaces in the San Francisco Bay to discover an unbombed but irradiated ghost town. Nothing moving, no sign of life. It was the first portrait most movie patrons had seen of what the world might look like without them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=4482&v=HusewgIe_1k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shortly after leaving the port, the sub’s crew asks its resident egghead, played by Fred Astaire, how he thinks the war started, and with a faraway look in his eye, he articulates the basic scenario for scores of nuclear thrillers to come:\u003c/p>\n\u003cp>“Somewhere some poor bloke probably looked at a radar screen and thought he saw something, knew that if he hesitated one-thousandth of a second, his own country would be wiped off the map. So he pushed the button and the world went …” Astaire looks helpless as he says the next word, “crazy.”\u003c/p>\n\u003cp>For 1959 audiences, \u003cem>On the Beach\u003c/em> took place in the not-too-distant future: 1964, to be precise. And that year in real life turned out to be a watershed for Cold War nuclear thrillers.\u003c/p>\n\u003cp>An intensifying arms race and the Cuban missile crisis had primed audiences for alarmism, and Tinseltown provided a double whammy: war mongering generals taking over the U.S. nuclear arsenal in \u003cem>Seven Days in May\u003c/em>, and just weeks later, \u003cem>Fail Safe\u003c/em>, which fleshed out Astaire’s accident scenario with frantic calls from Henry Fonda’s White House to a soon-to-be vaporized Kremlin.\u003c/p>\n\u003cp>Also released in 1964 was an acidly comic counterweight to these serious films—the one true classic the genre has produced—Stanley Kubrick’s \u003cem>Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb.\u003c/em> Kubrick combined the crazed-general scenario and the mistake scenario, had Peter Sellers play multiple roles so he could embody all sides of the argument, and came up with a satire that could say the unspeakable by disguising it as a joke.\u003c/p>\n\u003cp>By the time Slim Pickens rode his A-bomb to that last roundup in the sky, the audience had laughed at the existential absurdity of a weapon that only lets you win by also killing yourself.\u003c/p>\n\u003cp>The nuclear thriller had reached maturity.\u003c/p>\n\u003cp>Compared with a film like \u003cem>Dr. Strangelove\u003c/em>, the earlier, first films of the nuclear genre look decidedly silly. In 1954, the U.S. government produced a chirpy little civil-defense tutorial called \u003cem>Atomic Attack\u003c/em> in which a family’s quiet suburban life is rudely interrupted when New York City, some 50 miles away, gets vaporized. Featuring a very young Walter Matthau, the film pictures post-nuclear survival as downright inconvenient.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e5JiIjSjo_c\u003c/p>\n\u003cp>Hollywood, meanwhile, had become fascinated by reports that radiation could cause cells to mutate, a notion it took to illogical conclusions in unforgettably cheesy special effects flicks. Huge lizards, spiders and ants began emerging from the deserts near New Mexico’s White Sands nuclear test site, as scientists—who were the real villains, having gotten us into this mess—very slowly put two and two together.[aside postid='arts_13879052']\u003c/p>\n\u003cp>Audiences have always gravitated to these escapist films rather than to serious fare like \u003cem>Fail Safe\u003c/em>, which may be why nuclear proliferation in the real world couldn’t hope to match Hollywood’s version.\u003c/p>\n\u003cp>By the 1970s, it wasn’t just governments that had atomic weapons in movies. Practically everyone Agent 007 met seemed to have enough enriched plutonium to blow up at least a small corner of the globe. Meanwhile, \u003cem>Mad Max\u003c/em> was playing demolition derby in dusty post-nuclear landscapes, and \u003cem>WarGames\u003c/em> had teen hacker Matthew Broderick matching wits with the Pentagon’s doomsday computer.\u003c/p>\n\u003cp>Apart from the \u003cem>Terminator \u003c/em>movies, the whole notion of nuclear annihilation seemed to have receded on the big screen. In the thriller \u003cem>True Lies\u003c/em>, when a mushroom cloud rose above the Florida Keys, it was being used the way fireworks usually are, to underscore a kiss between Arnold Schwarzenegger and Jamie Lee Curtis.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3CfQDpoQQD8&\u003c/p>\n\u003cp>Big bangs are what big blockbusters are all about, of course, which has mostly left the real-world implications of nuclear weapons to television.[aside postid='arts_13867080']\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em>, produced by the BBC, served as a wake-up call to British audiences. It depicted a U.S. vs. Soviet Union nuclear battle in which America’s NATO allies amounted to collateral damage.\u003c/p>\n\u003cp>And while the effects were enough to traumatize audiences in Britain, they couldn’t hold a candle to the ones in ABC TV’s $7 million shocker, \u003cem>The Day After\u003c/em>.\u003c/p>\n\u003cp>At a time of heightened East/West tensions, the two-hour show (the last hour presented without commercial interruption) was designed to show the aftermath of an all-out nuclear war. And did it ever.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3468&v=Iyy9n8r16hs\u003c/p>\n\u003cp>I remember the shock of seeing the blast in that telecast, and then the horror, a moment later, of a second blast—a second mushroom cloud rising behind the characters—then a third. It was a possibility no duck-and-cover drill in my youth had ever mentioned.\u003c/p>\n\u003cp>By film’s end, nearly all the characters are dead or dying—an outcome witnessed by 100 million Americans on Sunday, Nov. 20, 1983, at the time the largest audience ever to watch a television film.\u003c/p>\n\u003cp>And the day after \u003cem>The Day After\u003c/em>, there was a new national dialogue about nuclear weapons—one that affected public policy. President Ronald Reagan wrote in his diary of being “greatly depressed” by the film. After signing a nuclear-non-proliferation treaty a few years later, he sent a telegram to the director saying: “Don’t think your movie didn’t have any part of this, because it did.”\u003c/p>\n\u003cp>None of this kept Hollywood from going its own, more escapist way. Going Reagan one better in \u003cem>Superman IV, The Quest for Peace\u003c/em>, Christopher Reeve’s Man of Steel addressed a special session of the U.N. saying that he’s going to do what governments have been unwilling or unable to do: “Rid our planet of all nuclear weapons.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zWQIwJsqXrI\u003c/p>\n\u003cp>He then grabbed thousands of intercontinental ballistic missiles in midair (the unwilling governments having helpfully launched them) and put them in a big skynet (literally a net in the sky, not the \u003cem>Terminator\u003c/em> Skynet) after which he hurled them at the sun.\u003c/p>\n\u003cp>This was, presumably, good for the planet, less good for blockbustering. After all, if you get rid of the world’s atomic weapons, how’s Will Smith going to neutralize the alien invaders in \u003cem>Independence Day\u003c/em>? And in \u003cem>Armageddon\u003c/em>, the good guys needed weapons of mass destruction for the destruction-of-a-cosmic-mass (an asteroid on a collision course with Earth).\u003c/p>\n\u003cp>Not to mention that superhero flicks would have to look elsewhere for big finishes—no \u003cem>Dark Knight Rising\u003c/em> with A-bomb in tow, to spirit it to sea and save Gotham. No Iron Man slamming a sky-portal shut with a nuke in \u003cem>The Avengers\u003c/em>. No \u003cem>Wolverine\u003c/em> (working, as always, on a more intimate scale) saving a single Japanese soldier at Nagasaki from the blast only he knew was on the way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YERtfFpLIsU\u003c/p>\n\u003cp>All of those plots are admittedly pretty silly and, again, not responsive to our own era’s heightened world tensions.\u003c/p>\n\u003cp>Still, if Hollywood isn’t making new nuclear films, some harrowing old ones have recently surfaced—declassified just as they were turning to dust. They’re footage shot by military researchers of nuclear tests conducted between 1945 and 1962.\u003c/p>\n\u003cp>More than 100 are \u003ca href=\"https://www.youtube.com/playlist?list=PLvGO_dWo8VfcmG166wKRy5z-GlJ_OQND5\" target=\"_blank\" rel=\"noopener noreferrer\">available for viewing on YouTube\u003c/a> from the Lawrence Livermore National Laboratory, which is analyzing them with computers and discovering that the readings made by scientists decades ago—readings on which computer simulations of current weaponry are based—are off by as much as 30 percent.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, their mushroom clouds are breathtaking, the power they document unfathomable. And when you realize the point of digitizing them is to help modernize nuclear stockpiles, their power as cinema is … well, I’m not sure there’s a word for that.\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=%27And+The+World+Went+Crazy%27%3A+How+Hollywood+Changed+After+Hiroshima&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shortly after leaving the port, the sub’s crew asks its resident egghead, played by Fred Astaire, how he thinks the war started, and with a faraway look in his eye, he articulates the basic scenario for scores of nuclear thrillers to come:\u003c/p>\n\u003cp>“Somewhere some poor bloke probably looked at a radar screen and thought he saw something, knew that if he hesitated one-thousandth of a second, his own country would be wiped off the map. So he pushed the button and the world went …” Astaire looks helpless as he says the next word, “crazy.”\u003c/p>\n\u003cp>For 1959 audiences, \u003cem>On the Beach\u003c/em> took place in the not-too-distant future: 1964, to be precise. And that year in real life turned out to be a watershed for Cold War nuclear thrillers.\u003c/p>\n\u003cp>An intensifying arms race and the Cuban missile crisis had primed audiences for alarmism, and Tinseltown provided a double whammy: war mongering generals taking over the U.S. nuclear arsenal in \u003cem>Seven Days in May\u003c/em>, and just weeks later, \u003cem>Fail Safe\u003c/em>, which fleshed out Astaire’s accident scenario with frantic calls from Henry Fonda’s White House to a soon-to-be vaporized Kremlin.\u003c/p>\n\u003cp>Also released in 1964 was an acidly comic counterweight to these serious films—the one true classic the genre has produced—Stanley Kubrick’s \u003cem>Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb.\u003c/em> Kubrick combined the crazed-general scenario and the mistake scenario, had Peter Sellers play multiple roles so he could embody all sides of the argument, and came up with a satire that could say the unspeakable by disguising it as a joke.\u003c/p>\n\u003cp>By the time Slim Pickens rode his A-bomb to that last roundup in the sky, the audience had laughed at the existential absurdity of a weapon that only lets you win by also killing yourself.\u003c/p>\n\u003cp>The nuclear thriller had reached maturity.\u003c/p>\n\u003cp>Compared with a film like \u003cem>Dr. Strangelove\u003c/em>, the earlier, first films of the nuclear genre look decidedly silly. In 1954, the U.S. government produced a chirpy little civil-defense tutorial called \u003cem>Atomic Attack\u003c/em> in which a family’s quiet suburban life is rudely interrupted when New York City, some 50 miles away, gets vaporized. Featuring a very young Walter Matthau, the film pictures post-nuclear survival as downright inconvenient.\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/e5JiIjSjo_c'\n title='//www.youtube.com/embed/e5JiIjSjo_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hollywood, meanwhile, had become fascinated by reports that radiation could cause cells to mutate, a notion it took to illogical conclusions in unforgettably cheesy special effects flicks. Huge lizards, spiders and ants began emerging from the deserts near New Mexico’s White Sands nuclear test site, as scientists—who were the real villains, having gotten us into this mess—very slowly put two and two together.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Audiences have always gravitated to these escapist films rather than to serious fare like \u003cem>Fail Safe\u003c/em>, which may be why nuclear proliferation in the real world couldn’t hope to match Hollywood’s version.\u003c/p>\n\u003cp>By the 1970s, it wasn’t just governments that had atomic weapons in movies. Practically everyone Agent 007 met seemed to have enough enriched plutonium to blow up at least a small corner of the globe. Meanwhile, \u003cem>Mad Max\u003c/em> was playing demolition derby in dusty post-nuclear landscapes, and \u003cem>WarGames\u003c/em> had teen hacker Matthew Broderick matching wits with the Pentagon’s doomsday computer.\u003c/p>\n\u003cp>Apart from the \u003cem>Terminator \u003c/em>movies, the whole notion of nuclear annihilation seemed to have receded on the big screen. In the thriller \u003cem>True Lies\u003c/em>, when a mushroom cloud rose above the Florida Keys, it was being used the way fireworks usually are, to underscore a kiss between Arnold Schwarzenegger and Jamie Lee Curtis.\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/3CfQDpoQQD8'\n title='//www.youtube.com/embed/3CfQDpoQQD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Big bangs are what big blockbusters are all about, of course, which has mostly left the real-world implications of nuclear weapons to television.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em>, produced by the BBC, served as a wake-up call to British audiences. It depicted a U.S. vs. Soviet Union nuclear battle in which America’s NATO allies amounted to collateral damage.\u003c/p>\n\u003cp>And while the effects were enough to traumatize audiences in Britain, they couldn’t hold a candle to the ones in ABC TV’s $7 million shocker, \u003cem>The Day After\u003c/em>.\u003c/p>\n\u003cp>At a time of heightened East/West tensions, the two-hour show (the last hour presented without commercial interruption) was designed to show the aftermath of an all-out nuclear war. And did it ever.\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/Iyy9n8r16hs'\n title='//www.youtube.com/embed/Iyy9n8r16hs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I remember the shock of seeing the blast in that telecast, and then the horror, a moment later, of a second blast—a second mushroom cloud rising behind the characters—then a third. It was a possibility no duck-and-cover drill in my youth had ever mentioned.\u003c/p>\n\u003cp>By film’s end, nearly all the characters are dead or dying—an outcome witnessed by 100 million Americans on Sunday, Nov. 20, 1983, at the time the largest audience ever to watch a television film.\u003c/p>\n\u003cp>And the day after \u003cem>The Day After\u003c/em>, there was a new national dialogue about nuclear weapons—one that affected public policy. President Ronald Reagan wrote in his diary of being “greatly depressed” by the film. After signing a nuclear-non-proliferation treaty a few years later, he sent a telegram to the director saying: “Don’t think your movie didn’t have any part of this, because it did.”\u003c/p>\n\u003cp>None of this kept Hollywood from going its own, more escapist way. Going Reagan one better in \u003cem>Superman IV, The Quest for Peace\u003c/em>, Christopher Reeve’s Man of Steel addressed a special session of the U.N. saying that he’s going to do what governments have been unwilling or unable to do: “Rid our planet of all nuclear weapons.”\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/zWQIwJsqXrI'\n title='//www.youtube.com/embed/zWQIwJsqXrI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He then grabbed thousands of intercontinental ballistic missiles in midair (the unwilling governments having helpfully launched them) and put them in a big skynet (literally a net in the sky, not the \u003cem>Terminator\u003c/em> Skynet) after which he hurled them at the sun.\u003c/p>\n\u003cp>This was, presumably, good for the planet, less good for blockbustering. After all, if you get rid of the world’s atomic weapons, how’s Will Smith going to neutralize the alien invaders in \u003cem>Independence Day\u003c/em>? And in \u003cem>Armageddon\u003c/em>, the good guys needed weapons of mass destruction for the destruction-of-a-cosmic-mass (an asteroid on a collision course with Earth).\u003c/p>\n\u003cp>Not to mention that superhero flicks would have to look elsewhere for big finishes—no \u003cem>Dark Knight Rising\u003c/em> with A-bomb in tow, to spirit it to sea and save Gotham. No Iron Man slamming a sky-portal shut with a nuke in \u003cem>The Avengers\u003c/em>. No \u003cem>Wolverine\u003c/em> (working, as always, on a more intimate scale) saving a single Japanese soldier at Nagasaki from the blast only he knew was on the way.\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/YERtfFpLIsU'\n title='//www.youtube.com/embed/YERtfFpLIsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of those plots are admittedly pretty silly and, again, not responsive to our own era’s heightened world tensions.\u003c/p>\n\u003cp>Still, if Hollywood isn’t making new nuclear films, some harrowing old ones have recently surfaced—declassified just as they were turning to dust. They’re footage shot by military researchers of nuclear tests conducted between 1945 and 1962.\u003c/p>\n\u003cp>More than 100 are \u003ca href=\"https://www.youtube.com/playlist?list=PLvGO_dWo8VfcmG166wKRy5z-GlJ_OQND5\" target=\"_blank\" rel=\"noopener noreferrer\">available for viewing on YouTube\u003c/a> from the Lawrence Livermore National Laboratory, which is analyzing them with computers and discovering that the readings made by scientists decades ago—readings on which computer simulations of current weaponry are based—are off by as much as 30 percent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, their mushroom clouds are breathtaking, the power they document unfathomable. And when you realize the point of digitizing them is to help modernize nuclear stockpiles, their power as cinema is … well, I’m not sure there’s a word for that.\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=%27And+The+World+Went+Crazy%27%3A+How+Hollywood+Changed+After+Hiroshima&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New 'Quar-Horror' Films Show Staying at Home is Scary Too",
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"content": "\u003cp>It’s no exaggeration to say this year feels like a horror movie. And now, a few filmmakers are making it official.\u003c/p>\n\u003cp>All over YouTube, you can find inventive homemade horror shorts taking the pandemic as inspiration. (They come \u003ca href=\"https://www.youtube.com/watch?v=bh3_arF9g8M\" target=\"_blank\" rel=\"noopener noreferrer\">from Brazil\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BdkwVF-5l0Y\" target=\"_blank\" rel=\"noopener noreferrer\">from Canada\u003c/a> and from, \u003ca href=\"https://www.youtube.com/watch?v=mF1r2W1fAGs\" target=\"_blank\" rel=\"noopener noreferrer\">well, Funny or Die\u003c/a>.) And a new movie \u003cem>Host\u003c/em>, filmed over twelve weeks in quarantine and entirely on Zoom, debuted on the horror channel Shudder last week.\u003c/p>\n\u003cp>Call it “quar-horror.”\u003c/p>\n\u003cp>Among the most chilling of the YouTube offerings is \u003ca href=\"https://www.youtube.com/watch?v=YLAwv5E5bUc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stay At Home\u003c/em>, part horror movie and part PSA\u003c/a> from a filmmaker in New Orleans.\u003c/p>\n\u003cp>“I literally just grabbed a box, and I set up the camera on a tripod and gave myself a scenario,” says Kenneth Brown, a former Uber driver turned horror auteur. “And the story started to build and build and build.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brown went to film school, and you can tell. Based on the myth of Pandora’s Box and the evening news, \u003cem>Stay At Home\u003c/em> is elegantly lit and crafted. As of this writing, it’s racked up nearly 200,000 views on YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YLAwv5E5bUc\u003c/p>\n\u003cp>Part of what makes \u003cem>Stay At Home\u003c/em> so effective—and heartfelt—is the insistent drone of news anchors discussing the mounting carnage. “That’s everything I need to say as far as reaching African Americans, which is the population most vulnerable to this virus,” says Brown, who is Black himself.\u003c/p>\n\u003cp>But escapism is also the point, say Nathan Crooker and James Gannon. Their upcoming quar-horror, called\u003cem> Isolation\u003c/em>, just wrapped principal photography. The two produced the film; Crooker is also its director. \u003cem>Isolation\u003c/em> is an anthology; nine interconnected shorts by different directors who filmed their movies using only resources immediately available to them.\u003c/p>\n\u003cp>“This is where our brains went,” Gannon says. “Instead of making bread, we were like, ‘What can we do with how we’re creative?'”\u003c/p>\n\u003cp>Everyone involved in \u003cem>Isolation\u003c/em> observed strict quarantine, the producers say. The directors made their movies at home, with family serving as cast and crew. Each explored different terrifying aspects of today’s world, from conspiracy theories involving 5G towers to the world of two small siblings whose mother has died. (Crooker and Gannon say their parents filmed a fake ending, to reassure the little kids that everything was okay.)\u003c/p>\n\u003cfigure id=\"attachment_13884318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/whale_custom-8c19b74ff1d2162d9c53d76bdd1a1662be50700a-800x428.jpg\" alt=\"In a scene from the upcoming quar-horror movie 'Isolation,' two children confront the body of a dead whale discovered on a beach.\" width=\"800\" height=\"428\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the upcoming quar-horror movie ‘Isolation,’ two children confront the body of a dead whale discovered on a beach. \u003ccite>(Bobby Roe /Ghost Gang Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think there’s something to be said for a cathartic experience,” Crooker says. “We want to respect that this [pandemic] is something real and we don’t want to make light of it. But horror can be a way to process our worst fears.”\u003c/p>\n\u003cp>A group of girls hold a virtual séance over Zoom during lockdown in \u003cem>Host\u003c/em>, streaming now on Shudder. \u003cem>Host\u003c/em> may be the first quar-horror feature, and it effectively exploits what’s inherently creepy about Zoom: garbled audio, inexplicable dropouts, those weird fake backgrounds used to disguise where people actually are, and special effect filters that add horns or animal noses to human faces.\u003c/p>\n\u003cp>“Really, we had this great opportunity to freak people out with something that’s become part of their daily routine,” says director Rob Savage, with evident satisfaction. “Because this is how so many of us have been communicating over the past few months.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SNlKbqHqGcY\u003c/p>\n\u003cp>Filming \u003cem>Host\u003c/em> in less than three months, he says, wasn’t as hard as you’d think. The actors were all his friends, and because productions were shut down, a lot of talented professionals were out of work. So makeup artists, cinematographers, editors and even stunt people were willing to pitch in and help solve problems around actors filming themselves at home. For example, he says, the stunts were done using composite shots.\u003c/p>\n\u003cp>“So you’ll have a character wander in from their bedroom into their kitchen,” he explains. “But it won’t be their kitchen. It’ll be a stunt person’s kitchen and they’re wearing the same clothes. And they’ll perform a crazy stunt and then we’ll do a hidden cut and you’re back to the real actor.”\u003c/p>\n\u003cp>Savage says he occasionally directed his cast using the chat function on Zoom. It’s part of a way of existing now, he says, in a reality that stresses and frightens us. Horror movies are one way we talk about our nightmares.\u003c/p>\n\u003cp>Sitting at home, we need other people, he says. We need their vision, excitement and passion. And we need to see what scares them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the Web by Neda Ulaby and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Quar-Horror%27+Films+Show+Staying+At+Home+Is+Scary+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no exaggeration to say this year feels like a horror movie. And now, a few filmmakers are making it official.\u003c/p>\n\u003cp>All over YouTube, you can find inventive homemade horror shorts taking the pandemic as inspiration. (They come \u003ca href=\"https://www.youtube.com/watch?v=bh3_arF9g8M\" target=\"_blank\" rel=\"noopener noreferrer\">from Brazil\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BdkwVF-5l0Y\" target=\"_blank\" rel=\"noopener noreferrer\">from Canada\u003c/a> and from, \u003ca href=\"https://www.youtube.com/watch?v=mF1r2W1fAGs\" target=\"_blank\" rel=\"noopener noreferrer\">well, Funny or Die\u003c/a>.) And a new movie \u003cem>Host\u003c/em>, filmed over twelve weeks in quarantine and entirely on Zoom, debuted on the horror channel Shudder last week.\u003c/p>\n\u003cp>Call it “quar-horror.”\u003c/p>\n\u003cp>Among the most chilling of the YouTube offerings is \u003ca href=\"https://www.youtube.com/watch?v=YLAwv5E5bUc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stay At Home\u003c/em>, part horror movie and part PSA\u003c/a> from a filmmaker in New Orleans.\u003c/p>\n\u003cp>“I literally just grabbed a box, and I set up the camera on a tripod and gave myself a scenario,” says Kenneth Brown, a former Uber driver turned horror auteur. “And the story started to build and build and build.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brown went to film school, and you can tell. Based on the myth of Pandora’s Box and the evening news, \u003cem>Stay At Home\u003c/em> is elegantly lit and crafted. As of this writing, it’s racked up nearly 200,000 views on YouTube.\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/YLAwv5E5bUc'\n title='//www.youtube.com/embed/YLAwv5E5bUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of what makes \u003cem>Stay At Home\u003c/em> so effective—and heartfelt—is the insistent drone of news anchors discussing the mounting carnage. “That’s everything I need to say as far as reaching African Americans, which is the population most vulnerable to this virus,” says Brown, who is Black himself.\u003c/p>\n\u003cp>But escapism is also the point, say Nathan Crooker and James Gannon. Their upcoming quar-horror, called\u003cem> Isolation\u003c/em>, just wrapped principal photography. The two produced the film; Crooker is also its director. \u003cem>Isolation\u003c/em> is an anthology; nine interconnected shorts by different directors who filmed their movies using only resources immediately available to them.\u003c/p>\n\u003cp>“This is where our brains went,” Gannon says. “Instead of making bread, we were like, ‘What can we do with how we’re creative?'”\u003c/p>\n\u003cp>Everyone involved in \u003cem>Isolation\u003c/em> observed strict quarantine, the producers say. The directors made their movies at home, with family serving as cast and crew. Each explored different terrifying aspects of today’s world, from conspiracy theories involving 5G towers to the world of two small siblings whose mother has died. (Crooker and Gannon say their parents filmed a fake ending, to reassure the little kids that everything was okay.)\u003c/p>\n\u003cfigure id=\"attachment_13884318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/whale_custom-8c19b74ff1d2162d9c53d76bdd1a1662be50700a-800x428.jpg\" alt=\"In a scene from the upcoming quar-horror movie 'Isolation,' two children confront the body of a dead whale discovered on a beach.\" width=\"800\" height=\"428\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the upcoming quar-horror movie ‘Isolation,’ two children confront the body of a dead whale discovered on a beach. \u003ccite>(Bobby Roe /Ghost Gang Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think there’s something to be said for a cathartic experience,” Crooker says. “We want to respect that this [pandemic] is something real and we don’t want to make light of it. But horror can be a way to process our worst fears.”\u003c/p>\n\u003cp>A group of girls hold a virtual séance over Zoom during lockdown in \u003cem>Host\u003c/em>, streaming now on Shudder. \u003cem>Host\u003c/em> may be the first quar-horror feature, and it effectively exploits what’s inherently creepy about Zoom: garbled audio, inexplicable dropouts, those weird fake backgrounds used to disguise where people actually are, and special effect filters that add horns or animal noses to human faces.\u003c/p>\n\u003cp>“Really, we had this great opportunity to freak people out with something that’s become part of their daily routine,” says director Rob Savage, with evident satisfaction. “Because this is how so many of us have been communicating over the past few months.”\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/SNlKbqHqGcY'\n title='//www.youtube.com/embed/SNlKbqHqGcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filming \u003cem>Host\u003c/em> in less than three months, he says, wasn’t as hard as you’d think. The actors were all his friends, and because productions were shut down, a lot of talented professionals were out of work. So makeup artists, cinematographers, editors and even stunt people were willing to pitch in and help solve problems around actors filming themselves at home. For example, he says, the stunts were done using composite shots.\u003c/p>\n\u003cp>“So you’ll have a character wander in from their bedroom into their kitchen,” he explains. “But it won’t be their kitchen. It’ll be a stunt person’s kitchen and they’re wearing the same clothes. And they’ll perform a crazy stunt and then we’ll do a hidden cut and you’re back to the real actor.”\u003c/p>\n\u003cp>Savage says he occasionally directed his cast using the chat function on Zoom. It’s part of a way of existing now, he says, in a reality that stresses and frightens us. Horror movies are one way we talk about our nightmares.\u003c/p>\n\u003cp>Sitting at home, we need other people, he says. We need their vision, excitement and passion. And we need to see what scares them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the Web by Neda Ulaby and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Quar-Horror%27+Films+Show+Staying+At+Home+Is+Scary+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé's 'Black is King' is a Sumptuous Search For Divine Identity",
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"content": "\u003cp>“To live without reflection for so long might make you wonder if you even truly exist.”\u003c/p>\n\u003cp>There is a lot that can be communicated through longing. That internal sense of a missing piece and yearning for completion can be all-consuming. It can change the course of your life. For most, that might be a wanting for love, or the coveting of success. But in \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé Knowles\u003c/a>‘ \u003cem>Black Is King\u003c/em>—directed by the star herself and released Friday on the streaming service Disney+—that longing is for the certainty of identity.\u003c/p>\n\u003cp>A visual companion to the album \u003ca href=\"https://open.spotify.com/album/552zi1M53PQAX5OH4FIdTx?si=OAg0qvAqRcuZG5nawSf1vQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Gift\u003c/em>\u003c/a>—itself a companion to the release of the live-action remake of Disney’s \u003cem>The Lion King\u003c/em>—\u003cem>Black Is King\u003c/em> is a retelling, of sorts, of the same story. This time though, it centers on ideas of Black belonging and regality. How has Blackness existed in the past? What does it mean in the present? How might it look in the future? In this extended metaphor, “king” is a synonym for the innate greatness that has been stolen from Black people the world over. With this project, Beyoncé seeks to restore that greatness to those of her lineage.\u003c/p>\n\u003cp>Knowles has long said she is a visual thinker, and those skills are never more apparent than when she applies them to her music. She is also a consummate collaborator, and as with \u003cem>Homecoming \u003c/em>before it, the sheer scale of this project indicates how much she is able to delegate to others in realizing her creative vision. The music of \u003cem>The Gift\u003c/em> itself draws on the legacy of afrobeat, blending the work of African artists like Burna Boy, Yemi Alade, Tiwa Savage, Nija and Shatta Wale with contributions from Black American artists like Tierra Whack, Pharrell Williams, Childish Gambino and Knowles’ husband, JAY-Z. The visuals, however, stand as a statement on their own, and extend the themes of Knowles’ other directorial outings.[aside postid='arts_11520849']\u003c/p>\n\u003cp>In \u003cem>Lemonade\u003c/em>, Knowles drew on the symbolism of water to signify rebirth and renewal in her marriage. In \u003cem>Black Is King\u003c/em>, she revisits this motif, but takes it a step further. Here, she graduates from the sea to the stars, imagining a world in which Blackness and Black people are unconstrained by the limits of the earthly world. The water becomes a liminal space—the barrier between the here and the hereafter. The shore is the doorway to true spiritual freedom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the film’s beginning, Beyoncé launches a child in a basket onto the river, echoing the biblical story of Moses. At its end, she collects him again, reborn, renewed and given access to a new, free world after enduring the tribulations of rough waters. In \u003cem>Black Is King\u003c/em>, water is again transformative. Its mythical power is reflected in both the pain of sailing Black people across endless oceans for subjugation and its healing potential to wash away the violence of that history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=agCgvFTJeRs\u003c/p>\n\u003cp>\u003cem>Black Is King\u003c/em> is, in many ways, an exercise in wandering, searching and seeking a divine identity. In recent years, Knowles’ work has taken a sharp turn towards the politics of representation. From her self-titled album to \u003cem>Homecoming\u003c/em>, she has been exploring and examining the infinite malleability of Black cultural production. In this newest film, she makes that explicit. Using music as a conduit, she tries to be expansive in her view of the creative potential of Black people, taking time to highlight both the extremes of hyper-excellence and the divinity in the mundanity of everyday life.[aside postid='pop_111097']\u003c/p>\n\u003cp>Beyoncé has made it part of her own mission to create divine images of Black people that can be, and obviously are, widely consumed. In some ways, this is a corrective to how Black people have been depicted in the past—lazy degenerates in the U.S., poor and starving in an ill-defined Africa, largely invisible in the Caribbean. But even that deserves interrogation—the idea of a corrective presumes a white gaze. Black people have always found ways to see the beauty and sanctity in each other, so what is there to correct? It also calls into question the limits of a production like this. Beautiful as it is, how does it aid Black people to associate blackness with wealth and riches many of us \u003ca href=\"https://verysmartbrothas.theroot.com/i-hope-my-ancestors-were-goat-herders-not-kings-and-qu-1844593249?utm_medium=sharefromsite&utm_source=verysmartbrothas_twitter\" target=\"_blank\" rel=\"noopener noreferrer\">will never attain in this life\u003c/a>? But capitalist concerns aside, Beyoncé takes great pains to associate Blackness not just with literal kings and queens, but also with community, consciousness and greatness. “I see us reflected in the world’s most heavenly things,” she says. “Black is King.”\u003c/p>\n\u003cp>One of the critiques of the album in its original form was that it flattened the many distinct cultures and styles of the African continent into an easily consumable product, one that did not begin to approach a comprehensiveness of the sources it pulled from. Largely, that critique \u003ca href=\"https://www.okayplayer.com/music/beyonce-the-lion-king-the-gift-review-east-africa.html\" target=\"_blank\" rel=\"noopener noreferrer\">stands\u003c/a>. But being too ambitious is hardly a negative. In fact, the project’s preference for breadth over depth makes a kind of spiritual sense—where do you start in your quest to find your lineage when you’ve got an entire continent to scour?\u003c/p>\n\u003cp>Knowles’ longing for an explanatory myth resonates deeply in \u003cem>Black Is King\u003c/em>. Her own mother, \u003ca href=\"https://www.nytimes.com/2017/01/21/fashion/tina-knowles-lawson-beyonce-solange-matriarch.html\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Tina the Matriarch\u003c/a> has become a personified recurring theme in her work, as has her invocation of lineage. Always, Beyoncé takes pains to reach back before moving forward. But after two or three generations, who is there for her to reach back to? Who can she draw on? Whose ancestral memory can she reference? \u003cem>Black Is King\u003c/em> marries the mundane and the divine in an effort to reconnect to the forgotten ancestry of all the Black peoples across the diaspora who have been ripped from their history by the violence of slavery and colonialism.\u003c/p>\n\u003cp>Before “Already,” John Kani as Rafiki is heard in voiceover: “I know who I am, the question is who are you?” For many Black people, that question skews existential. Who are we without those who came before us? Who are we when we don’t \u003cem>know\u003c/em> who came before us? Beyoncé tries to draw a through-line from the diaspora back to the homeland that connects us, not necessarily to our roots, but to the possibilities that open up when we acknowledge that our lineage has more breadth than we can ever know. But she also asserts that we already have that knowledge within us. “Long live the king, you a king you know it.”[aside postid='pop_103388']\u003c/p>\n\u003cp>Drawing on the themes of \u003cem>The Lion King—\u003c/em>inheritance, self-identity and determination\u003cem>—\u003c/em>Knowles repurposes the story as a clarion call to Black people. “I never left you and never will,” Mufasa declares. “Remember who you are.” In her vision of Black life and prosperity, the ancestors are all around us and in each other, waiting for us to come home and reclaim them. We merely have to reach out to them. Beyoncé situates power in the body, in the skin and in hair. She creates a myth out of what can be accessed and what is left behind.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the face of possible annihilation both physical and psychic, Beyoncé holds out hope for salvation on the \u003ca href=\"https://open.spotify.com/track/15PJ40rcij5eTMSs71uRlq?si=79Ggk0kqQNCp96u7Br_6iw\" target=\"_blank\" rel=\"noopener noreferrer\">Otherside\u003c/a>. She encourages us to brave the rapids of the Nile, cross the river Jordan and find ourselves in the promised land. With \u003cem>Black Is King\u003c/em>, Beyoncé created a vision of the world she wanted to see—both as it is and as it should be. In her world, the hard day’s journey is rewarded with joy, happiness and a final connection to family, because “blood keeps the score of your blessings and trials.”\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=Beyonc%C3%A9%27s+%27Black+Is+King%27+Is+A+Sumptuous+Search+For+Divine+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“To live without reflection for so long might make you wonder if you even truly exist.”\u003c/p>\n\u003cp>There is a lot that can be communicated through longing. That internal sense of a missing piece and yearning for completion can be all-consuming. It can change the course of your life. For most, that might be a wanting for love, or the coveting of success. But in \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé Knowles\u003c/a>‘ \u003cem>Black Is King\u003c/em>—directed by the star herself and released Friday on the streaming service Disney+—that longing is for the certainty of identity.\u003c/p>\n\u003cp>A visual companion to the album \u003ca href=\"https://open.spotify.com/album/552zi1M53PQAX5OH4FIdTx?si=OAg0qvAqRcuZG5nawSf1vQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Gift\u003c/em>\u003c/a>—itself a companion to the release of the live-action remake of Disney’s \u003cem>The Lion King\u003c/em>—\u003cem>Black Is King\u003c/em> is a retelling, of sorts, of the same story. This time though, it centers on ideas of Black belonging and regality. How has Blackness existed in the past? What does it mean in the present? How might it look in the future? In this extended metaphor, “king” is a synonym for the innate greatness that has been stolen from Black people the world over. With this project, Beyoncé seeks to restore that greatness to those of her lineage.\u003c/p>\n\u003cp>Knowles has long said she is a visual thinker, and those skills are never more apparent than when she applies them to her music. She is also a consummate collaborator, and as with \u003cem>Homecoming \u003c/em>before it, the sheer scale of this project indicates how much she is able to delegate to others in realizing her creative vision. The music of \u003cem>The Gift\u003c/em> itself draws on the legacy of afrobeat, blending the work of African artists like Burna Boy, Yemi Alade, Tiwa Savage, Nija and Shatta Wale with contributions from Black American artists like Tierra Whack, Pharrell Williams, Childish Gambino and Knowles’ husband, JAY-Z. The visuals, however, stand as a statement on their own, and extend the themes of Knowles’ other directorial outings.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the film’s beginning, Beyoncé launches a child in a basket onto the river, echoing the biblical story of Moses. At its end, she collects him again, reborn, renewed and given access to a new, free world after enduring the tribulations of rough waters. In \u003cem>Black Is King\u003c/em>, water is again transformative. Its mythical power is reflected in both the pain of sailing Black people across endless oceans for subjugation and its healing potential to wash away the violence of that history.\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/agCgvFTJeRs'\n title='//www.youtube.com/embed/agCgvFTJeRs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Black Is King\u003c/em> is, in many ways, an exercise in wandering, searching and seeking a divine identity. In recent years, Knowles’ work has taken a sharp turn towards the politics of representation. From her self-titled album to \u003cem>Homecoming\u003c/em>, she has been exploring and examining the infinite malleability of Black cultural production. In this newest film, she makes that explicit. Using music as a conduit, she tries to be expansive in her view of the creative potential of Black people, taking time to highlight both the extremes of hyper-excellence and the divinity in the mundanity of everyday life.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyoncé has made it part of her own mission to create divine images of Black people that can be, and obviously are, widely consumed. In some ways, this is a corrective to how Black people have been depicted in the past—lazy degenerates in the U.S., poor and starving in an ill-defined Africa, largely invisible in the Caribbean. But even that deserves interrogation—the idea of a corrective presumes a white gaze. Black people have always found ways to see the beauty and sanctity in each other, so what is there to correct? It also calls into question the limits of a production like this. Beautiful as it is, how does it aid Black people to associate blackness with wealth and riches many of us \u003ca href=\"https://verysmartbrothas.theroot.com/i-hope-my-ancestors-were-goat-herders-not-kings-and-qu-1844593249?utm_medium=sharefromsite&utm_source=verysmartbrothas_twitter\" target=\"_blank\" rel=\"noopener noreferrer\">will never attain in this life\u003c/a>? But capitalist concerns aside, Beyoncé takes great pains to associate Blackness not just with literal kings and queens, but also with community, consciousness and greatness. “I see us reflected in the world’s most heavenly things,” she says. “Black is King.”\u003c/p>\n\u003cp>One of the critiques of the album in its original form was that it flattened the many distinct cultures and styles of the African continent into an easily consumable product, one that did not begin to approach a comprehensiveness of the sources it pulled from. Largely, that critique \u003ca href=\"https://www.okayplayer.com/music/beyonce-the-lion-king-the-gift-review-east-africa.html\" target=\"_blank\" rel=\"noopener noreferrer\">stands\u003c/a>. But being too ambitious is hardly a negative. In fact, the project’s preference for breadth over depth makes a kind of spiritual sense—where do you start in your quest to find your lineage when you’ve got an entire continent to scour?\u003c/p>\n\u003cp>Knowles’ longing for an explanatory myth resonates deeply in \u003cem>Black Is King\u003c/em>. Her own mother, \u003ca href=\"https://www.nytimes.com/2017/01/21/fashion/tina-knowles-lawson-beyonce-solange-matriarch.html\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Tina the Matriarch\u003c/a> has become a personified recurring theme in her work, as has her invocation of lineage. Always, Beyoncé takes pains to reach back before moving forward. But after two or three generations, who is there for her to reach back to? Who can she draw on? Whose ancestral memory can she reference? \u003cem>Black Is King\u003c/em> marries the mundane and the divine in an effort to reconnect to the forgotten ancestry of all the Black peoples across the diaspora who have been ripped from their history by the violence of slavery and colonialism.\u003c/p>\n\u003cp>Before “Already,” John Kani as Rafiki is heard in voiceover: “I know who I am, the question is who are you?” For many Black people, that question skews existential. Who are we without those who came before us? Who are we when we don’t \u003cem>know\u003c/em> who came before us? Beyoncé tries to draw a through-line from the diaspora back to the homeland that connects us, not necessarily to our roots, but to the possibilities that open up when we acknowledge that our lineage has more breadth than we can ever know. But she also asserts that we already have that knowledge within us. “Long live the king, you a king you know it.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drawing on the themes of \u003cem>The Lion King—\u003c/em>inheritance, self-identity and determination\u003cem>—\u003c/em>Knowles repurposes the story as a clarion call to Black people. “I never left you and never will,” Mufasa declares. “Remember who you are.” In her vision of Black life and prosperity, the ancestors are all around us and in each other, waiting for us to come home and reclaim them. We merely have to reach out to them. Beyoncé situates power in the body, in the skin and in hair. She creates a myth out of what can be accessed and what is left behind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the face of possible annihilation both physical and psychic, Beyoncé holds out hope for salvation on the \u003ca href=\"https://open.spotify.com/track/15PJ40rcij5eTMSs71uRlq?si=79Ggk0kqQNCp96u7Br_6iw\" target=\"_blank\" rel=\"noopener noreferrer\">Otherside\u003c/a>. She encourages us to brave the rapids of the Nile, cross the river Jordan and find ourselves in the promised land. With \u003cem>Black Is King\u003c/em>, Beyoncé created a vision of the world she wanted to see—both as it is and as it should be. In her world, the hard day’s journey is rewarded with joy, happiness and a final connection to family, because “blood keeps the score of your blessings and trials.”\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=Beyonc%C3%A9%27s+%27Black+Is+King%27+Is+A+Sumptuous+Search+For+Divine+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Unspeakable Acts\u003c/em>, edited by author, editor and critic Sarah Weinman, works as both a superb collection of true crime writing and a text that looks at the nuances of our collective obsession with horrific murders, con men and serial killers in a historical and cultural context.\u003c/p>\n\u003cfigure id=\"attachment_13884143\" class=\"wp-caption alignright\" style=\"max-width: 305px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM.png\" alt=\"'Unspeakable Acts: True Tales of Crime, Murder, Deceit, and Obsession,' edited by Sarah Weinman.\" width=\"305\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM.png 305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM-160x235.png 160w\" sizes=\"(max-width: 305px) 100vw, 305px\">\u003cfigcaption class=\"wp-caption-text\">‘Unspeakable Acts: True Tales of Crime, Murder, Deceit, and Obsession,’ edited by Sarah Weinman. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those looking for titillating, gruesome chronicles of human depravity will find much to like here—and those who want great, smart writing and outstanding research that unveils things we would rather not look at under a microscope will be equally satisfied.\u003c/p>\n\u003cp>That \u003cem>Unspeakable Acts\u003c/em> is more than a collection of true crime stories is clear from the introduction, where Weinman states:\u003c/p>\n\u003cblockquote>\u003cp>“The fascination with murder and illegality is a perennial one, because the shock of the deed creates a schism between order and chaos. We wish for justice, but even when we get it, the result rings somewhat hollow.”\u003c/p>\u003c/blockquote>\n\u003cp>In the pages that follow, the search for answers is one of many cohesive elements that make this nonfiction anthology one of the best true crime books of the year. The other three main elements—great writing, meticulous research and fearless engagement with the psychological, cultural and emotional aftermaths of extreme violence and murder—make this anthology inhabit an interstitial space between personal writing and academic analysis.\u003c/p>\n\u003cp>There are recent cases here, like that of Dee Dee and Gypsy Rose Blanchard, a mother-daughter duo that lied about Gypsy’s health issues for years and tricked a lot of people in the process before it all ended in murder (Gypsy pled guilty to second-degree murder and was sentenced to 10 years in prison in 2016). There are also older cases. For example, one of the standouts in the book is Sarah Marshall’s “The End of Evil,” which takes a personal look at Ted Bundy through the lens of a woman who wants to understand the serial killer and looks for answers while deconstruction psychological profiling as well as psychopathy as something that equals “pure evil.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another highlight is Alex Mar’s “Out Came the Girls: Adolescent Girlhood, the Occult, and the Slender Man Phenomenon.” Originally published in the \u003cem>Virginia Quarterly Review\u003c/em> in 2017, this essay deserves its own review. It looks at the Slender Man stabbings of 2014, when Anissa Weier and Morgan Geyser, two 12-year-old girls, lured a friend into the woods and stabbed her 19 times. While Mar explores the myths and evidence of the case, she also focuses on how adolescence is a strange time for girls and how psychological, emotional and physical changes affect young women in various ways. Her writing on this is sharp and noteworthy:\u003c/p>\n\u003cblockquote>\u003cp>“To be an adolescent girl is, for many, to view yourself as desperately set apart, powerfully misunderstood. A special alien, terrible and extraordinary. The flood of new hormones, shot from the glands into the bloodstream; the first charged touches, with a boy or a girl; the first years of bleeding in secret; the startling feeling that your body is suddenly hard to contain and, by extension, so are you.”\u003c/p>\u003c/blockquote>\n\u003cp>While \u003cem>Unspeakable Acts\u003c/em> is informative and engaging, it is also a wonderfully uncomfortable read because it brings real horror to your doorstep—it brings evidence that shows your neighbor could be a killer, your friends can stab you, and your partner could have a different name and another family or partner elsewhere. In Karen K. Ho’s “Jennifer Pan’s Revenge,” parental pressure leads to chaos and murder. In Rachel Monroe’s “The Perfect Man Who Wasn’t,” we are shown how con men can weasel their way into the lives of people and win over their trust, and their hearts, while draining their bank accounts and racking up credit card debt. These stories reveal the possible presence of the terrifying in everyday life and illuminate a devastating truth: Dark deeds are done not by monsters, but by people who look like everyone you know. [aside postid='pop_109009']\u003c/p>\n\u003cp>Alice Bolin echoes Weinman’s thoughts in the first paragraph of “The Ethical Dilemma of Highbrow True Crime” when she says, “People love true stories about murder and other brands of brutality and grift, and they have gorged on them particularly since the beginning of modern journalism.” Bolin explores the aesthetic differences between highbrow and lowbrow true-crime programs and documentaries, revealing in the process how voyeurism plays a huge role in the popularity of the genre today.\u003c/p>\n\u003cp>From classics of true-crime reporting to newer pieces that redefine the genre, \u003cem>Unspeakable Acts\u003c/em> offers more than 400 pages of unnerving, immersive true-crime writing from some of the most talented writers in the field. There is plenty of blood and viciousness in its pages, but there are also heavy doses of hope and heart, of humanity and searching for answers. Yes, this is creepy and pulpy at times, but it ultimately morphs into a mirror that shows us scary things—and uncovers why we are drawn to them so strongly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\" target=\"_blank\" rel=\"noopener noreferrer\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=True+Crime+Stories+And+The+Obsession+With+Them+Form+%27Unspeakable+Acts%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Unspeakable Acts\u003c/em>, edited by author, editor and critic Sarah Weinman, works as both a superb collection of true crime writing and a text that looks at the nuances of our collective obsession with horrific murders, con men and serial killers in a historical and cultural context.\u003c/p>\n\u003cfigure id=\"attachment_13884143\" class=\"wp-caption alignright\" style=\"max-width: 305px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM.png\" alt=\"'Unspeakable Acts: True Tales of Crime, Murder, Deceit, and Obsession,' edited by Sarah Weinman.\" width=\"305\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM.png 305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Screen-Shot-2020-07-30-at-12.35.30-PM-160x235.png 160w\" sizes=\"(max-width: 305px) 100vw, 305px\">\u003cfigcaption class=\"wp-caption-text\">‘Unspeakable Acts: True Tales of Crime, Murder, Deceit, and Obsession,’ edited by Sarah Weinman. \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those looking for titillating, gruesome chronicles of human depravity will find much to like here—and those who want great, smart writing and outstanding research that unveils things we would rather not look at under a microscope will be equally satisfied.\u003c/p>\n\u003cp>That \u003cem>Unspeakable Acts\u003c/em> is more than a collection of true crime stories is clear from the introduction, where Weinman states:\u003c/p>\n\u003cblockquote>\u003cp>“The fascination with murder and illegality is a perennial one, because the shock of the deed creates a schism between order and chaos. We wish for justice, but even when we get it, the result rings somewhat hollow.”\u003c/p>\u003c/blockquote>\n\u003cp>In the pages that follow, the search for answers is one of many cohesive elements that make this nonfiction anthology one of the best true crime books of the year. The other three main elements—great writing, meticulous research and fearless engagement with the psychological, cultural and emotional aftermaths of extreme violence and murder—make this anthology inhabit an interstitial space between personal writing and academic analysis.\u003c/p>\n\u003cp>There are recent cases here, like that of Dee Dee and Gypsy Rose Blanchard, a mother-daughter duo that lied about Gypsy’s health issues for years and tricked a lot of people in the process before it all ended in murder (Gypsy pled guilty to second-degree murder and was sentenced to 10 years in prison in 2016). There are also older cases. For example, one of the standouts in the book is Sarah Marshall’s “The End of Evil,” which takes a personal look at Ted Bundy through the lens of a woman who wants to understand the serial killer and looks for answers while deconstruction psychological profiling as well as psychopathy as something that equals “pure evil.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another highlight is Alex Mar’s “Out Came the Girls: Adolescent Girlhood, the Occult, and the Slender Man Phenomenon.” Originally published in the \u003cem>Virginia Quarterly Review\u003c/em> in 2017, this essay deserves its own review. It looks at the Slender Man stabbings of 2014, when Anissa Weier and Morgan Geyser, two 12-year-old girls, lured a friend into the woods and stabbed her 19 times. While Mar explores the myths and evidence of the case, she also focuses on how adolescence is a strange time for girls and how psychological, emotional and physical changes affect young women in various ways. Her writing on this is sharp and noteworthy:\u003c/p>\n\u003cblockquote>\u003cp>“To be an adolescent girl is, for many, to view yourself as desperately set apart, powerfully misunderstood. A special alien, terrible and extraordinary. The flood of new hormones, shot from the glands into the bloodstream; the first charged touches, with a boy or a girl; the first years of bleeding in secret; the startling feeling that your body is suddenly hard to contain and, by extension, so are you.”\u003c/p>\u003c/blockquote>\n\u003cp>While \u003cem>Unspeakable Acts\u003c/em> is informative and engaging, it is also a wonderfully uncomfortable read because it brings real horror to your doorstep—it brings evidence that shows your neighbor could be a killer, your friends can stab you, and your partner could have a different name and another family or partner elsewhere. In Karen K. Ho’s “Jennifer Pan’s Revenge,” parental pressure leads to chaos and murder. In Rachel Monroe’s “The Perfect Man Who Wasn’t,” we are shown how con men can weasel their way into the lives of people and win over their trust, and their hearts, while draining their bank accounts and racking up credit card debt. These stories reveal the possible presence of the terrifying in everyday life and illuminate a devastating truth: Dark deeds are done not by monsters, but by people who look like everyone you know. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alice Bolin echoes Weinman’s thoughts in the first paragraph of “The Ethical Dilemma of Highbrow True Crime” when she says, “People love true stories about murder and other brands of brutality and grift, and they have gorged on them particularly since the beginning of modern journalism.” Bolin explores the aesthetic differences between highbrow and lowbrow true-crime programs and documentaries, revealing in the process how voyeurism plays a huge role in the popularity of the genre today.\u003c/p>\n\u003cp>From classics of true-crime reporting to newer pieces that redefine the genre, \u003cem>Unspeakable Acts\u003c/em> offers more than 400 pages of unnerving, immersive true-crime writing from some of the most talented writers in the field. There is plenty of blood and viciousness in its pages, but there are also heavy doses of hope and heart, of humanity and searching for answers. Yes, this is creepy and pulpy at times, but it ultimately morphs into a mirror that shows us scary things—and uncovers why we are drawn to them so strongly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\" target=\"_blank\" rel=\"noopener noreferrer\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=True+Crime+Stories+And+The+Obsession+With+Them+Form+%27Unspeakable+Acts%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Yuja Wang and Other Classical Music Figures Try to Reckon With Racism",
"headTitle": "Yuja Wang and Other Classical Music Figures Try to Reckon With Racism | KQED",
"content": "\u003cp>Two controversies broke out this week regarding accusations of anti-Black racism in classical music. One involved two high-profile international soloists, pianist Yuja Wang and violinist Leonidas Kavakos. The other features less prominent individuals—a group of academics—but it also points to the slowness of the classical music community to take up difficult conversations about race and representation.\u003c/p>\n\u003cp>But in both cases, the accusations and the rebuttals have played out speedily on social media—within a community that still relies heavily on hierarchical prestige and institutional power.\u003c/p>\n\u003cp>On Monday, an anonymous person accused Kavakos and Wang of making \u003ca href=\"https://www.instagram.com/p/CDHe0e2gNXA/\" target=\"_blank\" rel=\"noopener noreferrer\">racist remarks \u003c/a>about a Black audience member after one of their joint recitals in Michigan. The allegation was made via an Instagram account called “Orchestra Is Racist,” one of several similarly geared social media accounts that have sprung up this summer.\u003c/p>\n\u003cp>Wang is one of classical music’s few current superstars; she holds endorsement deals with leading luxury brands, including \u003ca href=\"https://www.rolex.com/world-of-rolex/every-rolex-tells-a-story/yuja-wang-rolex-watch.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rolex\u003c/a> and \u003ca href=\"https://www.rimowa.com/us/en/neverstill.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rimowa\u003c/a>. (In 2014, this reporter produced a \u003ca href=\"https://www.npr.org/2014/02/19/279059784/on-a-chilly-factory-floor-yuja-wangs-piano-sizzles\" target=\"_blank\" rel=\"noopener noreferrer\">performance video\u003c/a> with Wang for NPR Music.) Through a representative, she sent a written statement to NPR late Tuesday night that read in full:\u003c/p>\n\u003cblockquote>\u003cp>“It has come to my attention that a post has been shared on @orchestraisracist, with an anonymous report of a post-performance conversation in a car between Leonidas Kavakos and myself a couple of years ago in Michigan. I have no recollection of this conversation, but language and actions that are judgmental or discriminatory against anyone are unacceptable. The most important thing is how we treat each other, and I offer my sincerest and most humble apology, if I have ever offended anyone.\u003c/p>\n\u003cp>I have faced personal and professional criticism, discrimination, and sexism countless times throughout my life and career. I know how hurtful that can be, and would never want to contribute to a negative culture or atmosphere that disparages others. It goes completely against what I believe. It’s important to listen to the many voices speaking out right now. We have to be open with each other to allow for the opportunity to acknowledge our missteps, to forgive and to grow from these experiences.”\u003c/p>\u003c/blockquote>\n\u003cp>Within the comments section on the “Orchestra Is Racist” post, Kavakos republished a comment that he had originally made on his own \u003ca href=\"https://www.facebook.com/leonidas.kavakos.violin/photos/a.447608832086475/1517577618422919/?type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> on June 2, in the aftermath of George Floyd’s killing. He wrote in part: “If WE want to look at Humanity as an accord consisting of human lives, and attempting to create its own Harmony, the atrocious act of killing George Floyd, has destroyed that attempt. It is an act that stabs US ALL creating severe wounds, that threaten OUR Existence! If, additionally, this act is ‘justified’ by some kind of ‘life rating according to skin color,’ then I’m afraid, Humanity is suicidal.” Kavakos did not address the specific accusation made against him and Wang.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Wednesday morning, a representative for Kavakos sent another statement to NPR, which read in full: “I find accusations of any form of racism deeply upsetting and abhorrent. I will never accept any form of discrimination and I am vehement in my commitment to equal rights and inclusivity. If I have ever offended anyone by how I have previously spoken I wholeheartedly apologize to them and can assure them that any hurt caused was completely unintentional and does not reflect the person I am and my values. I welcome the current discussions that are taking place that are teaching everyone that we all have something to learn and need to listen to all voices.”\u003c/p>\n\u003cp>Meanwhile, classical music’s academic sphere is facing its own reckoning. Last November, at the annual conference for the Society for Music Theory, a Black music theorist named \u003ca href=\"http://philipewell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Philip Ewell\u003c/a> gave an \u003ca href=\"https://vimeo.com/372726003\" target=\"_blank\" rel=\"noopener noreferrer\">address\u003c/a> titled Music Theory’s White Racial Frame. As part of his presentation, Ewell argued that Heinrich Schenker, a late 19th and early 20th century theorist whose work has been foundational in the musical analysis of Western art music, was not only explicitly racist personally, but that Schenker also contended himself that his views on race and on music were indivisible. He also pointed out that his field is still overwhelmingly dominated by white academics, and that the musical material taught to students is also heavily tilted towards the work of white (and male) composers.\u003c/p>\n\u003cp>In reply, an academic journal published by the Center for Schenkerian Studies and the University of North Texas Press called the \u003cem>Journal of Schenkerian Studies\u003c/em> published \u003ca href=\"https://drive.google.com/file/d/1dTOWwlIsuiwsgAa4f1N99AlvG3-ngnmG/view\" target=\"_blank\" rel=\"noopener noreferrer\">14 non-peer-reviewed responses\u003c/a> to Ewell’s work this month, including one anonymous essay—an anomaly for an academic project. (Ewell \u003ca href=\"https://twitter.com/philewell/status/1287210043159568386?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">says\u003c/a> he was not invited to participate.)\u003c/p>\n\u003cp>In one of the essays, one of the publication’s lead editors, Timothy Jackson (a professor at UNT), accused Ewell personally—and the broader Black community—of being anti-Semitic, \u003ca href=\"https://twitter.com/pmgentry/status/1287210396068257793?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">writing\u003c/a>: “Ewell’s denunciation of Schenker and Schenkerians may be seen as part and parcel of the much broader current of Black anti-Semitism. … They currently manifest themselves in myriad ways, including the pattern of violence against Jews, the obnoxious lyrics of some hip hop songs, etc.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another rejoinder, from David Beach, a Schenker specialist at the University of Toronto, included this piece of scholarship: “My suggestion to Philip Ewell is that he stop complaining about us white guys.” In \u003ca href=\"https://meganlavengood.com/2020/07/27/journal-of-schenkerian-studies-proving-the-point/\" target=\"_blank\" rel=\"noopener noreferrer\">response\u003c/a>, many music theorists, musicologists and students have \u003ca href=\"https://twitter.com/kira_thurman/status/1287354686077575168\" target=\"_blank\" rel=\"noopener noreferrer\">denounced\u003c/a> the \u003cem>Journal of Schenkerian Studies\u003c/em> and several of the included authors, as has the \u003ca href=\"https://twitter.com/SMT_musictheory/status/1287918277667192833?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Society for Music Theory\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Classical+Music+Tries+To+Reckon+With+Racism+%E2%80%94+On+Social+Media&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two controversies broke out this week regarding accusations of anti-Black racism in classical music. One involved two high-profile international soloists, pianist Yuja Wang and violinist Leonidas Kavakos. The other features less prominent individuals—a group of academics—but it also points to the slowness of the classical music community to take up difficult conversations about race and representation.\u003c/p>\n\u003cp>But in both cases, the accusations and the rebuttals have played out speedily on social media—within a community that still relies heavily on hierarchical prestige and institutional power.\u003c/p>\n\u003cp>On Monday, an anonymous person accused Kavakos and Wang of making \u003ca href=\"https://www.instagram.com/p/CDHe0e2gNXA/\" target=\"_blank\" rel=\"noopener noreferrer\">racist remarks \u003c/a>about a Black audience member after one of their joint recitals in Michigan. The allegation was made via an Instagram account called “Orchestra Is Racist,” one of several similarly geared social media accounts that have sprung up this summer.\u003c/p>\n\u003cp>Wang is one of classical music’s few current superstars; she holds endorsement deals with leading luxury brands, including \u003ca href=\"https://www.rolex.com/world-of-rolex/every-rolex-tells-a-story/yuja-wang-rolex-watch.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rolex\u003c/a> and \u003ca href=\"https://www.rimowa.com/us/en/neverstill.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rimowa\u003c/a>. (In 2014, this reporter produced a \u003ca href=\"https://www.npr.org/2014/02/19/279059784/on-a-chilly-factory-floor-yuja-wangs-piano-sizzles\" target=\"_blank\" rel=\"noopener noreferrer\">performance video\u003c/a> with Wang for NPR Music.) Through a representative, she sent a written statement to NPR late Tuesday night that read in full:\u003c/p>\n\u003cblockquote>\u003cp>“It has come to my attention that a post has been shared on @orchestraisracist, with an anonymous report of a post-performance conversation in a car between Leonidas Kavakos and myself a couple of years ago in Michigan. I have no recollection of this conversation, but language and actions that are judgmental or discriminatory against anyone are unacceptable. The most important thing is how we treat each other, and I offer my sincerest and most humble apology, if I have ever offended anyone.\u003c/p>\n\u003cp>I have faced personal and professional criticism, discrimination, and sexism countless times throughout my life and career. I know how hurtful that can be, and would never want to contribute to a negative culture or atmosphere that disparages others. It goes completely against what I believe. It’s important to listen to the many voices speaking out right now. We have to be open with each other to allow for the opportunity to acknowledge our missteps, to forgive and to grow from these experiences.”\u003c/p>\u003c/blockquote>\n\u003cp>Within the comments section on the “Orchestra Is Racist” post, Kavakos republished a comment that he had originally made on his own \u003ca href=\"https://www.facebook.com/leonidas.kavakos.violin/photos/a.447608832086475/1517577618422919/?type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> on June 2, in the aftermath of George Floyd’s killing. He wrote in part: “If WE want to look at Humanity as an accord consisting of human lives, and attempting to create its own Harmony, the atrocious act of killing George Floyd, has destroyed that attempt. It is an act that stabs US ALL creating severe wounds, that threaten OUR Existence! If, additionally, this act is ‘justified’ by some kind of ‘life rating according to skin color,’ then I’m afraid, Humanity is suicidal.” Kavakos did not address the specific accusation made against him and Wang.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Wednesday morning, a representative for Kavakos sent another statement to NPR, which read in full: “I find accusations of any form of racism deeply upsetting and abhorrent. I will never accept any form of discrimination and I am vehement in my commitment to equal rights and inclusivity. If I have ever offended anyone by how I have previously spoken I wholeheartedly apologize to them and can assure them that any hurt caused was completely unintentional and does not reflect the person I am and my values. I welcome the current discussions that are taking place that are teaching everyone that we all have something to learn and need to listen to all voices.”\u003c/p>\n\u003cp>Meanwhile, classical music’s academic sphere is facing its own reckoning. Last November, at the annual conference for the Society for Music Theory, a Black music theorist named \u003ca href=\"http://philipewell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Philip Ewell\u003c/a> gave an \u003ca href=\"https://vimeo.com/372726003\" target=\"_blank\" rel=\"noopener noreferrer\">address\u003c/a> titled Music Theory’s White Racial Frame. As part of his presentation, Ewell argued that Heinrich Schenker, a late 19th and early 20th century theorist whose work has been foundational in the musical analysis of Western art music, was not only explicitly racist personally, but that Schenker also contended himself that his views on race and on music were indivisible. He also pointed out that his field is still overwhelmingly dominated by white academics, and that the musical material taught to students is also heavily tilted towards the work of white (and male) composers.\u003c/p>\n\u003cp>In reply, an academic journal published by the Center for Schenkerian Studies and the University of North Texas Press called the \u003cem>Journal of Schenkerian Studies\u003c/em> published \u003ca href=\"https://drive.google.com/file/d/1dTOWwlIsuiwsgAa4f1N99AlvG3-ngnmG/view\" target=\"_blank\" rel=\"noopener noreferrer\">14 non-peer-reviewed responses\u003c/a> to Ewell’s work this month, including one anonymous essay—an anomaly for an academic project. (Ewell \u003ca href=\"https://twitter.com/philewell/status/1287210043159568386?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">says\u003c/a> he was not invited to participate.)\u003c/p>\n\u003cp>In one of the essays, one of the publication’s lead editors, Timothy Jackson (a professor at UNT), accused Ewell personally—and the broader Black community—of being anti-Semitic, \u003ca href=\"https://twitter.com/pmgentry/status/1287210396068257793?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">writing\u003c/a>: “Ewell’s denunciation of Schenker and Schenkerians may be seen as part and parcel of the much broader current of Black anti-Semitism. … They currently manifest themselves in myriad ways, including the pattern of violence against Jews, the obnoxious lyrics of some hip hop songs, etc.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another rejoinder, from David Beach, a Schenker specialist at the University of Toronto, included this piece of scholarship: “My suggestion to Philip Ewell is that he stop complaining about us white guys.” In \u003ca href=\"https://meganlavengood.com/2020/07/27/journal-of-schenkerian-studies-proving-the-point/\" target=\"_blank\" rel=\"noopener noreferrer\">response\u003c/a>, many music theorists, musicologists and students have \u003ca href=\"https://twitter.com/kira_thurman/status/1287354686077575168\" target=\"_blank\" rel=\"noopener noreferrer\">denounced\u003c/a> the \u003cem>Journal of Schenkerian Studies\u003c/em> and several of the included authors, as has the \u003ca href=\"https://twitter.com/SMT_musictheory/status/1287918277667192833?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Society for Music Theory\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Classical+Music+Tries+To+Reckon+With+Racism+%E2%80%94+On+Social+Media&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Ellen DeGeneres Show\u003c/em> is under internal investigation by WarnerMedia following a series of allegations of racism, workplace intimidation and other mistreatment made by employees of the popular daytime talk show.\u003c/p>\n\u003cp>A person familiar with the situation confirmed to NPR on Tuesday that WarnerMedia has begun an investigation into complaints of toxic workplace behavior behind the scenes at the show. \u003ca href=\"https://variety.com/2020/tv/news/ellen-degeneres-workplace-investigation-1234717494/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> first reported on Monday that the internal investigation is underway.\u003c/p>\n\u003cp>Earlier this month, \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">BuzzFeed News\u003c/a> published a string of allegations about workplace misconduct made by 11 unnamed current and former employees. Their complaints included firings after taking medical or bereavement leave; a Black employee having racist comments levied at her by senior staff; and staffers being told not to speak directly to DeGeneres.\u003c/p>\n\u003cp>The alleged behavior, the accusers said, is at odds with the “be kind” ethos that DeGeneres presents on air. In a joint statement to BuzzFeed News, executive producers Ed Glavin, Mary Connelly and Andy Lassner said that they took the allegations “very seriously,” adding in part: “We are truly heartbroken and sorry to learn that even one person in our production family has had a negative experience.”\u003c/p>\n\u003cp>The unnamed accusers said executive producers and human resources were accountable for the alleged mistreatment—but one said that DeGeneres “really needs to take responsibility,” according to BuzzFeed News.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Ellen+DeGeneres+Show%27+Is+Under+Internal+Investigation+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Ellen DeGeneres Show\u003c/em> is under internal investigation by WarnerMedia following a series of allegations of racism, workplace intimidation and other mistreatment made by employees of the popular daytime talk show.\u003c/p>\n\u003cp>A person familiar with the situation confirmed to NPR on Tuesday that WarnerMedia has begun an investigation into complaints of toxic workplace behavior behind the scenes at the show. \u003ca href=\"https://variety.com/2020/tv/news/ellen-degeneres-workplace-investigation-1234717494/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> first reported on Monday that the internal investigation is underway.\u003c/p>\n\u003cp>Earlier this month, \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">BuzzFeed News\u003c/a> published a string of allegations about workplace misconduct made by 11 unnamed current and former employees. Their complaints included firings after taking medical or bereavement leave; a Black employee having racist comments levied at her by senior staff; and staffers being told not to speak directly to DeGeneres.\u003c/p>\n\u003cp>The alleged behavior, the accusers said, is at odds with the “be kind” ethos that DeGeneres presents on air. In a joint statement to BuzzFeed News, executive producers Ed Glavin, Mary Connelly and Andy Lassner said that they took the allegations “very seriously,” adding in part: “We are truly heartbroken and sorry to learn that even one person in our production family has had a negative experience.”\u003c/p>\n\u003cp>The unnamed accusers said executive producers and human resources were accountable for the alleged mistreatment—but one said that DeGeneres “really needs to take responsibility,” according to BuzzFeed News.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Ellen+DeGeneres+Show%27+Is+Under+Internal+Investigation+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nobody really knows what television, or the country, or the planet may look like in a few months, but that doesn’t mean there aren’t Emmy nominations. The announcement was unconventional, and done remotely (of course), but the nominees are very much a mix of the old and the new.\u003c/p>\n\u003cp>\u003cstrong>1.\u003c/strong> \u003cstrong>Netflix is a giant. \u003c/strong>Netflix had more nominations than any other network or streaming service—160, ahead of HBO, which was in second place at 107. The highest-ranked broadcast network, NBC, is in third place with 47 nominations, 15 of which are for \u003cem>Saturday Night Live\u003c/em>. It’s not just that big dramas like \u003cem>Unbelievable \u003c/em>and \u003cem>Stranger Things \u003c/em>and \u003cem>The Crown \u003c/em>did well. It’s not just that they’re solid in comedy now, with \u003cem>Dead to Me \u003c/em>and \u003cem>The Komisky Method\u003c/em>, both nominated for outstanding comedy series. 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But it grabbed eight nominations (two more than the most-nominated broadcast prime-time show, \u003cem>The Good Place\u003c/em>), including acting nods for Carell and Aniston, plus supporting actors Billy Crudup and Mark Duplass and guest actor Martin Short.\u003c/p>\n\u003cp>\u003cstrong>4. Baby Yoda is no joke. \u003c/strong>Disney+ didn’t hire as many famous actors for \u003cem>The Mandalorian \u003c/em>as Apple did for \u003cem>The Morning Show\u003c/em>. But the \u003cem>Star Wars \u003c/em>series got 15 nominations, and while many were on the technical and production side, it was also nominated for outstanding drama series, where it will face off against the most “prestigious” shows in television, including \u003cem>Succession\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Stranger Things\u003c/em>, \u003cem>Ozark\u003c/em> and \u003cem>The Handmaid’s Tale\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>5. A nice haul for \u003c/strong>\u003cem>\u003cstrong>Watchmen\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>HBO’s excellent comic book adaptation received 26 nominations—more than any other program. They’re largely in major categories, too: a nomination for outstanding limited series, plus six in acting, three in directing, one in writing, two in cinematography, three in editing, and so forth, plus plenty more for everything from casting to music and main titles. The series is a towering achievement, and star Regina King—nominated for best performance by a lead actress in a limited series or movie in a stacked category—may well have given the performance of the year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>6. All hail the first-timers! \u003c/strong>It’s always fun to look at who’s getting their first nomination this year, sometimes after many deserving years. Yvonne Orji is nominated for \u003cem>Insecure \u003c/em>(which did well, grabbing an outstanding comedy series nomination). Cate Blanchett is getting her first Emmy nomination for \u003cem>Mrs. America. \u003c/em>William Jackson Harper and D’Arcy Carden are both in for the first time for their work on \u003cem>The Good Place\u003c/em>. Yahya Abdul-Mateen II is a first-time nominee for \u003cem>Watchmen \u003c/em>and also has the new \u003cem>Candyman \u003c/em>film coming. Annie Murphy, so good as Alexis on \u003cem>Schitt’s Creek\u003c/em>, wiggled in for the show’s closing run. Several of the \u003cem>Succession \u003c/em>actors—Sarah Snook, Kieran Culkin, Jeremy Strong—are first-timers. There are more, of course. And many will be back, hopefully over and over.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Emmy+Nominations%3A+Six+Things+To+Know&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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